Live uk 187

issue 187 AUGUST 2015 UK ÂŁ6.25

Going wild

Bear’s Den tour Europe

Live Nation seals MAMA deal SMG Europe fraud probe Committed to the unsigned and emerging live sector see pages 14-17

Dedicated to the Business of Contemporary Live Music

contents I 3

Contents

issue 187

4-12 News

20-24 Sector Focus: LED Technology

The business of live music

8 Forthcoming Events

A look at a vital business sector driving the live music industry

Key industry gatherings

28-29 Production News

14-15 NXT News:

Developments in technology and show production

Business activity in the unsigned and emerging artiste sector

30-34 City Limits: Bristol

Roundup of the key venue operators and promoters in the country’s Insight from venue operators, artiste leading cities managers and A&R executives

15-17 NXT Profiles

36-37 Tour Plans 16 NXT Feature: Online Streaming Artistes, their agents and

Focusing on a vital element in developing tour periods unsigned and emerging artistes 18-19 Festival News

38 Backstage Stars

Interviews with key people who shape the industry

20

30

Publisher & Managing Editor: Stephen Parker

Circulation Manager: Jack Dodd

News Editor: James Cox

Office Manager: Libby Culbert

Editorial Contributors: Allan Glen, Mike Gartside, Rob Sandall, Brooke Nolan

Accounts Management: Murali Sri Balaskanda

Sales Director: Gareth Ospina Advertising Executive: Craig Swan Picture Manager: Alyse Kimsey Subscriptions Management: Ramz Shaft

18

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Advertising: Gareth Ospina, Craig Swan T: 020 7486 7007 E: gareth@liveuk.com E: craig@liveuk.com

A subscription costs £75 per annum and includes 12 monthly issues of LIVE UK, 12 monthly issues of Audience, four seasonal issues of Festival, The UK’s Best Venues For Contemporary Live Music, other annual publications and free digital access to all publications.

Design: Imogen Chester

Subscribe online at www.liveuk.com

Editorial: James Cox T: 020 7486 7007 E: james@liveuk.com

Print: Premier Print Group www.premierprintgroup.com

Published monthly by:

Cover photograph: © Rex Features ISSUE 187: August 2015

26 Dorset Street, London W1U 8AP, United Kingdom T: 020 7486 7007 F: 020 7486 2002 E: info@live.uk.com W: www.liveuk.com

The opinions expressed by contributors to this publication are not always a reflection of the opinions or the policy of the publisher. Information on services or products contained within editorial sections does not imply recommendation by Audience Media Ltd. No responsibility can be accepted for errors or omissions. No part of this publication can be reproduced in any form without the written authority of Audience Media Ltd.

August 2015 • Issue 187 • www.liveuk.com

4 I news

Live Nation-Gaiety Holdings beat AEG Live to MAMA Speculation builds as deal is confirmed

Lovebox

INDUSTRY OBSERVERS are wondering why Live Nation Entertainment (LNE) would want to outbid AEG Live to acquire MAMA & Company at the 11th hour, as exclusively revealed in our sister publication Audience (issue 186).

LN-Gaiety (LN-G) Holdings, a joint venture between LNE and Denis Desmond’s Gaiety Investments, announced it had completed the acquisition of MAMA on 4 August.

“We are delighted to be welcoming new venues, and some that we have previously managed, into the group,” says Paul Latham, LNE chief operating officer for UK and Ireland.

“MAMA has made great strides with its festivals and the

The Forum

creativity it has demonstrated will be complimentary to LN-Gaiety’s existing portfolio.”

LN-G was created as a joint venture in 2008, when Live Nation bought into one of Desmond’s operations.

The two are also partners in Festival Republic with Gaiety Investments owning a 49.9 per cent share and LNE the rest.

The collaboration, which struck a deal for a majority stake in the V festivals in January last year, acquires MAMA from owner Lloyds Development Capital (LDC), which had been proactively seeking buyers.

MAMA, the operator of nine venues, includes among its assets The Forum (cap. 2,350) in north London,

Newsbites FESTYVENT, A promotional app for festival organisers has partnered with Soundclash festival (cap. 10,000) in Southampton in September. Developed

by Clarifi Media, the app provides a link to social media, artiste biographies and sponsor sites as well as harvesting data from audiences and a direct messaging service to customers. It also has a ‘find me’ function to reunite friends who get separated.

MORECOMBE COUNCIL has set aside £55,000 in its budget to support festivals and live music events. The local authority ring-fenced £50,000 for major festivals and £5,000 for community events at a council meeting on 16 July. It has set a 28 August deadline for funding submissions. “The Council recognises that festivals and events play an important part in Morecambe’s visitor economy and recognises the valuable work undertaken by current festival organisers,” says town clerk David Croxall.

August 2015 • Issue 187 • www.liveuk.com

Wilderness

which is a rival to the O2 Shepherds Bush Empire (2,000) – owned by LNE subsidiary Academy Music Group (AMG) – and The Institute (1,500) in Birmingham, which competes with AMG’s O2 Academy (3,000 and 600) in the city.

However, MAMA also operates The Ritz (1,500) in Manchester, which does not have an O2 Academy venue, although LNE owns the O2 Apollo (3,500) there. MAMA also looks after a host of smaller venues such as London’s Jazz Café (400), Barfly (200) and The Borderline (275).

Festivals owned by MAMA are Wilderness in Oxfordshire and London’s Lovebox, both with capacities of 30,000. LNE already owns six of the eight largest festivals in the country, along with Wireless (45,000) and Calling (25,000), both in London.

AEG Live thought it had secured a deal which would see it take over MAMA’s festivals and then, in a separate deal, pass a substantial part of MAMA’s venue portfolio to fast-expanding venues and festivals operator DHP Family.

LNE’s intervention means, under the guise of LN-G, it is buying back The Forum which it was forced to sell in April 2007, after the Competition Commission (now the Competition and Markets Authority) ruled its takeover of the Mean Fiddler Music Group would give too much control over London venues. It also had to sell Hammersmith Apollo (then 3,450) and MAMA acquired both venues (see issue 86).

However, LIVE UK has learnt LNE’s deal for MAMA may not include Wilderness, co-founded by MAMA and Secret Paul Latham Productions, which is believed to have retained a break-away clause should the ownership of MAMA change. A spokesman for Secret Productions declined to clarify this detail or to comment on the LN-G deal.

Private equity investor LDC backed a MAMA management buy-out from then beleaguered record shop chain HMV in December 2012, in a deal worth £7.3 million. HMV had already sold Hammersmith Apollo.

Twelve months earlier, MAMA was valued at between £40m and £75m.

If completed, the LNE takeover ends a turbulent few years for MAMA, which started working with HMV in January 2009, when the latter paid £18.25m ($29.38m) to acquire a 50 per cent stake in 11 venues. Then in 2010 HMV mounted a full acquisition, valuing the business at £46m, taking its overall investment in MAMA to £62m.

Senior executives at AEG and DHP declined to comment.

Elsewhere, LDC completed the acquisition of arenas management company NEC Group for £307 million ($476m) in June.

news I 5

Minimum 3,500 victims in Circle tickets fraud CIRCLE TICKETS, the sham website which sold fake tickets to Ed Sheeran, AC/DC and Taylor Swift shows at Wembley Stadium (cap. 80,000) and Manchester Arena (20,000), tricked more than 3,500 people in eight months, LIVE UK understands (see issue 186).

PayPal and Ireland’s Omnipay were used by Circle to process card payments between November last year and June.

No payments were made from PayPal accounts, instead the firm processed card details entered on circletickets.com and monies transferred instantly to the fraudsters. Consequently, PayPal says it is not responsible for refunds.

“If someone has bought something on a website and paid directly by entering their card details they should contact the bank that issued their card for a refund,” says a PayPal spokesperson.

Omnipay refused to comment, but police have confirmed the company has

issued some refunds and filed its own victim report against Circle.

Sussex Police, which was assigned to investigate due to “significant intelligence leads having been linked to the area”, has confirmed there have been no arrests.

“The information is being assessed and enquiries are being made. No arrests have been made as of this time,” a Sussex Police spokesman tells LIVE UK. The Metropolitan Police’s Action Fraud, the first port of call for complaints, received 554 reports of scam tickets being sold by Circle so far.

“The National Fraud Intelligence Bureau has been in contact with a payment merchant who facilitated the payments for circletickets.com who are assisting the police,” says a Metropolitan Police spokesman.

“Ultimately the payment merchant will be the financial loser and have

Circle Tickets Facebook screenshot

therefore submitted a victim report to Action Fraud.”

However, the investigation has been criticised by security firms and politicians.

Reg Walker of security firm Iridium Consultancy says he does not expect there to be much progress.

“We’ve passed intel on fraud cases to the police in the past and have never been able to get them off the ground,” he says.

“Fraud cases are not going to be high on the agenda at local forces.

They are very complex and they rarely end in a guilty verdict.”

Portabello Live set to return MUSIC AND art street festival Portabello Live sold more than 2,000 tickets for its debut in May, says organiser Micky P, with wristbands allowing access to performances in venues such as Mau Mau (cap. 200) in London’s Notting Hill district.

Artistes appearing included The Egg, The Steve Dior Band and Human In Bloom.

Micky P says all revenue from this event was raised through the sale of tickets at £10 in advance of £20 on the day, but he is seeking sponsorship for next year.

“I’ve been approached by some bigger names who want to be involved,” he adds.

The next event is set for 1-2 May 2016.

Baring claws

THE OUTDOOR EVENT SERVICES EXHIBITION

WEST LONDON’S Bear’s Den have been gaining traction and winning fans with an exhaustive festival program, including at Glastonbury (cap.

198,000) and Lollapalooza (100,000), in Chicago. cover artiste The alternative folk band released debut album, Islands, in December last year and in June won £2,500 from the Momentum Deezer Award from the PRS for Music Foundation.

From October the band will tour Europe stopping at Edinburgh, Manchester and Bristol as well as France, Belgium, Germany, and Denmark before finishing up with a previously announced show at London’s Roundhouse (3,118).

“We’ve had a really great year working alongside their album campaign and the band’s live performances have gone from strength to strength,” says the band’s agent, Lucy Dickins of International Talent Booking (ITB).

“The band has gone from playing the Slaughtered Lamb [150] to the Camden Roundhouse [3,118] and we’re extremely proud to have been part of it.”

Bear’s Den manager, Rowan Brand, adds, “We’ve been overwhelmed with the level of support from fans surrounding the upcoming European headline tour in October and can’t wait to do those shows.”

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August 2015 • Issue 187 • www.liveuk.com

6 I news

Scottish MP questions T in the Park hand-out DF CONCERTS, organisers of T in the Park (cap.

85,000), has defended public funding it received from the Scottish Government, in the face of criticism from politicians and community groups.

The latest payment, £150,000 through the Scottish Government’s State Aid budget, was allocated on 2 July. The Scottish Government has since confirmed the event has been given a further £223,000 in public funds since 2012.

DF Concerts insists the money helped fund a costly relocation to Strathallan Castle forced by the Scottish Health and Safety Executive which expressed concerns over a gas line which has always run under the site.

Liz Smith, Conservative MSP for mid-Scotland and Fife, has written to the Scottish Parliament requesting details of meetings between the Government and DF, which is majority-owned by Live Nation Entertainment.

“My concerns about T in the Park relate to transparency about decision-making over the whole planning period and, more recently, about issues concerning why additional public funding was required,” she tells LIVE UK. “Whilst it is not unusual for festival events in Scotland to receive Scottish Government funding, it is very important that there is absolute clarity.

The taxpayer surely deserves to know the details.”

Smith also says she has received complaints regarding traffic, staffing and organisation of the event.

Relating to the latest £150,000 sum, a statement on the Scottish Government website says the money was released to help the event’s relocation from Balado to Strathallan in Perthshire, because of concerns over safety.

“T in the Park delivered by DF Concerts has received one-off grant funding support of £150,000… to help ensure the successful transition of this iconic music festival to their new temporary site at Strathallan,” the site reads.

It adds, the grant supports Scotland’s National Events Strategy and boosts tourism and the

A SIMPLY STUNNING VENUE IN NORTH LONDON, 800 CAPACITY

T in the park

national economy.

The funding has also been slammed by community body, Strathallan T Action Group (STAG).

“It is a scandal that the Scottish Government is bailing out a company that has access to so many other sources of funding,” says a spokesman.

