Live uk issue 217 feb 18

issue 217 FEBRUARY 2018 UK ÂŁ6.25

A star turn Frank Turner brings back his best

Promoter caught up in disability row Royal Albert Hall trustees under scrutiny London festivals move west Committed to the unsigned and emerging live sector see pages 30-33

Dedicated to the Business of Contemporary Live Music

contents I 3

Contents

issue 217

4-12 News

30-31 NXT News

The business of live music

Business activity in the unsigned and emerging artiste sector

8 Forthcoming Events

Key industry gatherings

14-18 City Limits Highlands & Islands A look at the people and venues behind live music in the city

20-24 Sector Focus Music to our ears

Comment from the key players in an essential live music business sector

27-28 Production News Developments in technology and show production

31-33 NXT Profiles

Insight from venue operators, artiste managers and A&R executives

34-37 Tour Plans Artistes, their agents and tour periods

38 Backstage Stars

Interviews with the key people who shape the industry

20 Publisher & Managing Editor: Stephen Parker News Editor: Neil Bracegirdle Editorial Contributors: Allan Glen, Claire Bicknell, Mike Gartside, Rob Sandall Sales Director: Gareth Ospina Advertising Executive: Craig Swan, Jason Scott, Tom Brint Circulation Manager: Amy Swift Re-subscriptions Manager: Laurie Burgess

14

27 Research & Pictures: Tom Phillips , Sean O’Connor Administrative Manager: Laura Matthews Accounts Manager: Murali Sri Balaskanda Editorial: Neil Bracegirdle T: 020 7486 7007 E: neil@liveuk.com Advertising: Gareth Ospina, Jason Scott, Craig Swan, Tom Brint T: 020 7486 7007 E: gareth@liveuk.com E: jason@liveuk.com E: craig@liveuk.com

E: tomb@liveuk.com Design: Imogen Chester

digital access to all publications.

Circulation & Subscriptions: Laurie Burgess, Amy Swift T: 020 7486 7007 E: laurie@liveuk.com E: amy@liveuk.com

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Cover photograph: © IBL/REX/Shutterstock

ISSUE 217: February 2018 Published monthly by:

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.

February 2018 • Issue 217 • www.liveuk.com

4 I news

‘We did everything we could’ says promoter in deaf ticket-holder row A DEAF woman is taking legal action against LHG Live after alleging the promoter failed to make “reasonable adjustments” for her disability.

Ahead of a 15,000-capacity concert by Little Mix at the South of England Event Centre in Sussex, Sally Reynolds asked LHG to provide a sign language interpreter for her and two friends, who are also deaf. The trio were attending the show on 1 September with their daughters.

Although the six tickets, costing £37.50 each, were bought from resale site Viagogo, which LHG doesn’t recognise, the company offered Reynolds carer tickets and invited her to bring her own interpreter.

She refused and according the BBC, insisted that that LHG should provide the interpreter, citing the Equality Act 2010, which states that any organisation supplying a public service has a duty to make reasonable adjustments to ensure that a disabled person receives as similar as possible an experience to a person with a disability.

In response LHG contacted the British Deaf Association and music accessibility charity Attitude is

Everything (AIE) in order to meet Reynolds needs. As neither organisation was able to supply an interpreter, the promoter approached Performance Interpreting, recommended by Reynolds, to book one.

However, LHG was advised that the interpreter needed four to six weeks to learn the lyrics for an artiste and so would not be able to interpret for the two supporting

possible to meet Reynolds needs, including upgrading her party to the golden circle, giving them access to a private toilet, ensuring they were positioned directly in front of the stage and interpreter and making public announcements on giant screens. Overall its efforts cost LHG more than £1,000.

“LHG Live is one of the largest outdoor concert promoters in the

“If someone pays £8 for a ticket and then wants a grassroots venue or promoter to pay for an interpreter, then people would say that isn’t reasonable” Mark Davyd acts, which had only been confirmed 10 days prior.

This, says Reynolds, had a detrimental impact on her overall enjoyment of the concert. “It was very much a disparity of experience compared with everyone else,” she told the BBC. “We only got access to the last act. If you went to a film can you imagine only getting access to the last 20 minutes? We had paid for our tickets like everyone else.”

LHG tells LIVE UK it did everything

UK and takes accessibility to all its events seriously,” says the company in a statement.