“It is very important that there is absolute clarity. The taxpayer surely deserves to know the details.”

Liz Smith

“We don’t understand why DFC did not turn to their sponsor, Tennent’s, or to US giant Live Nation, which has a substantial stake in DFC. It is an inappropriate use of taxpayers’ money and arguably it should be repaid.”

DF CEO Geoff Ellis, was unavailable for comment but a spokesman defended the funding.

“Many events in Scotland, often with smaller audiences and less economic impact than T in the Park receive public funding,” says a T spokesman.

“There is nothing secret at all about the award

of £150,000 to the festival, the awards process has been as transparent as it is for any other event.

“Our application this year is due to exceptional circumstances. T in the Park was forced to move… it was not a decision made by us and switching site is a hugely complicated and expensive process.”

The spokesman adds that DF invested a “seven-figure” sum to facilitate the move.

Organisers also confirmed to LIVE UK that it would host future editions at Strathallan, despite the Government’s description of the site being “temporary”, with tickets for next year’s event due to go on sale later this year.

A Scottish Government spokesman says the event generated £15.4 million for the Scottish economy last year as well as creating jobs.

“Recognising the economic and tourism benefits T in the Park delivers for Scotland, the Scottish Government invested £150,000 to support relocation of the event,” they add.

This year’s three-day event held on 10-12 July which featured Kasabian, The Libertines and Noel Gallagher’s High Flying Birds, failed to sell out. DF says it sold around 75,000 tickets for each day.

Weekend camping tickets cost £205.

Photo © Richard Gray @rugfoot

Islington Assembly Hall’s striking art deco interior and remarkable acoustics offer a unique experience to artists, promoters and audiences. Recent gigs include First Aid Kit, Foo Fighters, Courtney Barnett and Fall Out Boy.

“One of London’s most idyllic live venues” – Line of Best Fit

@Islington_AH |www.islingtonassemblyhall.co.uk | assemblyhall@islington.gov.uk August 2015 • Issue 187 • www.liveuk.com

news I 7

Police probe SMG Europe embezzlement claim

Manchester Arena

MULTI-VENUE operator, SMG Europe has discovered evidence of historical embezzlement by an employee and has called in Greater Manchester Police’s Fraud Squad to investigate.

LIVE UK understands it relates to an alleged internal theft by an employee dating back several years, with complaints first filed in October last year.

The Manchester-based company, which operates Manchester Arena (cap. 21,000), First Direct Arena (13,500), Leeds, and other venues in the UK and Europe, is a subsidiary of US-based SMG. The parent company operates 230 concert, conference and sports facilities around the world.

SMG corporate council Bruce Hanson, based in Pennsylvania, US, emphasised to LIVE UK that SMG was the complainant as opposed to the body being investigated, which he noted was the

First Direct Arena

intimation in some inaccurate media reports.

“There’s a limited amount I can say as it is an ongoing police investigation,” he says. “Internal controls at SMG picked up evidence of potential embezzlement, internally, of assets belonging to SMG, which we reported to the police and are fully compliant with their ensuing investigation.

“We felt some of the early media reports have been unclear. SMG is not being investigated.

Police are looking at a possible crime against the company.”

Greater Manchester Police confirmed inquiries are ongoing and no arrests have been made but a list of suspects is being investigated.

“On the 15 October last year we received an allegation of fraud,” said a spokesman.

“An investigation has been launched and inquiries are on-going.”

Controlling more than 57,000 arena seats, including those at the SSE Arena Belfast (10,800) and Newcastle’s Metro Radio Arena (12,000), SMG Europe also recently announced its partnership with Live Nation Entertainment to run the 12,000-capacity Bristol Arena, due to open in 2017.

The business is currently seeking a new naming rights partner for Manchester Arena.

John Sharkey was appointed SMG Europe executive vice-president of European operations in October last year.

Newsbite A SISTER venue to Liverpool’s 10,000-capacity Echo Arena is set to open in September, capable of accommodating an all standing audience of 6,000.

Exhibition Centre Liverpool is the latest part of the ACC Liverpool complex, which includes the Echo Arena. “In our first year alone, we are expecting to host about 40 events and attract more than 150,000 visitors,” says ACC’s commercial director Tim Banfield. No live music events have been confirmed.

August 2015 • Issue 187 • www.liveuk.com

8 I news Forthcoming events 08 Sep AIM Independent Music Awards London

www.musicindie.com/awards

30 Sep – 01 Oct International Festival Forum London

www.iff.rocks

4-6 Oct PLASA 2015 London

www.plasashow.com

15 Oct LIVE UK Summit London

www.liveuksummit.com

15 Oct Live Music Business Awards London

www.livemusicawards.co.uk

21-22 Oct The Showman’s Show Newbury

www.showmans-directory.co.uk

14 Nov Women In Music London

www.mw-womeninmusic.com

Newsbite HICKSTEAD EQUESTRIAN showground in Sussex is promoting its own two-day festival called Boomerang, with a capacity of 15,000. Acts appearing include Simple Minds Jessie J and The Vamps and Rae Morris, booked by programmer John Empson, events manager at the Eden Project (cap. 4,300) in Cornwall. The event is named after Eddie Macken’s horse Boomerang, which won the Hickstead Derby a record four consecutive times from 1976 to 1979. Boomerang takes place between 12 and 13 September, with day tickets costing £75 .

Why Not People debut DISABILITY-FOCUSED event promoter Why Not People (WNP), co-founded by Divya Daryanani and Radio 1 DJ Jameela Jamil, welcomed 1,000 people to its inaugural event.

The launch night was held at London’s Troxy (3,100) in July, with a bill featuring Tinie Tempah and dance troupe, Flawless and hosted

by Jamil.

WNP membership is open to people ranging from wheelchair users to the deaf and blind, £15 per year giving them and friends access to special events.

“Troxy was our venue of choice due to its great access and having previously hosted events such as Rays of Sunshine which also have a high percentage of people attending with disabilities,” says Daryanani.

The night previewed SubPac technology, which transfers low frequencies to the body, helping those in the crowd with sensory impairments feel the sound.

Charity Stagetext delivered

live subtitles throughout the night.

“They brought in additional accessible portaloos and closed one of the side roads to accommodate them,” says Troxy events manager Atif Malik.

“We reduced the size of one Why Not People launch of the bars to accommodate guests in wheelchairs and increased the size of the font on the bar menus for guests with visual impairments.”

Customer impairments are entered at registry stage for the event, meaning specific requirements can be met by the venue. The idea is to prove a demand and hidden revenue based around a disability market.

The venture hopes to see four concerts a year performed by artistes such as Coldplay, Ed Sheeran, Mark

Divya Daryanani

Jameela Jamil

Ronson and James Blake – who have expressed support for the project – at venues across the country, produced

by Fire Global Media.

Motorpoint rebrand Congdon leaves for Nottingham arena Echo for NEC NOTTINGHAM’S 10,000-capacity Capital FM Arena is to be renamed the Motorpoint Arena Nottingham from January, after the car retailer signed a five-year naming deal with the venue’s owner, Nottingham Ice Centre.

The Motorpoint brand is already Sharon Lordan stamped on arenas in Cardiff (7,500) and Sheffield (13,674).

“We’ve been impressed with the work they have undertaken at other music and sporting venues,” says the Arena’s marketing and sales director Sharon Lordan.

“When selecting our new naming rights partner, it was important we iden- Mark Carpenter tified another company with a desire to do more than simply have their name above our door.”

The Arena will continue to operate as Capital FM Arena Nottingham until 31 December.

Motorpoint MD Mark Carpenter adds, “It is without doubt the region’s premier entertainment venue.”

Upcoming concerts at the arena feature Florence + The Machine and Simply Red.

August 2015 • Issue 187 • www.liveuk.com

IAN CONGDON has joined The NEC Group as arena sales manager and says his priority is to increase the number of arena events.

Previouly arena sales manager at Liverpool’s Echo Arena (cap. 11,000), Congdon joins Ian Congdon a five-strong team tasked with growing business at NEC’s Birmingham venues, Genting Arena (15,594) and Barclaycard Arena (15,892).

“We will be looking at how we can extend and diversify our portfolio of events including being actively involved in devising new and engaging content for our venues,” he says.

“I’m looking forward to getting my teeth into the role and meeting ambitious targets that will shape the future.”

Genting Arena is due to host Florence + The Machine, while Madonna will play Barclaycard Arena.

Before joining the Echo Arena, Congdon was at Carlisle’s Sand Centre (1,750), having moved there from Whitehaven Civic Hall (600).

10 I news

MMF hunts for new CEO App focus for Concerts Live THE MUSIC Managers Forum (MMF) is advertising for a new CEO after Jon Webster, who has held the post for eight years, announced he is stepping down to concentrate on other projects.

The association, which represents more than 400 artiste managers, posted an advertisement on the Guardian Jobs website on 28 July, offering a salary of between £50,000-65,000 per year for the role.

There is a deadline of 28 August for applications.

“We are looking for a new CEO as I wish to transition to a less frontline role,” Webster tells Live UK. MMF co-chair Stephen Budd of Stephen Budd Management says “Jon has improved the organisation immeasurably over the years.”

“Webbo has boosted the commercial and the campaigning sides of our organisation and helped us make real, meaningful strides on behalf of managers and their artistes.

“His passion for transparency and saying it like it is has contributed to putting the MMF on the map.”

Webster will remain active with MMF and will teach at a course on

Jon Webster

Diane Wagg

music management on 8 September as scheduled.

He was previously director of independent services at the British Phonographic Industry (BPI), and MD of Virgin Records, where he pioneered the Now That’s What I Call Music album compilations.

In 1992 he founded the Mercury Music Prize and was appointed MMF CEO in 2007.

“We’re looking for a successor to the throne, but we’re not losing him,” says Diane Wagg of Deluxxe Management, who co-chairs MMF, which was founded in 1992, with Budd.

“Webbo is clear-thinking, straight talking, very funny, has great anecdotes - rumours are he’s going to write his book - and the board and team love him. The new CEO will have big shoes to fill, but will have a great mentor when required.”

Newsbite LIVERPOOL’S 11,000-capacity Echo Arena has appointed Robbie Owen to concert sales co-ordinator to liaise with promoters and manage event programming. Owen, previously a client account manager in the venue’s ticketing department, will help programme concerts at the Exhibition Centre Liverpool (6,000) opening in September. Forthcoming Echo Arena shows include Duran Duran, Little Mix, Joe Bonamassa and Brian Wilson.

August 2015 • Issue 187 • www.liveuk.com

Electric Ballroom

CONCERT LIVE, which made its name selling concert live recordings, has evolved its business into developing apps since the decline in demand for recorded music.

“We had specialised in exclusive recorded products for ten years,” says Concert Live’s marketing director Harry Samuel. “Recorded music has become overly commodified, unfairly so, but this led to an evolution of the business into being a mobile tech company.

“We develop apps for venues and artistes and integrate third party apps to help monetise them.”

The apps offer an extended window to sell merchandise, act as a promotional platform and gather data on users.

Concert Live waives the development fee but takes a cut of this auxiliary revenue.

Its latest project has been to develop an in-house app for the Electric Ballroom (cap. 1,100)

in Camden, London, which is installing new wi-fi to support the launch in September.

The app, availGreg Phizacklea able to download for free on iPhone and Android, lists events, drink offers and allows customers to order merchandise for delivery or collection. It also allows you to buy tickets for shows and access social media platforms.

“It’s a bit of a guinea pig idea for us,” says Greg Phizacklea, Electric Ballroom operations manager. “It allows us to reach fans who wake up after a gig wishing they had bought that bit of merchandise. The venue takes a cut and it benefits the promoter because they are still selling t-shirts the next day.”

Forthcoming shows include Hilltop Hoods and the Polyphonic Spree, tickets for £20.

news I 11

Viagogo no show for Sheeran Summit sessions revealed SECONDARY TICKET website, Viagogo, withdrew tickets for an Ed Sheeran concert one day before the event was due to take place after a seller failed to produce tickets they had advertised.

Paying customers received last minute emails informing them their purchase was no longer valid for the Wembley Stadium (cap. 80,000) performance in July.

The Independent reports similar occurrences at Taylor Swift concerts the previous month.

The website has refused to reveal how many tickets were withdrawn and how many refunds or replacement tickets it was forced to issue.

“We handle millions of transactions a week across 60 countries for live events. In the rare case that a seller lets down a buyer, our guarantee means that we will

CITY LIMITS

provide replacements where they are available,” a Viagogo spokesman says in a statement.

“At worst we will refund the customer and provide further compensation. We have a team dedicated to solving these problems quickly, but occasionally a refund and compensation is the only option.”

They add several thousand customers bought valid tickets for Ed Sheeran with cancellations limited to “a handful”.

Viagogo, which is based in Geneva, has felt the wrath of promoters around the world, including the Swiss Music Promoters Association which has lobbied government for more laws against touting and has been issued “cease and desist” warnings from promoters in Australia and New Zealand.

BRISTOL SEE PAGES 30-34

LIVE UK has announced its line up of panels for its annual Summit conference and networking event.

Sessions will include Masters of the Universe - featuring a panel of industry leaders, The Dynamic Ticket - examining the changes in the ticket sector and battle against touts and the internet and technology focussed The Social Network.

Festivals will be under the spotlight in the Fields of Gold panel and the

challenges facing small venues will be discussed in Art for Art’s Sake.

“Our panels are sure to spark debate and discussion about the issues right at the heart of the industry,” says LIVE UK Summit executive producer, Steve Parker.

The Summit is held at the Radisson Blu Portman Hotel in London’s West End. Register online for £115 plus VAT until 13 September at www.livemusicawards.co.uk

Newsbites THE FREEHOLD for Newcastle’s O2 Academy (cap. 2,050) was sold at auction for £915,000 by owner Newcastle City Council to an anonymous bidder. It fetched almost £300,000 above the £625,000 listing price and has six years to run on the lease, with ground rent currently at £2,500 a year. Run by Academy Music Group, the venue has hosted shows by the Prodigy, Paloma Faith and Rita Ora. Dating back to 1927, the building began life as a cinema.

The Council is selling properties to save on maintenance costs.

A celebration of songwriting inspired by the legacy of Paisley’s Gerry Rafferty 17 to 19 September 2015 Music Conference Thursday 17 September, Paisley Town Hall, FREE, 12–6pm

A Celebration of Scottish Songwriting Friday 18 September, Paisley Town Hall, £22.50, Doors 7pm

Ricky Ross in conversation Saturday 19 September, Paisley Arts Centre, FREE, 7.30pm

Youth Music Day Saturday 19 September, Paisley Arts Centre, FREE, 11am-4.30pm

www.bringitallhome.co.uk Box office:0300 300 1210

August 2015 • Issue 187 • www.liveuk.com

12 I news

Freakout for Robomagic AFTER PROMOTING Niles Rodgers’s 15,000-capacity FreakOut! Let’s Dance (FOLD) festival in Riverhead, New York, through Robomagic, Rob Hallett hopes to bring the event to the UK. Hallett worked with Michael Ostin and Peter Herman of Nile Rodgers Productions, to promote the two day event on 4 and 5 August.

“It’s a great idea and more than a one-off boutique festival,” Hallett tells LIVE UK. “Next year I see a festival in the UK and I see events across Europe.”

Hallett, former president of international touring at AEG Live in London, launched multi-faceted Robomagic in January to promote shows and Rob Hallett develop artistes.

Last month he joined the management team of 10,000-capacity Hertfordshire festival Standon Calling (see LIVE UK, issue 186).

Robomagic is also promoting tours by Duran Duran and Sleaford Mods.

Fresh twist for Teeside festival MIDDLESBROUGH PROMOTERS Pay For The Piano and The Kids Are Solid Gold have added new venues to its multi-site Twisterella festival.

The second edition of Twisterella takes place on 10 October, featuring acts such as Fickle Friends and Du Blonde. Tickets cost £15, while admission to an accompanying music business seminar is free.

Venues Sticky Fingers Rock Bar (cap. 80) and The Twisted Lip (80) have been added, in addition to Teesside University Student’s Union (300), Westgarth Social Club (200/120), The Keys (200)

and Ts1 (150) in the town.

“The long-term plan is to hopefully rival multivenue festivals Live at Leeds and even Liverpool Sound City,” says Henry Carden of Pay For The Piano and festival co- Henry Carden director with The Kids Are Solid Gold’s Andy Carr.

There will also be band exchange with the Olgas Rock Festival (10,000) in Middlesbrough’s twin town of Oberhausen, Germany.

Giddings confirmed for IFF THE INTERNATIONAL Festival Forum (IFF), ILMC’s new conference aimed at festival promoters, has announced John Giddings will be a keynote speaker.

Giddings, the promoter of the Isle of Wight Festival (cap. 55,000) and MD of Solo Music Agency, boasts an artiste roster including Madonna, U2 and Lady Gaga.

The forum will also feature Ben Challis of

August 2015 • Issue 187 • www.liveuk.com

Glastonbury (198,000) discussing grievances between festival bookers and booking agents and Stephan Thanscheidt, of FKP Scorpio, will chair the Loyalty vs Profit panel looking at the growing trend of agents and festivals booking direct with each other.

IFF takes place in Proud Camden and Dingwalls London from 30 September to 1 October.

Newsbite BIRMINGHAM’S FUSION Festival (cap. 30,000) is searching for a new headliner after Justin Bieber, due to make an exclusive UK appearance this year, cancelled due to “unforeseen circumstances”. Fusion, now in its third year, is co-promoted by Crown Talent & Media and Go Big Events, in association with Capital FM, 4Music.

Rudimental and McBusted feature on the bill from 28-30 August. Day tickets cost £49.95. “We are working hard to secure another exciting act,” says festival director Damien Sanders. Customers have been offered refunds.

AIF Congress names keynote speaker THE ASSOCIATION of Independent Festivals (AIF) has set 5-6 November for its second annual conference and networking event, Festival Congress, Taking place at the Wales Millennium Centre in Cardiff, it will feature BBC Radio DJ and Huw Stephens co-founder of multi-venue Sŵn Festival, Huw Stephens as keynote speaker.

Tickets are on general sale from 22 July at £100.

Meanwhile, The Festival Congress Awards will take place at Cardiff University’s Great Hall (cap. 1,500) and there will be a showcase of new artistes selected by the BBC Wales and Arts Council.

AIF says that more than 400 delegates and speakers attended last year’s event.

In other news, AiF member events are again working with BBC Introducing, continuing a partnership which has run since 2012. Artistes to have previously benefited from the initiative include Savages and James Bay. A shortlist of recommended Introducing acts will play festivals including Bestival (80,000), Kendal Calling (10,000) and Larmer Tree Festival (4,000).

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14 I

in association with

Dedicated to the business people who drive the unsigned and emerging artiste sector, ensuring a future for the UK music industry

Phot by Hayley Madden

Standing up for Fair Play THE MUSICIAN’S Union (MU) has launched a scheme called Fair Play Venues, in the hope of creating a list of premises committed to paying musicians fairly.

MU live performance Kelly Wood officer Kelly Wood says that the initial uptake has been positive, but adds that it has not always been an easy task to get venue owners onside.

“For the most part they are of course used to working alone, and found the idea surprising, so there were a lot of questions to begin with,” she says.

“But since those early queries it’s been good to see so many venues add their names to the beginning of this venture - we have 54 signed up already with more in talks.

“It’s the opposite of a blacklist, in that it’s highlighting who the good guys are.”

Rather than imposing any kind of minimum payout, the scheme simply identifies which venues are happy to commit to banning pay-

From reading to rocking

to-play shows, as well as following general advice on paying acts, offered in the MU’s Fair Play Guide.

“It’s not just about the venue itself, either - it’s the promoters that hire the venue too,” says Wood.

“That’s as much to protect the owners as it is the artistes. Often an act that has been badly treated can be vocal about the venue without realising it was an independent promoter.”

Participating venues including Manchester’s 375-capacity Ruby Lounge, London’s Cafe OTO (cap.

200) and Glasgow’s Sneaky Pete’s (150), will be given a sticker to display and be added to a list, which the MU can use to advise its members.

“We hope to eventually turn this into a searchable database, so it’ll be even easier to help acts find the venues that care about acts being paid properly.”

Barnfield Theatre

theatre’s unusual design BARNFIELD THEATRE in will make for some Exeter (cap. 289, 80 & 60) particularly unique will be making the most performances, while of its unique architecture emphasising that the inand city centre location, house promotions team promoting music from is keen not to limit itself local and emerging acts. when it comes to genre Marketing head Vicky Bowring or style.

Vicky Bowring says “The whole theatre building was that it had seemed a shame not to use the available space to its originally constructed as a reading room at the end of the 19th century fullest potential.

“Our Clifford Room holds 80 by Exeter Literary Society, so the people, the bar a further 60 and we acoustics are incredible,” she says.

“As a licensed venue we also could even fit an extra 50 into the really have restrictions on what we foyer I suspect,” she says.

“As a charity, we’re tasked with can put on, so alongside jazz and helping to promote local artistes, acoustic performances we can also and opening up the theatre to consider louder rock and indie too.”

Forthcoming acts performing in more live music will, we hope, be hugely beneficial to musicians in the larger auditorium include Ralph McTell, Martyn Joseph and Dutch the area and further afield.”

Bowring points out that the College Swing Band.

The Forum Hertfordshire features oots Video sh m ru at the Fo clude Ed shire in ’ Her tford ‘Lego House n’s Sheera Flux Pavilion’s d video an amer’ video.

‘Daydre xible, a fully fle We offer space suitable n la -p ing en op ty of film for a varie eds. ne

o In-house sound systems (d&b Q Series in main room, Funktion one in room two, plus Yamaha M7cl digital desk and Soundcraft MH3 analog)

o In-house barrier

o 3 x ensuite dressing rooms with showers, kitchenettes and wireless

o 1 x production office with wireless, landline and photocopier

o In-house lighting and control (mainly Martin MAC 575s plus Avolites pearl and Pearl Tiger desks)

o Full-time in-house production team o Favourable venue hire cost for national promoters (venue hire includes security, box office, ticketing, in-house sound and light, onsite PR and marketing support focusing on a 27,000 student population)

With a 1,750 capacity and a 320 capacity gig rooms, a free-flow club capacity of 2,250, and a site-wide capacity of 5,000 for festivals, The Forum Hertfordshire offers flexibility, professionalism and a technical specification that beats any others in the area. Enquiries to: l.welsh@herts.ac.uk or 01707 285008.

Hertfordshire’s leading live music and club venue August 2015 • Issue 187 • www.liveuk.com

forumhertfordshire.co.uk

NXT news I 15

in association with

Covering all bases Sound City move SOUTHAMPTON’S THE Joiners (cap. 200) is making the leap to digital sound as it continues to book nightly shows for emerging acts and established touring artistes.

In-house promoter Ricky Bates says that the venue, which has been operating since 1968, has enjoyed success thanks to a varied line-up which has kept audiences happy while still The Joiners providing a platform for new music.

“Quite a few other venues in the area are either due to close soon or have already,” he says.

“The quality of acts in the area is high, but to make sure that crowds keep coming back you need bigger touring acts to headline.”

“Our size of venue can handle acts on their way up, but it can also provide space for those that have made it to return to play one-off, relatively smaller shows.”

Bates notes that helping emerging acts to find their feet, while rewarding, isn’t always a simple process.

“In a perfect world I’d put on the acts I knew were best to support, but of course a lot depends on factors outside of my control,” he says. “Management of the headline act need to approve everything, and with only two slots a night and the vast quantity of emails we receive, it’s hard to keep everyone happy.”

To further enrich the live experience, Bates says, the sound desk has just this week been changed to digital.

“Newer acts are relying on more and more channels, and maintaining an analogue set-up to deal with that is becoming less viable,” he says. “We’ve always been known for good sound quality, and the new desk will help make sure we stay that way.”

Acts playing the venue include Dearly Beloved, Osiah, Little Comets, Elixir and Black Sheep.

‘needs tweaks’

LIVERPOOL SOUND City’s bold relocation to the abandoned warehouses and clock towers of docklands has been hailed a success by the organisers of the three-day showcase festival and conference.

Booking manager Revo Miller says that while there are some layout aspects to be tweaked next year, the crowd of around 6,000 each day - more than a 200% rise in footfall compared with last year - seemed happy with the new surroundings.

“The fairground will likely be removed and we’ll give each area more of a chance to breathe, and create additional places that are more conducive to chilling out between seeing acts,” he says.

“The quality of the shows wasn’t affected though, which was important - the sound from the main stages didn’t bleed into each other at all.”