Director of Performance Interpreting Maria Pascall tells LIVE UK that interpreters usually spend between 30-50 hours learning the lyrics for a major act and cost around £500, plus a management fee.

“The deaf audience had thought live music was a closed door, but are now coming forward, and over the last two-and-a-half years there

has been massive growth,” she says.

“People want equal access.”

The company provides a regular service at venues such as London’s The O2 (cap. 21,000), Nottingham’s Motorpoint Arena (10,000) and Brighton Centre (5,127), as well as working with Festival Republic at Reading (90,000) and Leeds (80,000), Latitude (35,000) and Download (110,000).

AIE says it is looking at the issues involved in the case, and providing greater clarity to what is expected by the term “reasonable adjustment”. It is currently unclear how, for example, a grassroots venue faced with a similar situation could cope with the expense.

CEO of Music Venue Trust Mark Davyd says he hopes common sense would prevail in the case of grassroots venues.

“If a deaf person wanted to come to a show and asked to bring someone with them to sign that wouldn’t be a problem,” he says. “But if they pay £8 for a ticket and then want the venue or promoter to pay for an interpreter, then people would say that isn’t reasonable.”

LHG is due to meet with the British Deaf Association and AIE later this month.

Lovebox and Citadel move west to Gunnersbury Park

Lovebox

TWO OF the capital’s largest festivals, Lovebox (cap. 30,000) and Citadel (25,000), will be held at Gunnersbury Park in west London, after organisers reached agreement with

site owner Ealing and Hounslow Councils.

The Live Nation Entertainmentpromoted events were forced to move from Victoria Park, after rival

February 2018 • Issue 217 • www.liveuk.com

AEG Presents signed an exclusive five-year contract with Tower Hamlets Council (see LIVE UK issue 214) for use of the park, where it will stage All Points East (40,000).

It had been expected the festivals would switch to Brockwell Park in Brixton, but this plan was opposed by residents group Friends of Brockwell Park (FOBP).

“The park just does not Melvin Benn have the capacity to host such gigantic events,” said FOBP chair Peter Bradley. “We oppose them utterly.”

Melvin Benn MD of LNE subsidiary

Festival Republic, which runs the events, says, “Gunnersbury Park has undergone a phenomenal transformation in recent years and I have no doubt that this move will be a great success.”

The company declined to comment further.

Lovebox will be staged on 13-14 July, with Citadel following a day later.

Headliners are due to be announced later this month.

Meanwhile, Field Day (25,000), which had been held at Victoria Park for 11 years, will be held at Brockwell Park from 1-2 June.

news I 5

Royal Albert Hall trustees to face scrutiny over private ticket sales A WRANGLE between the Charity Commission and the Royal Albert Hall (cap. 5,272) over whether the venue’s trustees and private seatowners should be able to sell tickets on the secondary market, has been referred to a charity tribunal.

The Commission raised concerns last year about trustees of the RAH, which is a registered charity, selling tickets for personal profit, while also having a controlling interest on the Hall’s board (see LIVE UK issue 213).

The Attorney General Jeremy Wright has decided a judge-led tribunal should rule on the matter, as part of an inquiry – the first of its kind into a specific charity.

“The question is whether these arrangements enable the council to be perceived as furthering the purposes of the charity for the public

minimal appetite to address these.”

The RAH has 1,276 member seats, with 19 of its 25 trustees also seat holders. Unused trustee tickets can be returned to the RAH box office and sold to the public at face value, with the trustee receiving a share.

However, some trustees are using the secondary market to sell tickets at vastly inflated prices, when the artiste and promoter have banned resale.

In all the trustees and their related parties own around 140 seats.

RAH management says it is, “disappointed” the dispute has resulted in a tribunal, but will co-operate with the process.

“Over many years, the Hall has engaged in a meaningful way to resolve what is a complex set of issues, however the Commission has

Royal Albert Hall

benefit,” says a Charity Commission spokeswoman.

“We have been engaged with the Hall for some time and, while progress has been made in some areas, the central issue of how to deal with the conflicts of interest, and suggested private benefit, remain unresolved and the Hall has shown

chosen to refuse to meet us, whilst pursuing what will be a costly and drawn-out route,” says a spokesman for the venue.

Newsbite A MEMORIAL celebrating the life of Primary Talent International director Dave Chumbley has been held at The Garage in north London. The event took place on 1 February.

Chumbley died in August at the age of 57, following a battle with cancer (see LIVE UK issue 212). During a career as an international agent, spanning more than three decades, he worked with acts including Gwen Stefani, Kylie Minogue and Rufus Wainwright.

Still believing © Ben Morse

HAVING EVOLVED from the hardcore punk genre into folk and rock, singersongwriter Frank Turner released his seventh album in November.

Entitled Songbook, it features a collection of the COVER ARTISTE Eton-educated “Frank is one of the hardest-worksinger’s re-recorded favourite songs, as well as new single ing artistes I’ve ever had the pleasure of working with,” says his internaThere She Is. A prolific touring artiste, Turner tional agent Nick Storch of Artist has played more than 2,000 live Group International in New York.

“He makes amazing and inspirshows and appeared at Reading (cap.

90,000) and Leeds (80,000) festivals a ing music, but also embraces a collaborative and creative approach to record 10 times in a row.

He is currently performing at touring. It’s easier to build a strategy venues such as Glasgow’s King Tuts when the music continues to conWah Wah Hut (300), Manchester’s nect with fans on a deep level. To say Academy 2 (900), Birmingham’s it’s a dream every single day is a vast O2 Institute 2 (600) and The Scala understatement.”

Turner is managed by Charlie (980) in London. In May Turner will play four nights at Camden’s Caplowe at Xtra Mile Recordings in London.

Roundhouse (3,100).

February 2018 • Issue 217 • www.liveuk.com

6 I news

Venue protection to be part of planning policy THE AGENT of Change principle, music venues to solve noise issues 215), while rising business rates are which serves to protect noise- when property developers choose of more pressing concern to The Fleece than any development. generating cultural venues from the to build nearby,” says Javid.

“This is a seismic victory for all The breakthrough came after forimpact of building developments, is to be incorporated into the National mer Labour Government minister those who fought so hard to safeJohn Spellar MP unveiled guard the future of music Planning Policy Framehis Planning (Agent of venues across the UK work (NPPF).

Change) Bill to Parliament from grassroots commuFollowing discussions nity activists to Britain’s in early January. led by music industry “While we need to iron global music stars who umbrella group UK Music out the final details when have spent years calling and other bodies, the considering the draft for Agent of Change and Government’s Housing framework, there is a real recently supported the Secretary Sajid Javid has hope that these new pro- Spellar Bill,” says UK Music Geoff Ellis agreed that detailed refer- John Spellar visions could be law by CEO Michael Dugher. ence to Agent of Change Meanwhile, a number will be made in NPPF, with which the summer,” says Spellar. of venues in Scotland, UK Music says the legislocal authorities are legally bound including Glasgow’s O2 lation could help protect to comply.

Academy (2,500), King It means developers will be venues currently at risk Tut’s Wah Wah Hut (300) responsible for identifying and solv- from developments, citand Sub Club (410), ing any sound problems and pre- ing Bristol’s Thekla (400) are calling for Agent of vent music venues, community and and The Fleece (450), as Change to be introduced sports clubs and churches, from fac- examples. there, as currently the Although the developer Michael Dugher ing potential noise complaints from onus falls on venues to behind plans to build new residents.

“I have always thought it unfair new flats close to Thekla has played reduce their impact on any new that the burden is on long-standing down any fears (see LIVE UK issue development. They are urging

people to contact their Local Government Committee.

“Our venues are vital, they’re incubators for future headline acts and bring communities together through live concerts,” says Geoff Ellis, CEO of Glasgow-based promoter DF Concerts and Events, which owns King Tuts.

“We’re asking for the public, venue owners, people working in the creative industries, and everyone who wants to protect these venues to work with us in pushing for Agent of Change.”

In Edinburgh, Studio 24 (600) closed last May, blaming noise complaints and council restrictions, while Sneaky Pete’s (100) has spent £20,000 on soundproofing to counter complaints.

An application to build a hotel next to King Tuts has recently been granted and plans for three flats nearby are currently in the pipeline.

Arena project delayed Orb plan yet to tee off

February 2018 • Issue 217 • www.liveuk.com

DESIGNS HAVE emerged for a they must play its Los Angeles new concert venue, already being venue The Forum (17,500), rather than AEG’s Staples Center (19,000), dubbed the Golf Ball, in London.