Miller says that attendees were left suitably enraptured by the acts on offer, from international headliners to local up-and-comers.

“Flaming Lips were hard to beat no airs and graces, and during their downtime they even went on the Magical Mystery Tour around the city,” he says.

“On the smaller stages, Blossoms, Stealing Sheep and Circa Waves all particularly impressive.”

Conference delegates arrived on the first day by boat, and says Miller, “There was a real buzz at the conference - I think people appreciated us trying to do things differently.”

Stage break Key venues for aspiring talent

The Underworld

174 Camden High Street, London NW1 0NE

Bookings: Jon Vyner Jon Vyner T: 0207 267 3939 E: jon@theunderworldcamden.co.uk W: www.theunderworldcamden.co.uk Capacity: 500 PA/lights: Yes Dressing rooms: Yes x2 Booking policy: As many as possible. It depends on the season. We have semi-regular new band nights specifically for unsigned acts, but support slots are open to newer bands too.

Best acts currently playing venue: Mannheim, Godzilla Black, Alright The Captain, Thumpermonkey, Shitwife, Conjurer, Svalbard.

Best advice for managers: “The best advice I can give to emerging bands is to not have a manager.

One person in the band should take charge as you will always understand their fans and target audience better. You will have to network more directly and will keep 100 per cent of any profits.”

Acts who’ve played the venue: Bring Me The Horizon, Bullet For My Valentine, Foo Fighters, At The Drive In, Radiohead, QOTSA, Clutch, Black Rebel Motorcycle Club, Paramore, My Chemical Romance.

August 2015 • Issue 187 • www.liveuk.com

16 I

in association with

Streaming at grassroots With an often hefty bill attached, live streaming has tended to be the pursuit of festivals or artistes with access to funding, but emerging artistes and modest-sized venues can still get in on the action, Rob Sandall discovers

A

to direct profit, admits McGhie, tying the service fter a slow start, the last five years have Stream of ideas seen the uptake of live online streaming Andy Wood at Woody’s Music Bar (250) in Cannock in with unique performances and others involved in the music world increase significantly says that streaming shows can be beneficial for the with promotion can help to justify costs.

“Arguably even for an established act, streaming at all strata of the artiste hierarchy. venue and act alike if both parties are proactive in would be an expensive form of promotion,” he says.

Every major festival has partnered with the likes getting the word out.

“I think the answer lies in collaborations. If acts of Youtube, Vevo, Itunes and Yahoo to broadcast “Everybody wins – as a promotional tool it’s brilacross the internet, doubling down by following liant,” he says. “Every act that plays here has been work with venues, promoters, websites, managup with video on demand (VOD) services to maxi- pleased to be able to point fans who might not be ers, advertisers and other supporters then a highquality service could easily be within reach.” mise a return on the considerable investments in- able to reach the show to our website.

7ahead’s shows are driven by a love volved, where possible.

“In turn, when those peoof music, says McGhie, who has been But what of the emerging market – is ple visit the site they’re likely pleased to help relatively unknown acts there room at the grassroots level to to check out what else is on extend their audiences through online capitalise on real-time online broadcast? the schedule.” broadcasting.

It all hinges on those venues and indeFor six months, Woody’s “While success will be nice, we’re also pendent broadcasters willing to risk the has run live-streamed shows wanting to support new artistes – we venture with hopes of a mutual benefit. twice a week, and believes are trying to promote a broad range Netgig CEO Emma Van Heusen runs a that while the planning and Andy Wood – of acts on the show, recently including live-streaming platform that is gearing Emma Van Heusen expense has not been insig- Woody’s Music Bar King Eider, The Jellyman’s Daughter and up to allow venues to broadcast shows nificant, the long-term possiMan Of Moon, who are all starting to make waves direct to online, and charge on a pay-per-view ba- bilities will justify the investment. sis if they so wish.

“We spent thousands on getting the setup beyond Edinburgh.”

“Netgig is currently only offered via events held right, and I’m wanting to upgrade the cameras and at our own centre of operations, The Convent (cap. audio equipment down the line too,” he says.

Content quality 125) in South Woodchester, but we’re looking at “You also need to have signs up to make regu- The CEO of veteran live-streaming company Silver rolling it out across other venues,” she says. “Every lars aware of which area is being filmed or there’s Bullet Entertainment, coincidentally also named show is live-streamed through Netgig, and then always a chance of someone wandering into the Andy Wood, says that the return for investing sits in our live-show archive in perpetuity.” shot. But interactivity is key now, I think - we’re set- in the service comes as much after the event as Van Heusen believes that the platform will allow ting up a ticker tape of tweets for online audiences during the real-time production itself. smaller acts and spaces to increase their audiences to comment on bands, for instance.”

“The practice of charging directly for streamwhile providing a standard that the world has in“I also want to be able to give the recording to ing would require the emergence of a particucreasingly come to expect. acts as 10-minute promos for them to use indi- larly impressive platform, but when you have an “Venues are constrained by their size, and most vidually, and in the future we could even look at audience’s attention there are other opportunimusic online is prerecorded and not of a high stan- a battle-of-the-bands between venues in different ties,” he says. dard,” she says. locations,” he says.

“While they’re watching the performance, there’s “We offer high quality sound and vision, and fair a chance to redirect them to, for instance, purchasreturns to the artiste – a 50/50 split, unlike some Mutual benefit ing the tracks and videos elsewhere online.” other streaming products.”

Wood, who has streamed performances for the Further help for emerging acts comes from Van Heusen notes that audience feedback those who take it upon themselves to produce likes of Reading and Leeds Festival (90,000 and has been positive, and is confident that it is and promote their own shows as a 80,000 respectively), Wireless Festival an easy sell to fans who would otherwise miss labour of love.

(45,000), BBC6 and the most recent Led the performance.

Zeppelin album launch, says that some“We’ve been broadcasting monthly “The fans love it, as they can sign up to the plat- streamed shows from our own stutimes its the content filmed around the form and see their favourite bands or stumble dio, The Space, since 2014,” says Sandy music that can prove to be attractive across a new talent they might not have discov- McGhie, MD of 7ahead, a live listings for fans. ered otherwise.”

“When we’re filming for live and VOD company in Edinburgh.

Van Heusen, who has recently broadcast acts we also try and capture small snippets of “The long-term aim is to create an ensuch as Larkin Poe, The Paper Aeroplanes and tertainment show with interviews and Sandy McGhie material that offer a behind-the-scenes MAIA, believes that this blurring of the boundar- performances on a regular basis, but two weeks glimpse of what else is going on between songs,” ies between physical and online audiences will be ago we also did our first live streamed broadcast he says. “It could be something as simple as the a boon to artistes, especially those trying to gain from the Electric Circus [250].” band chatting backstage, but it can provide real profile and wider audiences.

While streaming might not always be conducive talking points for people to share.”

August 2015 • issue 187 • www.liveuk.com

NXT news I 17

in association with

On the beat Scouting the frontline Importance of playing live: “It is vital in building and maintaining a solid and loyal fan base.”

David Smith, 31

Best advice to unsigned act managers: “Always do it 100 per cent for your love and belief in the artiste, in pushing their career forward. Ask questions, learn from experiences, have goals, formulate plans, be resourceful and openminded, take risks … and have fun.”

Company: Sapien Records Ltd, Durham E: david@sapienrecords.com When joined the company: 2010 Company Signings: Shitwife, We Are Knuckle Dragger, Dennis Among favourite emerging acts: Cleft, Arches, Peasant’s King, Outside Your House

Emerging new acts on the label: “At the minute other than those mentioned above there are no official affiliations, though I’ve a keen eye on a number of artistes and the ears are always open.”

Favourite venues for seeing unsigned acts: The Cluny & Head Of Steam (Newcastle) Old Blue Last & The Unicorn (London)

Managing talent Building emerging careers

Michael Lambert, 27

Company: A Modern Way, Edinburgh E: michael@amodernway.com Artiste roster: Fatherson, Idlewild and Stanley Odd Favourite venues for showcasing/ playing: The Electric Circus (Edinburgh), Borderline (London), Nice’n’Sleazy (Glasgow) Importance of playing live: “Our acts have built their reputation and audience on the strength of their live show which has been built on over years of touring. I don’t think there

is a better way to connect with an audience and build fans for life.”

Other emerging acts to watch: Ded Rabbit, C Duncan, Catholic Action, Pronto Mama Greatest lesson learned: “Advancing is vital. A tour that hasn’t been properly advanced is a disaster waiting to happen.”

Worst live experience: “A four date tour of the Scottish highlands with Stanley Odd, where two splitter vans broke down in the space of 48 hours.

We were left stranded overnight in freezing temperatures at the side of the A9, before being towed back in the morning with enough time to make load-in at the next show.”

Current live projects: Fatherson, Idlewild.

August 2015 • issue 187 • www.liveuk.com

festival A PROPOSED 10,000-capacity stadium in Cornwall could divert £5 million of government funding earmarked for cultural tourism in the region away from festivals, says local promoter Angela Young.

The organiser of Heartlands Festival (cap. 6,000) told LIVE UK some of the money, promised by former deputy prime minister Nick Clegg, was expected to help promote events in Cornwall next year, including a 50,000 outdoor concert at a “significant” venue organised by her company, Warner Young Management.

Young was behind a successful crowdfunding campaign last year which raised £340,000 to stage a Foo Fighters show in Cornwall. Although the band was unable to make the proposed dates, Young says she was inspired to plan a bigger event.

“The campaign spawned the idea to do something big in Cornwall next summer,” says Young.

“The area has not featured

on the major tour circuit for a long time, yet we have a high population in the summer.”

However, as plans for a proposed new stadium near Truro have run into potential funding difficulties, Prime Minister David Cameron told BBC Cornwall he would not rule out part-funding the capital project.

Bitcoin experiment nets windfall for Shambala

NORTHAMPTONSHIRE FESTIVAL Shambala (cap. 10,000) has become the first UK festival to accept the virtual currency bitcoin for ticket purchases in an experiment which organisers believe promotes the event’s “decentralised” worldview.

Bitcoin is “mined” digitally by programmers who add transaction records to a public ledger of past transactions, known as a blockchain. Shambala - Big Burn The value of a single bitcoin soared “It would be it might lose value but we’re seeing more to $1,129 (£700) in 2013 but is now nice if the funds big companies selling via bitcoin and about $291 (£186). were available “We’re always looking for new ways of the trend has been upwards. Our bitcoin to promoters to doing things and I’ve been tracking the ticket buyers would have found it slightly blockchain for a few years,” says Shambala cheaper if they’d waited.” support events” Walsh says the festival will hold onto organiser Jon Walsh. “This promotes Angela Young its bitcoin for now, but LIVE UK calculates, debate around the economic situation.”

Sales of the £149 ticket were linked to if it were to convert its reserve into “The Government is keen to sterling and sold for between 0.92 and 1.04 sterling at the time of writing, it would fund the stadium, so some of bitcoin, says Walsh. profit by an estimated £5,550 rise in that money may go into what “It was simpler for purchasers that way, bitcoin’s value. they see as a very tangible Headliners at the August festival include rather than charging one bitcoin per adult project,” says Young. “It doesn’t ticket. We had no hedging strategy [against Roni Size, The Jungle Brothers and Dizraeli affect our plans, which will be currency fluctuations] and had concerns and the Small Gods. privately financed. However, it would be nice if the funds were available to promoters to support events.”

Young says her plans for EDIBLE FOOD waste recycling project EighthPlate, launched at Glastonbury (cap. 140,000) this year and a major concert are on track supported by caterers’ association NCASS, says it collected more than four tonnes of surplus food at Womad and she expects to announce Festival (26,000) this July. The initiative intends to distribute the food to charities in the South West. Half the the artistes and venue this traders donated surplus food while the others had none leftover, the project organisers say. “The four tonnes autumn. Heartlands 2014 from WOMAD includes 2,000 bread rolls, 200 onions, 250 litres of milk and 100 cabbages,” says Emma Dyer of was headlined by The Happy EighthPlate. “It gives us enough to make around 10,000 meals for local charities.”

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hello@loos.co.uk August 2015 • issue 187 • www.liveuk.com

LUXURY TOILETS & SHOWERS

Photo by Danny North

Funding gap won’t halt Cornwall concert plans

Festival is a 32-page news, features and information supplement of LIVE UK, published in December, January, February and March, when the bulk of festival production contracts are concluded. From April to October, it becomes a two-page section in LIVE UK.

festival news I 19

Hardwick Live doubles stages and halves days

Summing Up

Interviews with festival founders

Terry Felgate, 50 Although reaching only its second event this September, South East London’s On Blackheath has a six year history, overcoming a lengthy objection campaign before last year’s launch. Former EMI executive Terry Felgate, now a music business consultant, founded the 20,000-capacity event with fellow Blackheath residents Tom Wates and sponsorship professional Alex Wicks, plus veteran promoter Harvey Goldsmith. Curators of this year’s event are Elbow and Madness.

Hardwick Live

SEDGEFIELD-BASED Hardwick Live, the festival which featured acts including Texas, Simple Minds and The Jacksons in its first two years, has added an extra live music stage but returned to a one-day format for 2015.

The event at Hardwick Hall, attracted 7,000 visitors in its first year as a single day event in 2013 and 6,000 visitors per day last year when it was held over two days, has also moved from September to August.

Event organiser Jonathan Woodliffe believes the decision to go to two days split the potential audience and hopes to achieve 10,000 ticket sales this year, with headliners James, Razorlight and Embrace.

“John Adamson, who owns

How did you make it all happen?

Hardwick live management with Nile Rodgers

Hardwick Hall, felt there was an opportunity to put an event on in the North as there are no music festivals round here and Newcastle is one hour’s drive away,” says Woodliffe.

“This year, for the first time, we have two live stages including a Discovery stage for emerging talent, headlined by Cast. It’s intended to be affordable to adults who want to bring teenage children.”

Tickets are £49 for adults, £15 for ages 11-17 years and £8 for ages 3-11 year olds.

Red Square Vodka stirs up LIMF deal LIVERPOOL-BASED drinks manufacturer Halewood International (HI) has struck a deal with council-run Liverpool International Music Festival (LIMF), handing the naming rights to its Red Square Vodka (RSV) brand.

The 50,000-capacity event in the city’s Sefton Park is, this year, headlined by Basement Jaxx, Labrinth and Katy B. HI marketing director Richard Clarke did not specify the length or worth of the deal “We’ve always supported events and venues around Liverpool,” says Clarke. “LIMF attracts a wide cross section of the community and it’s a great vehicle for us.”

The company, which also makes Crabbies Alcoholic Ginger Beer, Lambrini and Lamb’s Navy Rum, will run tasting experiences, cocktail mixing and bar tendering displays at the event.

Liverpool Mayor Joe Anderson said, “With support from Halewood we can ensure Liverpool’s reputation for free outdoor, accessible events grows. It’s brilliant that the private sector understand the benefit that events like this bring to residents and the local economy.”

HI also supports Standon Calling (cap. 10,000), Boardmasters (40,000) and Car Fests North and South, (both 5,000).

“As a music marketing specialist for 30 years I’ve grown fan-bases for artistes including Blur, Coldplay and Hot Chip. I’ve enjoyed my most memorable moments in muddy fields soundtracked by the likes of Radiohead and Sigur Ros. Latitude and End of the Road became benchmarks for On Blackheath.

“As a local, I have always seen Blackheath as under-served by events like this. I was approached by two local festival-goers, Alex and Tom, and the ethos of On Blackheath took shape, a locally-rooted two-day event bringing together our best festival experiences with music aligned to BBC 6 Music programming, great food and space to spend time with friends and family. I took advice from the live sector and reached out to established promoters for investment.”

What has made the festival a success?

“The event is the first of its kind on Blackheath, a beautiful location with the spectacular backdrop of Canary Wharf.

“Our key ambition was to ensure that everyone from audience, artistes and traders to booking agents and emergency services all left the festival with positive experiences. I think we have achieved that and now have to build on it.

“Because of last year’s results we have secured Elbow, Madness and Manic Street Preachers. About 14,000 attended last year and we’re expecting 17,500 this year.”

What have been your highs and lows?

“Our major obstacle was a prolonged legal dispute with a local residents’ society that saw us fight for our license in two court hearings in 18 months.

This was both costly and delayed us for well over two years.

“The worst times were when we were convinced we had gone as far as we could, or when there was a faint hope of resurrection only for further obstacles to appear. But the process tested us to such a fine degree, we were more than ready when we finally launched.

“With the license upheld, we were able to move forward with Harvey Goldsmith, who was extremely supportive through the court process. Our partnership with Harvey allowed us to secure an ongoing relationship with retailer John Lewis.

“In countless meetings, when quizzed about the music direction of the event, I would use Elbow as an artiste who summed up On Blackheath.

Having them headline in our second year is particularly satisfying.”

Key suppliers

Sound: Britannia Row Lighting: PRG Stages: Serious and All Access Marquees: Carlinden Security and stewarding: AP Security

Loos: Water: Power: Trackway:

Loos for Dos Wicked Events MPE Power Lion Trackway

August 2015 • issue 187 • www.liveuk.com

20 I SECTOR FOCUS

Screen stars

Creative Technology

Market consolidation, a constant flood of new products and an ever-growing demand for creative applications has seen the screen sector become increasingly competitive, while costs and logistics are becoming more user-friendly. Brooke Nolan takes a closer look

S

creens are an integral requirement for music events, expected by artistes who want additional visual impact, sponsors demanding maximum branding opportunities and audiences who want those allimportant close-up shots of their favourite acts.

LED is still leading the way. It’s lighter, more power efficient and easier to transport and install than other technologies.

Creative Technology (CT) provides LED screens as part of a complete audio-visual solution globally for live entertainment events.

“LED is so much more reliable now,” says CT Europe and Middle East CEO Dave Crump. “Two or three years ago you were always needing to change tiles or deal with data problems.

“The technology is developing at a continuous rate. There are always new products on the horizon. I feel like I spend my whole life in Asia sometimes, looking for the next big thing.”

One of the constant drivers for this innovation

August 2015 • Issue 187 • www.liveuk.com

is the pressure for the highest possible picture quality. Many companies now stock 6mm pixel pitch outdoor screens to meet this demand, with some indoor screen pixel pitches reaching 1.5mm.

“People are obsessed with pixel resolution,” says Crump. “But the better the pixel resolution, the more costly and complex. It’s fine for corporate, but does it matter at a concert or festival?

It should just be about what’s right for the gig.”

Display LED CEO Graham Burgess explains, “A 15mm pixel pitch will do the job, but clients want 6mm or more. It’s over-specced but demanded by the end user.” Display LED works with screen suppliers such as CT to source and develop products.

Big Screen Media was established five years ago and has recently been contracted by Laura Marling’s production team to provide the screens at Somersault Festival. Products include the Glux Outdoor 6mm LED and ultralight ODsn6Cm 6mm LED tile.

The company’s business development director Tony Gibbs believes the demand for higher resolution products will continue.

“Screens are no longer used just for artiste ‘mug shots’, but high-quality Dave Crump graphics-led content,” he says. “The quality of the pixel pitch needs to reflect that. We often advise clients to mix products. Use a better quality screen for graphic content and a lower resolution either side.”

Alongside picture qual- Graham Burgess ity, product development is focused on creating lighter products through the use of carbon fibre frames. This has a positive impact on storage, transport and installation. Screens no longer require

sector focus I 21 the site. The company adapts its products with climbable touring frames, allowing a mixture of screen resolutions to be used at any one time.

Safety and product reliPhil Mercer ability is a priority for the team. “Everyone is trying to pack more LED into spaces,” says XL Video’s group head of concert touring, Phil Mercer. “It needs to be lighter in weight, but also wind and weather-proof. We focus a lot of time and resources on testing and certification.”

Creativity first

YSLV - Peter-Andre

bespoke support structures and are instead being hung directly from standard rigging.

“When we launched we were using huge support structures, but now we’ve vastly slimmed down our van fleet as a direct result of product development,” says Big Screen Media’s Gibbs.

“We can deliver the exact same size screens in smaller vehicles.”

But the trend for lightweight doesn’t come without its concerns. “Everyone wants things to be lighter, but there is a potential for disaster the more lightweight products get,” says CT’s Crump. “There are so many companies out there manufacturing screens. It may look right, but is it properly engineered?”

Chinese connections

The majority of manufacturing is happening in China, with product quality varying drastically.

For first time buyers, this can be a minefield as the industry is flooded with low-quality products that are not properly certified, say some industry professionals.

“There’s a danger of substandard and even illegal goods coming into the market,” says Display LED’s Burgess. Any self-respecting company will have the German TUV certification or similar.

In China you can buy a certificate for £100 but

it means nothing. First time buyers aren’t really aware of this.”

Display LED works closely with trusted Chinese manufacturers but has moved some of its operations to Korea, resulting in positive feedback from clients. “It’s better quality, there’s more room for margin and you’re able to protect your IP better,” Burgess adds.

“This business is about great customer service and relationships” Eddie Smith

A clear market leader, XL Video was acquired by global event provider Production Resource Group (PRG) earlier this year. The move followed a $50 million (£32.05m) initial investment

by PRG into video technology, alongside the acquisition of Chaos Visual Productions in January.

XL’s vast stock inventory can be seen at events including Creamfields (cap. 50,000) festival, where more than 2,500m2 is installed across

The industry’s innovation isn’t coming just from the technology but in the application of the products themselves. Screens and their content are now front of mind from the early stages of an event’s design.

YSLV provides LED screens and video walls, including the competitive V-Lite R5, a 5.14mm pixel pitch outdoor product.

“Screen integration is coming from the design upwards now,” says project manager James Whitmarsh. “We don’t simply say what equipment we have, we’re sourcing and designing equipment to fit the creative vision.”

New products are constantly being unveiled to support this approach, such as YSLV’s soon-tobe-launched 90 per cent transparent permanent screen, Bournemouth-based supplier Fonix’s flexible, 8mm curved screen which retains pixel pitch even while bending, and Big Screen Media’s 3m x 3m LED cubes flown via motor.

A high benchmark of what can be achieved is CT and Display LED’s LED floor at the closing ceremony of the Baku 2015 European Games. Over 1,700 7mm pixel pitch tiles (420m2 in total) were used for the stage deck and filmed from above via spidercam and helicopter.

“It’s a non-slip product but used and operated in exactly the same way as normal screens in terms of creative content and control,” explains CT’s Crump. “The picture was extremely fluid, and the effect very impressive.”

August 2015 • Issue 187 • www.liveuk.com

22 I SECTOR FOCUS

XL Video – Creamfields

Companies are investing heavily to keep up with clients’ demands for products that allow this creative freedom.

Staying ahead

Smart AV has 12 years’ experience as an AV solutions company and a vast stock inventory including a 5.9mm indoor and outdoor LED. “Creative LED, which can be built in concave and convex formation, is high on the wish list, along with edge LED,” says MD Darren Poultney.

“We’ve invested £500,000 in six months in

different variations of the product. We’re also supplying interactive LED walls using laser touch and investing in new media servers to give us more flexibility with how the LED can be used.”

“We’re a solutions provider, not just a screen provider” Darren Poultney

Another area of development is mobile products. Offering an alternative to modular screens, ADI UK has a huge fleet of 35 screen trucks, which

can simply be driven onto site and into place, saving valuable time and production costs.

The new iFLY 25 is exclusive to its range, and a potential replacement for traditional flown screens. It features a screen built onto a telescopic arm, offering another level of flexibility to organisers in terms of placement and design.

Big TV specialises in conventional and modular screens. It’s new Sky-fly 33m2 mobile screen features an 8mm SMD LED screen built onto a hydraulic crane arm which can rise up into the air over 15m, or stretch up and over a wall or building.

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sector focus I 23 Getting social

The rise of social media and smartphones (more than 80 per cent of online adults now own one) has seen companies investing in software to allow interactivity.

Ian Walker “An increasing number of clients recognise the potential from screen interactivity to promote their event,” says Amy Coates, production manager at Big TV. “More festivals and concerts want to use the screen as a twitter wall, getAmy Coates ting their audience to tweet messages and pictures of themselves.”

XL Video is investing in this area and about to launch its new Festival Server. “We’re all about added value,” says XL’s Mercer. “The Festival Server we’re currently working on can relay footage and social channels onto the screen, plus H&S messages and sponsors’ content. Previously these sorts of things would have been subcontracted.”

Fonix is capitalising on the trend too by introducing a gaming element. “Organisers are looking for more ways to involve engagement in their events. Because of this, we’ve developed customisable crowd gaming solutions for our screens, for example, changing the graphics

Big TV – Splendour in Nottingham

based on how loud the crowd is,” reports MD Ian Walker.