New York’s Madison Square if they wanted to play Madison Garden Company (MSGC), which Square Garden. AEG responded by runs the city’s legendary Madison similarly linking bookings between Square Garden (cap. 19,000), is the Staples Center and The O2 (see LIVE UK issue 210). behind the projHowever, there is ect, which will be no evidence plans located close to for the new arena London Stadium will go-ahead, as (80,000) in Stratsite owner Westford, according field, which operto the Guardian ates the nearby newspaper. shopping centre, It is claimed and Populous have architect Populous The Golf Ball venue both declined to has been commiscomment. sioned to create Furthermore, the London the venue, shaped like a giant glass sphere and capable of accommo- Legacy Development Corporation (LLDC), the planning authority dating up to 20,000 people.

Any potential venue would responsible for the area, says it has increase the friction between yet to be officially approached.

“We are not in formal preMSGC and rival venue operator AEG, which owns The O2 (21,000) planning discussions with any and manages The SSE Arena – party about this site,” says an LLDC spokeswoman. “We have received Wembley (12,750).

The two companies are at log- no full applications nor held any gerheads after MSGC told artistes pre-app discussions.” © The Guardian

THE £90 million project to build Bristol associated infrastructure costs.”

The council is expected to make a Arena could be going back to the drawing board after an alternative location decision on its chosen site in April.

“I am 100 per cent committed to emerged.

Construction of the 12,000-capac- delivering an arena for Bristol and I ity venue, which is to be jointly run by want to be sure we are fully informed SMG Europe and Live Nation Entertain- on the options for achieving this, at a cost the city can afford,” Rees ment, had been earmarked adds. for the Temple Meads area First mooted more than a of the city with preparations decade ago, the project has already underway. been beset by delays, most However, Bristol City recently when the council Council is now considering parted ways with preferred switching the site to Brabadeveloper Bouygues UK in a zon Hangar, next to Filton dispute over costs (see LIVE Airfield.

John Sharkey UK issue 210). The job has A move to the new location would provide a larger space, been taken over by Buckingham Group.

“Both SMG Europe and Live Nation potentially allowing the arena’s capacity to increase to 15,000 and allow more remain committed to supporting Bristol City Council to deliver the best car parking.

“Not enough work was done on option for the people of Bristol, and are options in the first place,” says Bristol actively working to deliver an arena, as mayor Marvin Rees. “Now a second we believe in the market,” SMG Europe option has come forward more formally, executive vice-president of operations giving us two potential schemes to John Sharkey tells LIVE UK. The arena had been scheduled to look at.

“Inevitably, this also brings a need for open in 2019, but it is likely this latest more information and we need to fully setback will push that back another evaluate this new proposal and the year.

news I 7

Ticketmaster wins contract Village Underground seeks for the Biggest Weekend to extend weekend hours Acts confirmed to play include LIVE NATION Entertainmentowned Ticketmaster has signed an Taylor Swift, Ed Sheeran, Noel exclusive ticketing deal with the Gallagher’s High Flying Birds and BBC’s music festival The Biggest Beck.

“We are incredibly Weekend. proud that TicketmasThe company will be ter’s experience in the only official ticketing facilitating events of this agency for the event, scale has been recogwhich will take place at nised in such a way, and four locations across the our teams right across UK between 25-28 May. the country look forThe sites include Swanward to providing fans sea’s Singleton Park Andrew Parsons with a seamless ticket(20,000), Belfast’s Titantic Slipways (20,000), Perth’s Scone ing experience,” says Ticketmaster Palace (30,000) and Coventry’s War UK MD Andrew Parsons.

Tickets cost £18, plus a £4.50 Memorial Park (20,000).

Ticketmaster says more than booking fee, with a percent175,000 tickets are available for age allocated to local residents. the festival, staged during one Resale sites will be banned from of Glastonbury’s (140,000) fallow listing tickets, many of which will years, and replacing the BBC’s be paperless. In the past tickets annual Big Weekend which has a to the Big Weekend have always been free. capacity of around 40,000.

THE 400-CAPACITY Village Underground in London’s Shoreditch is attempting to extend its weekend opening hours to become more financially viable.

An application for a new license which will allow the venue to open until 6am on Friday and Saturday, an increase of two hours, has been submitted to Hackney Council. As part of this license, Village Underground would close at midnight, rather than 2am from Monday to Wednesday.