Screen Activation works directly with festivals, tours and sporting events, creating additional revenue for organisers through advertising and content. Projects include the Jockey Club’s music nights and Capital FM’s Summertime Ball at Wembley Stadium (80,000).

Interactivity is becoming more important during this commercialisation process, with the company adding text competitions and text messaging displays to its offering.

Tough competition

The constant influx of new products from China and surrounding countries has made LED technology more accessible than ever, resulting in a price-driven market and plenty of fly-by-night start-ups looking to challenge the big players, say insiders.

“In the past you couldn’t get into the screen rental market without having £1m or so to invest in stock,” says Display LED’s Burgess. “Now, the barrier to entry is going down because the screens cost less. If you listen to some sources,

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堀䰀 嘀䤀䐀䔀伀 ⴀ ㈀ 䔀䄀匀吀䴀䄀一 圀䄀夀 ⴀ 䠀䔀䴀䔀䰀 䠀䔀䴀倀匀吀䔀䄀䐀 ⴀ 䠀䔀刀吀匀 ⴀ 䠀倀㈀ 㜀䐀唀 吀䔀䰀 ⬀ 㐀㐀⠀ ⤀ ㄀㐀㐀㈀ 㠀㐀㤀㐀 䘀䄀堀 ⬀㐀㐀⠀ ⤀ ㄀㐀㐀㈀ 㠀㐀㤀㐀 ㄀ 眀眀眀⸀砀氀瘀椀搀攀漀⸀挀漀洀

August 2015 • Issue 187 • www.liveuk.com

24 I SECTOR FOCUS

Lightmedia – Mouth of Tyne

the total value of the market at the factory gate has dropped by five per cent and will continue to year-on-year.”

The impact of this is being felt not just by the established screen suppliers, but also by the events choosing price over track record.

Both YSLV’s Whitmarsh and Lightmedia Display’s Eddie Smith have noticed an increase in last-minute requests from clients who have been let down by a supplier because their equipment has broken, or didn’t turn up.

Lightmedia counts the Edinburgh Fringe Festival and Cancer Research among its clients. Smith is particularly passionate about the impact of the amount of companies entering the sector.

“People pretend to be LED suppliers, but have no experience whatsoever,” he says.

“These sorts of companies are ruining the industry by driving the prices down further and further.

“The best LED technology in the business is Nichia and 90 per cent of rental companies will choose this. Cheaper companies will use the cheap products, which aren’t uniform and look atrocious.

“We’ve had clients in the past swayed by price and they’ve come back the next year saying

it’s not climbable, you’ve got no chance.

Ours are not just standard products.”

ADI’s LED screens have graced the stages of festivals including Glastonbury (198,000). The company’s Gemma Edmondson stresses the need for clients to look beyond price and focus on service.

“Organisers need someone with the technical experience, background and resources to support the product. It’s more than simply a screen you’re buying,” she says.

Fonix’s Walker echoes her sentiment.

“There are so many screen rental and video production companies that some begin to undercut prices instead of providing quality products and really adding value,” he agrees.

When it comes to adding value, the common ‘we’ve made a mistake’. XL, CT and ourselves are theme is people, knowledge and experience. XL’s still in business because we do it right.”

Mediatec Solutions UK is one of Europe’s larg- Mercer berates the industry’s underestimation of est providers of integrated solutions for music good crew. “Things happen, there are faults. It’s events, TV productions, sports, corporate and how you deal with it that matters,” he says.

“We’re a solutions provider, not just a screen installation clients. Head of business development Nick Clemson weighs in on the price debate. provider,” says Smart AV’s Poultney. “We appreci“A lot of the new players are devaluing the ate to some extent that the kit is the kit, but we market, but they’ve not factored in storage or don’t only invest in good quality products, we maintenance,” he says. “Screens get battered invest in the people too. For every 50m2 of LED, we have several project managers that have trained with the manufacturers in China to become experts in this field.”

“We’re don’t simply say what CT’s Dave Crump takes a more posiequipment we have, we’re tive view of the competition. “We work sourcing and designing equipment in the creative sector and by-and-large to fit the creative vision” we survive on innovation and competition. Start-ups are a big part of this, James Whitmarsh but there is an oversupply problem,” he says. around a lot, particularly on the rental side. You For Lightmedia’s Eddie Smith it’s all about relaneed to have a healthy profit margin and retain a tionships. “We’ve had the same clients for 18 years margin to maintain and look after your kit.”

– this business is about great customer service.”

For XL’s Mercer, the price point should reflect With picture quality improving incrementally the time spent on adapting the kit. “We heavily and interactive, transparent and flexible product adapt our equipment,” he emphasises. “We use variations offering production teams an endless touring frames that are climbable. Imagine a tile array of opportunities, LED technology will have a breaks in the middle of the screen mid-show. If dramatic impact on events and live shows.

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August 2015 • Issue 187 • www.liveuk.com

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Production news

Solid foundations for Carnival Photo by Mark Cunningham

a theodolite that helps us to ensure we THE ORGANISER of dance music are completely level. It’s time consumfestival Electric Daisy Carnival, USing but essential. based Insomniac, opted to frame “It’s a beautiful structure and I parheadliners including Tiesto, Paul van ticularly like the absence of skins – it’s Dyk and Hardwell between two giant completely open,” he says. “Time presowls for the 35,000-capacity event at sure is the only significant issue for Milton Keynes Bowl. us. We have to have the grids up in Dubbed the kineticCATHEDRAL, the the air, ready for production after the 28m tall by 100m wide stage had to second day, and the entire structure be erected by Belgian staging specialcompleted within three days. Until our ist Stageco in three days, according structure is in place, everyone is just to the company’s head of technicians Stageco – kineticCATHEDRAL at Electric Daisy Carnival waiting around.”

Paul van Belle.

Production manager Neil McDonald adds,“ This has been the most Stageco also provided the foundation structure for the spectacle, asseamless show I’ve worked on in a long time. There was a long pre-prosisting contractors including Jora Entertainment (cladding), PRG (lighting) duction period of nearly a year that involved a lot of detailed organisation. and Britannia Row (PA), with aspects of the set.

We expected a few nips and tucks when we got on site but everything “If you don’t do the base structure properly, you’ll run into serious trouwent up just as it looked on paper. That’s Stageco’s strength.” ble, especially with a stage design like this,” says van Belle. “We work with

Vamps go for visual dynamism Brilliant gives Take That a lift

XL at work on The Vamps

THE MANAGEMENT of The Vamps insisted that video screens should be the dominant visual element on the band’s tour, reveal technical director Iain Whitehead and lighting designer Pete Barnes.

They aimed to create a look based on dynamic image magnification (IMAG) using a main video backdrop plus two side screens angled towards the audience, using 145m2 of ROE Visual MC-7T LED screen supplied by XL Video.

Barnes explains that the band used existing footage in the show, so it was important that the combined screen size was close to the television-standard 16:9 format.

XL project manager Phil Mercer

advised Whitehead that the MC7T provided continuity, as well as being a cost-effective solution for performances at venues including The O2 (cap. 20,000) in London, Birmingham’s Genting Arena (16,000) and the Metro Radio Arena (11,000), in Newcastle.

Video operator Robin Haddow ran a Catalyst v5 media server to play the pre-recorded footage.

The four IMAG camera channels, one per band member, were also fed into the Catalyst and output to the screen.

“The teamwork and collaboration of all involved in creating a slick, contemporary aesthetic helped this young band ramp up their live performances,” says Barnes.

City Limits: Bristol See pages 30-34 August 2015 • issue 187 • www.liveuk.com

THE 1920s German horror movie The Cabinet of Dr Caligari provided the visual inspiration for the set of Take That’s UK tour, which visited venues such as Sheffield’s Motorpoint Arena (cap. 13,500) and The SSE Hydra (13,000) in Glasgow.

Production de- Brilliant Stages with Take That signer Misty Buckley conceived a multi-level set form an arc. The front face of each whose technical challenges in- lift was clad with LED video pancluded nine box lifts to carry the els, which were revealed as the lift performers up through the stage, was elevated.

“We built the interface framework, plus a large under-stage area liaising with fellow contractors to enfor storage.

Long-standing supplier Brilliant sure it all married up precisely.”

Buckley adds, “We wanted to Stages was invited back for their sixth Take That tour to construct the create something simplistic but main stage, complete with apron, completely magical, inclusive and performer staircases, a split-level other-worldly. The lifts gave us difband stage and upper stage, with ferent perspectives and the screen integral service and performer lifts. facias offered an amazing canvas The forestage area also boasted a for video content. It was breathtakpiano lift, connecting to a runway ing when they first emerged from underneath the stage.” and B-stage.

Other products supplied to the “The main challenge was the series of box lifts, which were quite tour included seven Robert Jucomplex mechanisms,” says Bril- liat followspots, which highlighted liant Stages chief CAD designer Mel the artistes, and 128 Ayrton MagWelch. “We constructed a curved icBlade-R and 54 MagicPanel-R LED array of nine electronic, chain- fixtures, to pick out the outlines of driven box lifts, each weighing 1.5 the set design and provide a centre tons, which rolled into position to stage backdrop to the band.

Production news I 29

Towers set scene for the Prodigy THE PRODIGY unveiled the stage show for The Day is My Enemy tour for the first time in the UK at the Isle of Wight Festival (cap. 55,000).

It features a backdrop of multiple “transmission” towers, which showcase the red fox artwork of the artistes’ latest LP. HSL provided the floorbased back wall, designed to be adaptable for festivals and indoor shows, as the tour included T in the Park (85,000) and eight arena shows starting in November.

“I wanted something distinctive that was simultaneously structural and scenic,” says lighting and visual designer Andy Hurst. “I trawled the new material during the design process and found several HSL work on The Prodigy references to rebel radio stations and pirate broadcasting. So the idea of transmission towers and their ac- make the towers, while the set was rigged with 28 High companying special TX dishes on top started to evolve.”

End Shape-Shifters and 34 Ayrton Blades (purchased by HSL commissioned Worcester-based Alpha Fabs to HSL for the tour).

Light wonders Y for Years LIGHTING DESIGNER Squib Swain says he had to ensure that the Y motif from the cover of Years and Years’ debut album packed enough visual punch, while being sufficiently lightweight to tour.

He asked LED manufacturer Light Initiative to create a five-metre-high version of the cover, using cut out panels to keep the weight down, for shows at London’s O2 Shepherd’s Bush Empire (cap. 2,000), The Lemon Grove (700) in Exeter and The Junction (850) in Cambridge, as well as festivals such as Latitude (35,000).

Light Initiative - Years and Years “As the album artwork is such a strong visual, turnarounds in mind”. it was obvious we had to create some sort of Content designer by Adam Young used an Avolites Ai 3D version,” says Swain. “The Light Initiative guys were Infinity EX series to feed imagery to the structure. “The great at coming up with solutions to the many chalway LI approached the project made it easy for me to lenges I chucked their way. These included fitting the work,” says Young. “They could simply provide me with screen into suitable freighting dimensions, making sure a perfect visual representation of the structure and its light could stream through from behind, and for it to be parts to work on in [design programme] After Effects.” ground supported and freestanding with short festival

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90,000) and Secret Garden Party (26,000).

ALREADY A supplier of analogue technology by audio console manufacturer Midas, AC Audio has been appointed dealer for the company’s digital range, enabling it to provide Midas digital mixers including the PRO1 console up to the PRO X desk, plus related stage boxes and accessories. In addition to carrying models such as the entry-level M32 console, the company can also provide Midas product training.

FORMER TECHNICAL manager at Capital Sound Ian Colville has joined manufacturer Flare Audio as its head of pro technical, tasked with expanding the company’s presence in the proaudio and concert markets.

Flare’s live music clients include Shane Filan, Richie Hawtin and The Leadmill (cap. 900) in Sheffield. “Flare loudspeakers use unique, innovative technology and are continuing to develop,” says Colville. “The challenge for me is to bring this technology to the ticketbuying public.”

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August 2015 • issue 187 • www.liveuk.com

30 I city limits

Bristol

Colston Hall

From the new arena due to be completed in just over two years to its landmark Colston Hall and some say too many competing live music venues further down the scale, Bristol’s live entertainment scene is full of activity and optimism, and likely to expand yet further, as Allan Glen reports

B Alistair Reid

Graham Walters

ristol already has a lot going for it. A thriving DIY scene, an outgoing, live-music-besotted local audience and large enough venues to draw crowds from further afield.

It’s no surprise, then, that big things are expected from the forthcoming opening of the city’s new £91 million, 12,000-capacity arena.

Located within the Bristol Temple Quarter Enterprise Zone, £53m of that total cost is being borrowed via the City Deal Economic Development Fund.

SMG Europe and Live Nation Entertainment (LNE) have been announced as the combined preferred bidders to operate the venue, which is due to open at the end of 2017. While Bristol Arena has been in the making for more than a decade, promoters believe that the venue will finally pull in the major shows the city is currently missing out on.

“We wanted to make sure we were offering a venue that was going to add to the live music industry in Bristol, not take away from it,” says Alistair Reid, services director (economy) at Bristol City Council.

“Venues such as Colston Hall [caps. 1,934 and 350] and the O2 Academy [1,600 and 350] will still be offering the shows they’ve always promoted, with the new arena able to offer a capacity of between 5,000 and 12,000.”

The combined firepower of SMG – which already operates Manchester Arena (21,000), Newcastle Metro Radio Arena (11,000), First Direct Arena in Leeds (12,500) and SSE Arena in

August 2015 • Issue 187 • www.liveuk.com

Belfast (10,800) – and LNE, which owns the Motorpoint Arena (7,500) 45 miles away in Cardiff, means that expectation among promoters and venue operators in the city is high.

“We are absolutely delighted to be chosen as the preferred operator and programmer for the new arena,” says LNE and Academy Music Group chief operating officer Graham Walters.

“Already operating one of the most prolific venues in the city, the O2 Academy, we have long-standing relationships and experience working in partnership with the council, community and stakeholders.”

According to Bristol-based Metropolis Music promoter Conal Dodds, who has lived in the city for 20 years, the arena is long overdue.

“It’s about time – there aren’t that many arenas in the south of the country outside of London,” he says.

“There’s Bournemouth International Centre [6,500] and Cardiff Motorpoint Arena, but then there’s nothing until you get up to Birmingham.

“Lots of tours these days get split between us and other promoters and if we end up getting the south we don’t get many shows simply because there aren’t the venues with the right capacity.

“A lot of acts will play in Cardiff but there is a big market in Bristol that is untapped,” he adds.

It is this lack of organised infrastructure that has held back Bristol in the past, Dodds believes.

Exploring the live music networks in our key cities and towns I city

“Even though every artiste that gets to arena level has played Bristol at some point in one of the smaller venues, there is a big audience that only goes to see gigs in big venues,” he says.

“They don’t go to bars, clubs or 02 Academy shows. They just go to the big shows, so in that respect, the arena will be great for the city.”

As well as promoting shows across Bristol, including Hot Chip and Of Monsters and Men at O2 Academy, and Richard Hawley at Colston Hall, Metropolis also hosts Bristol Summer Series (5,000) and programmes the acts for Grillstock (7,000), both held at Bristol Harbourside.

Now in its second year, artistes performing at the former included George Ezra, Kaiser Chiefs and Seasick Steve, with tickets priced at £27.50 to £32.50, while De La Soul and The Heavy headlined Grillstock, with tickets starting at £25.

Hard to beat

Another promoter who welcomes the opening of the arena is Anton Lockwood, promotions director of DHP Family, which hosts approximately 250 shows a year in the city plus an additional 50 private hires at its venue Thekla (400).

Tipping emerging acts Fenne Lily, Tamu Massif, Rebecca Clements and Something Anorak as ones to watch, he is in bullish mood about the state of live music in the city.

“Bristol is a lively and busy music city, and we have no doubt we’ll have many artistes to promote in the arena,” he says.

“Just now, when you ignore London, Bristol is the second major city for live music in terms of how strong the scene is and ticket sales, after Manchester.”

DHP Family also runs multi-venue festivals Dot To Dot (4,000) and Hit The Deck (4,000), with Ed Sheeran, Ellie Goulding, Jake Bugg and Mumford & Sons having played the former, and Cancer Bats, Brand New, Don Broco and Young Guns at the latter.

Venues used for both festivals range from Thekla to the O2

Bristol Summer Series

Academy, The Fleece (450) and The Trinity Centre (600, 300).

Acts performing in Thekla include Kodaline, Jake Bugg, James Bay, Sam Smith, Years and Years (all in-house promotions), Chvrches (Metropolis), Stormzy (LNE) and Laura Marling (SJM Concerts).

“Thekla is a great venue,” adds Lockwood. “Crowded House played to 150,000 people in Sydney and their next show on that [2007] tour was at Thekla.”

Adaptability is key

Conal Dodds

Home to more than 430,000 people, of which almost 10 per cent are students, Bristol remains an important touring destination for acts of all genres.

Nowhere is this eclectic mix more noticeable than in the programming at the Colston Hall, with acts ranging from Underworld, Stereophonics (both SJM) and Elvis Costello (3A Entertainment) to Beth Hart (both DHP), Ray Davies and Sufjan Stevens (both in-house).

Yet while Bristol remains indelibly linked with local talentmade-good such as Massive Attack, Portishead and Tricky, programmer of the venue Todd Wills believes that to be an outdated view.

“A lot has happened since the ‘90s,” he says. “A strength of the music scene in Bristol is that there is a great DIY attitude that exists, and the city is small enough that you can get stuff done and make an impact.”

At the Colston Hall, run by Bristol Music Trust, this means putting on something different, says Wills. “We look to do concerts that couldn’t happen anywhere else in the city.”

These include hosting John Grant and Ben Folds Five performing with the Royal Northern Sinfonia (both in-house).

While the scene remains healthy and vibrant, having several venues at the 350 to 450 capacity has its drawbacks, he adds.

“There seems to be a few venues at that level, but I guess it promotes a certain amount of healthy competition.”

Anton Lockwood

Todd Wills

IbIbIo Sound MachIne, 29/01/2015, pIc @Shotaway.coM

Bristol Arena - artist’s impression exterior

limits I 31

August 2015 • Issue 187 • www.liveuk.com

32 I city limits

Thekla

02 Academy

Extending tours

Josh Westaway

Such is the vibrancy of Bristol at present that an increasing number of acts are including the city in their tours, says 02 Academy general manager Josh Westaway.

“As a catchment area, the city is thriving, and the south west definitely sells tickets,” he says. “We are seeing more and more short tours tagging Bristol onto the usual London, Manchester, Birmingham, Glasgow routing.

“With a capacity of 1,600, we are an intimate venue with a large stage, so the live experience is personal, yet still attracts major international acts.

“We also operate a downstairs-only, short hall configuration for up to 1,000 people, which is hugely attractive to promoters looking for that saleable figure.”

Acts playing the venue include Black Label Society (LNE), The Charlatans, The Decemberists, Kid Ink (all SJM), Public Image Ltd (Academy Events), Nick Mulvey (DHP) and Public Service Broadcasting (Goldenvoice).

St George’s Bristol

Factory expansion

Since The MJR Group began working with the owners of a warehouse near Temple Meads train station last September, revamping Motion (1,300) and building The Marble Factory (550), the number of live music shows at the site has grown exponentially.

Other venues the group operates include Sub 89 in Reading (600), The Globe in Cardiff (350) and The Engine Rooms in Southampton (800, 600 & 400).

“We’ve built The Marble Factory from scratch, in what was previously a skate park, and brought in great in-house production throughout the whole building,” says MJR group director Mike Jones.

“Prior to our involvement, there was very little in terms of live music, but now it has two full-time live music venues, complementing the club trade that Motion has always been known for.”

Acts to have played Motion include Enter Shikari, Cradle of

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August 2015 • Issue 187 • www.liveuk.com

Exploring the live music networks in our key cities and towns I city

Hit The Deck Festival

Filth (both in-house) and The Strypes (Metropolis), with Adam Ant, New Model Army (both in-house) and Shura (Metropolis) in The Marble Factory.

The site also hosts Ghostfest (2,200), this year headlined by Hatebreed, and The Bristol Ska and Mod Festival (2,200), headlined

by From The Jam, Bad Manners and Secret Affair in 2015.

Bigger in Bristol

Also undergoing expansion is The Trinity Centre, housed in a former Georgian church, which has added the 300-capacity Fyfe Hall to the first floor of the building.

“Fyfe Hall is a beautiful, high ceiling, stained glass window space,” says programmer Rhiannon Jones. “This new space is primarily for theatre and dance but lends itself to music performances where something a bit more special is required.”

As well as hosting shows from acts such as Massive Attack and Public Enemy in the past, other artistes playing the Trinity Centre include Hudson Taylor, Wolf Alice, Swim Deep (all Goldenvoice),

limits I 33

Colston Hall

Sharon Van Etten, CW Stoneking, Bear’s Den (all DHP), Nitin Sawhney (LNE), Earl Sweatshirt (Metropolis) and Bunty (in-house).

“As a space that’s rooted within the community, performing here is a great way for artistes to reach out to new and alternative audiences,” adds Jones.

St George’s Bristol (562) is another to usher in a new period of growth with an extension due to open in August 2017.

“Bristol has such a rich music scene, with so many festivals and lots of choice, which makes us all raise our game,” says St George’s head of marketing and communications Jane Martin.

“From September, a large drop down screen will be installed behind the stage to improve our audio-visual production facilities, while our new building – an iconic two-storey glass extension – will allow us to offer improved access for visitors, an all-day café and bar, and space for educational activity.”

There will also be space for small-scale live music performances in the new extension, which will have a capacity of 144.”

Also run by Bristol Music Trust, St George’s is looking at

Rhiannon Jones

Jane Martin

Hosting over 200 events, welcoming over 200k+ music lovers each year Contact: Josh Westaway Email: josh@o2academybristol.co.uk Tel: 0117 941 6417

o2academybristol.co.uk

Photo: MARTIN THOMPSON (The Face Collective)

O2 Academy | 1600 Capacity (Gigs) O2 Academy | 1900 Capacity (Clubs)

August 2015 • Issue 187 • www.liveuk.com

34 I city limits

Bristol Bierkeller

The Trinity Centre

Dave Brayley

various ticketing solutions for acts playing the existing hall, who have included Badly Drawn Boy (SJM), Nils Lofgren (CMP Entertainment), Henry Rollins (Eastside Events), Ian McCulloch and Amanda Palmer (in-house).

“We would like to explore joint-ticketing with our partner venue, Colston Hall,” she says.

“It’s challenging, given the many different ticketing solutions in the market place, but I think audiences could benefit from this approach.”

Growing competition

Chris Sharp

Dan Cleary

The flipside of this growth in the number of venues is increased competition for promoters, says owner of The Fleece Chris Sharp.

A former sheep-trading market, The Fleece has been putting on shows since 1982, with recent performances from Peace (Metropolis), The Cribs (SJM), Courtney Barnett (DHP), Stereo MCs and Waxahatchee (both in-house).

“There are new venues opening all the time and everyone is after the same shows,” he says.

“This makes things tough for promoters, especially the local ones, but it’s great for the audiences because there are always so many gigs to choose from on any given night.”

This is a view shared by one of the city’s most active promoters, Dave Brayley of DCB Promotions, which operates the live music programme at Bristol Bierkeller (700).

Acts playing the Bierkeller include Starsailor (SJM), Sleaford Mods (AEG Live), Katzenjammer (LNE), Orange Goblin (DHP) and Cherrie Currie (in-house), while Brayley is also promoting Editors at Colston Hall.

“There is a lot of competition in Bristol at our level, and we all just about manage to function,” he says. “Venues such as The

August 2015 • Issue 187 • www.liveuk.com

Marble Factory and the Trinity Centre are a similar capacity to the Bierkeller and do a lot of the same type of shows. To be honest, if there were one or two less venues, we would all do a little bit better.”

Daniel Cleary of the Fiddlers Club (450) says offering audiences something different is the key to survival in such a competitive market.

“There are a lot of venues in the city, perhaps too many” he says.

“What makes our venue different, however, is the atmosphere.

The building, a former prison, dates back to 1741 and has a great history as well as a great sound for artistes.”

Those playing the venue include George Ezra (Metropolis), Dorance Lorza & Sexteto Cafe, Dave Mackay Group, The Destroyers, Abanico Salsa, Son Yambu and Doreen Doreen (all in-house).

Built around a reputation for hosting early shows from acts such as Super Furry Animals, Placebo and Bis – all in its opening week 20 years ago - The Louisiana (100), which has recently invested in a new Midas F32 mixing desk, remains an important fixture in Bristol’s ever-expanding network of venues.

It is also a regular home for DHP’s aforementioned Dot To Dot festival, and other touring acts such as Ibeyi (SJM), Young Kato, Torres, Flesh (all DHP), Fly Golden Eagle (Metropolis), Menace Beach and Great Lake Swimmers (both MJR).

“There are some fantastic venues which cater for all types of music,” says live music co-ordinator Mig Shillace.

“Having the likes of Metropolis and DHP in Bristol has helped with bringing in lots of national bands. That in turn helps local bands build a national profile.”

With expansion and investment in venues across the city Bristol’s continued prominent place in the UK music scene seems assured.

36 I tour plans a guide to artistes, tours & agents Artistes

Period

Contact

Details

Adam Ant Mar-Aug Gary Howard T 020 7278 3331

The Agency Group garyhoward@theagenygroup.com

Ana Moura Nov David Flower T 020 7359 9232

SASA Music rab@sasa.demon.co.uk

Amelia Curran Nov Rebecca Kemp T 01359 230 357

BPA Live rebecca@bpa-live.com

Bananarama May Tony Denton T 020 8447 9411

Tony Denton Promotions tony@tdpromo.com

BRNS

ACTS,

T TRY CON S U D N I USIC 10,000 M PHONE APP E ONE FRE suppliers s 00 event ue • Over 4,0 1,000 music ven an rs e is n a • More th rg o l contacts 0 festival an festiva • Over 50 700 UK & Europe an ts • More th ss contac 00 busine • Over 1,5 1,300 studios an es • More th ing servic ies 00 record an • Over 1,5 700 record comp an th re o M • . oon! ch more.. coming s • And mu d and Blackberry iPa Android,

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August 2015 • issue 187 • www.liveuk.com

CoCo and the Butterfields Artistes

Period

Contact

Details

CoCo and Oct Chris Wade T 01377 217 662 the Butterfields Adastra adastra@adastra-music.co.uk

Common Tongues Nov Debra Downes T 020 7733 0508

Dawson Breed Music debra@dawsonbreedmusic.com

Craig David Mar-Aug Gary Howard T 020 7278 3331

The Agency Group garyhoward@theagenygroup.com

Cross Section Oct Mark Lundquist T 01483 224118

Mark Lundquist mark@marklundquist.com

Concert Promotions

Dagny Nov-Dec Sarah Casey T 020 8741 4453

The Leighton-Pope Organisation sarah@l-po.com

DJ Krush Nov Serena Parsons T 020 7400 4500

Primary Talent International serena@primarytalent.com

Dub Pistols Nov-Dec Serena Parsons T 020 7400 4500

Primary Talent International serena@primarytalent.com

Graham Bonnet Jan Alan Cottam T 0125 466 8471

Alan Cottam Agency alan@alancottamagency.co.uk

Ho99o9 Nov Serena Parsons T 020 7400 4500

Primary Talent International serena@primarytalent.com

Heems Nov Serena Parsons T 020 7400 4500

Primary Talent International serena@primarytalent.com

Jack Pack May Gary Howard T 020 7278 3331

The Agency Group garyhoward@theagenygroup.com

Jesus Jones Mar Tony Denton T 020 8447 9411

Tony Denton Promotions tony@tdpromo.com

D OR OW SE NLO AR CH AD U FO SIN R“ GY SH O OW UR CA iPH SE ON ” IN E Q TH R R E A EA PP DE ST R OR E

Billy Bragg Dec Rob Challice T 020 7017 2500

Coda Agency rob@codaagency.com

Bobby Long Nov Phil Simpson T 01539 528 808

Regent Music ps@regentmusic.com

Boo Seeka Nov Sarah Casey T 020 8741 4453

The Leighton-Pope Organisation sarah@l-po.com

Brian Howe Dec-Mar Steve Galeazzi T 01942 321 435

Industrial Strength steve@industrial-strength-media.co.uk Media

BRNS Nov Georgia Strawson T 020 7580 7773

ATC Live georgia@atc-live.com

Calexico Nov Rob Challice T 020 7017 2500

Coda Agency rob@codaagency.com

Calan Nov Phil Simpson T 01539 528 808

Regent Music ps@regentmusic.com

Chris Bannister Nov-Dec Steve Galeazzi T 01942 321 435

Industrial Strength steve@industrial-strength-media.co.uk Media

30/05/2012 13:14

tour plans I 37 Artistes

Period

Contact

Details

Juan Martin Oct Chris Wade T 01377 217 662 Adastra adastra@adastra-music.co.uk

Julian Smith Nov-Dec Tim Jennings T 0121 454 7020

Big Bear Music admin@bigbearmusic.com

Ken Hensley Jan-Mar Steve Galeazzi T 01942 321 435

Industrial Strength steve@industrial-strength-media.co.uk Media

Kuenta I Tambu Nov Serena Parsons T 020 7400 4500

Primary Talent International serena@primarytalent.com

Lindisfarne Nov-Dec Steve Parker T 020 7935 9222

Miracle Artists steve@miracle-artists.com

Liu Bei Nov-Dec Georgia Strawson T 020 7580 7773

ATC Live georgia@atc-live.com

Lydia Lunch Nov Jeff Aug T +49 (0)8324 933 851

Maximum Booking info@MAXIMUMBooking.com

Martin Taylor Nov Chris Wade T 01377 217662 & Alison Burns Adastra Music adastra@adastra-music.co.uk

Maggie Reilly Nov Debra Downes T 020 7733 0508

Dawson Breed Music debra@dawsonbreedmusic.com

My Baby Nov-Dec Dan Silver T 020 7704 9720

Value Added Talent dan@vathq.co.uk

Oliver Dawson Saxon Nov Steve Galeazzi T 01942 321 435

Industrial Strength steve@industrial-strength-media.co.uk Media

Paper Lace Nov-Dec Steve Galeazzi T 01942 321 435

Industrial Strength steve@industrial-strength-media.co.uk

Potato Head Nov-Dec Tim Jennings T 0121 454 7020 Jazz Band Big Bear Music admin@bigbearmusic.com

Liu Bei Artistes

Period

Contact

Rab Noakes Feb-Mar Chris Wade

Adastra Music

Sam Baker Nov Bob Paterson

BPA Live

Sam Lee Nov David Flower

SASA Music

Details T 01377 217662 adastra@adastra-music.co.uk T 01359 230 357 bp@bpa-live.com T 020 7359 9232 rab@sasa.demon.co.uk

Sam Russo Dec Georgia Strawson T 020 7580 7773

ATC Live georgia@atc-live.com

Sonz of Bitchez Nov-Dec Alan Cottam T 01254 668 471 with Manny Charlton Alan Cottam Agency alan@alancottamagency.co.uk

10cc Dec Steve Parker T 020 7935 9222

Miracle Artists steve@miracle-artists.com

The Animals with Feb Alan Cottam T 01254 668 471 Dan McCafferty Alan Cottam Agency alan@alancottamagency.co.uk

The Dunwells Nov-Feb Sarah Casey T 020 8741 4453

The Leighton-Pope Organisation sarah@l-po.com

The Dreaming Spires Oct Bob Paterson T 01359 230 357

BPA Live bp@bpa-live.com

The Fall Nov Serena Parsons T 020 7400 4500

Primary Talent International serena@primarytalent.com

Todd Dorigo Nov-Dec Sarah Casey T 020 8741 4453

The Leighton-Pope Organisation sarah@l-po.com

Tony Allen Nov-Dec David Flower T 020 7359 9232

SASA Music rab@sasa.demon.co.uk The Dreaming Spires

Freebird - Adverts.pdf 1 24/03/2015 09:37 The details shown above have been compiled from information provided to LIVE UK and whilst we make every reasonable effort to ensure accuracy, we cannot be held responsible if data is incorrect.

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August 2015 • issue 187 • www.liveuk.com

38 I PROFILE

Dave Pegg As director of Fairport Convention’s annual music festival, held every second weekend in August at Cropredy, a small canal side village in Oxfordshire, Dave Pegg is responsible for booking most of the acts. He has been bassist with the band since December 1969 and also works on their Matty Grooves record label, which released Fairport Convention CDs What are your first live music memories?

“When I was at Yardley Grammar School, in Birmingham, I would sneak into pubs to watch Denny Laine and the Diplomats. Denny went on to form the Moody Blues and later joined Wings.

“Around 65/66, a group of us mods would be at the Marquee Club, and watch acts like the Spencer Davis Group, The Yardbirds and many other great R&B bands.

“Before I got into the music business, I was a clerk at the Royal Exchange insurance company but spent most of the day on the phone getting bookings for our band. When eventually I did become a professional muso the Royal Exchange refused to insure my equipment saying pop bands were too much of a risk.”

How has your career developed?

“A week after Fairport’s farewell I was asked to stand in for John Glascock of Jethro Tull by the band’s front man, Ian Anderson. I did a USA tour while John was recovering from an illness and when he sadly died I became the band’s bassist.

“The first year I organised Cropredy, I asked everyone I bumped into if they could help. An electrician I met that way, the amazing Mick Peters, still works with us today as site manager.

“My next door neighbour said he knew some scaffolders who could build the stage at the right price. On Friday night it looked great but I discovered on Saturday morning, they they’d gone back to Ireland without finishing the roof. A few panicked trips to builders’ yards, buying as many tarps as we could, and Gaffer tape saved the day.

“High points include presenting amazing acts like Alice Cooper, Robert Plant, Little Feat, Steve Winwood and 10cc. This year Emmylou Harris and Rodney Crowell performed.”

How did you get into the music business?

“I was a gigging musician with Fairport when I first attempted producing fundraisers shows for the village hall, in the Cropredy, where I lived with my wife Christine and our two kids, around 1974.

“The band used to rehearse in the hall, which only held 80 people and I suggested we rent some farmland and have a bigger event. This was a great success and over three consecutive years the concert attendances swelled from 600 to 1,800.

“Then in 1978, Phonogram records paid Fairport not to give them any more albums deeming us has-beens with no place in the approaching Punk Era. This effectively ended the band’s career for five years. We split on 4 August 1979 at a farewell open air Cropredy concert.

That morning we had opened for Led Zeppelin at Knebworth. I determined there and then that I would stage a re-union concert every summer in Cropredy, and along with Christine we formed Woodworm Records to release a farewell album and built a little studio in our Cropredy Cottage.”

August 2015 • Issue 187 • www.liveuk.com

What have been your greatest highs and lows?

How do you wind down?

“It put me in a better financial place to build Woodworm’s Studio in Barford St. Michael, Oxfordshire. This became my office for many years. I learnt a lot of business acumen from Ian Anderson and this helped me promote the now annual Cropredy Fairport Reunion concerts.

“Technology has made it a lot simpler. I don’t know how we coped without mobile phones and the internet. I remember having my mountain bike to get round the site to check on things.”

“My partner Ellen and I live in Banbury when I am working in the UK and in Brittany when we have time off. I sail with my son Matt, who plays bass with Procol Harum, and we have a boat at Eastbourne Marina.

“I have also organised a village fete in our garden in Brittany for the last five years.

“We don’t want Cropredy to get any bigger.

Our site is licensed for 20,000 people and that’s enough to cope with, but I would love to see my grandchildren, Ava and Austin, playing at Cropredy while I am still on the right side of the turf. But only for the right price.”

50 I TOUR PLANS A GUIDE TO ARTISTES, TOURS & AGENTS

In pursuit of excellence Awards categories Best Venue Teamwork – Stadium Best Venue Teamwork – Arena Best Venue Teamwork – Theatre/Concert Hall Best Venue Teamwork – Arts Centre Best Venue Teamwork – Campus Best Venue Teamwork – Major Club (cap 800+) Best Venue Teamwork – Club (cap under 800) Agent of the Year Artiste Manager of the Year National Promoter of the Year Regional Promoter of the Year Indie Promoter of the Year (Local impact)

Tour Manager of the Year Best Record Label Partner Spectacle of the Year (Best Production) Best Festival (cap 40,000+) Best Festival (cap 15,000-39,999) Best Festival (cap under 15,000) Best Festival Performance Breakthrough Artiste Greatest Brand Impact Unsung Hero Outstanding Contribution

Thursday 15 October 2015

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