“What we need to do is move more loss making live cultural events off the prime dates of Wednesday and Thursday evenings, to make way for profit making commercial and private hire events,” says the venue’s Jim English.

“Instead we can place them on Friday and Saturday evenings, before the

Village Underground

weekend programme starts and hopefully we can move the start and finish of the weekend programme later to make these timings work.”

Hackney Council is expected to rule on the application this month.

Village Underground agreed a new lease, running until 2027, with the council last year (see LIVE UK issue 207).

Artistes playing the venue include Jamila Woods, Jade Bird, Dusky and Kamal Williams.

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visit qmgreathall.co.uk call 020 7882 5379

February 2018 • Issue 217 • www.liveuk.com

8 I news

Forthcoming events 21 Feb

BRIT Awards London www.brits.co.uk 28 Feb-01 March

Event Production Show London www.eventproductionshow.co.uk 06 March

IPM

London www.ilmc.com/index.php/ipm/ 06-07 March

ISCEx

Coventry www.isce.org.uk/iscex-2018 06-09

International Live Music Conference London 30.ilmc.com 20-21 April

Wide Days Edinburgh www.widedays.com 25 April

Music Week Awards London www.nbmevents.uk/ musicweekawards2018

Newsbite ROYALTY COLLECTION society PRS For Music has appointed Nigel Hall at its chief operating officer. Hall is a former MD of auditor KPMG UK, where he was involved in handling technology, media and telecoms accounts. “We look forward to having Nigel’s digital expertise on hand to steer us through a time of continuing growth and transformation, not just for us, but for the industry as a whole,” says PRS chief executive Robert Ashcroft. Hall replaces Craig Nunn, who left the organisation in July.

February 2018 • Issue 217 • www.liveuk.com

Civic Halls to remain closed until 2020 as part of £38m renovation WOLVERHAMPTON’S Civic Halls are to stay closed for a further two years after a restoration project was significantly expanded.

Under initial plans, costing £14.4 million, work on the Civic Hall (cap. 3,000) and The Wulfrun Hall (730) was due to be completed in March (see LIVE UK issue 199).

However, new surveys and reports on the building revealed structural, mechanical, electrical and engineering issues, and the venues’ owner City of Wolverhampton Council has approved further renovations which will add an extra £23.6m to the cost.

“Given the mammoth magnitude of the issues uncovered by our contractors, it’s fair to say that the full restoration work we are now proposing is a very different project from the original one,” says councillor John Reynolds, cabinet member for city economy.

An artist’s impression of Wolverhampton Civic Hall

“However, a thriving and vibrant Civic Halls that continues to draw people from all over the country is a key part of our vision for a successful city.”

Talks are taking place with other venues in the city to see if scheduled events can be moved elsewhere.

The original improvements included increasing the seated capacity in the Civic Hall by 539 to 2,554, with a standing capacity of 3,549, and building a new balcony

in The Wulfrun Hall, to raise seating capacity to 862 and standing to 1,300. The additional work is scheduled to be completed by autumn 2020.

In a surprise to many who knew and worked with him, Civic Halls general manager Mark Blackstock has left the position after 20 years. A council spokesman says Blackstock had left to pursue “other commercial interests”.

LIVE UK was unable to contact Blackstock at press time.

Government inquiry to focus on the resale market and grassroots venues A FRESH inquiry has been launched to tackle issues affecting the live music industry, including ticket touting and problems faced by grassroots venues.

The investigation is being carried out by the Government’s Digital, Culture, Media and Sport (DCMS) committee, and will incorporate the findings and evidence submitted to the previous committee’s inquiry, which was interrupted by last year’s general election.

As part of that examination, particular attention was paid to ticket abuse, with a number of key figures called to give evidence during a hearing last March (see LIVE UK issue 207). Resale site

Viagogo was among the compa- think can be done to tackle it.

“We’ll also investigate what nies summoned to attend, but failed to show up. In its absence problems many small music the Switzerland-based firm was venues face, as they struggle to keep their doors open accused of “fraudulent despite the unwavertrading” and flouting the ing enthusiasm from Consumer Rights Act. the British public for It is understood MPs live music.” will once again call The committee is on companies such as seeking evidence on Viagogo to contribute. factors including, how “This inquiry will be successful reforms in an opportunity for the secondary ticketing committee to revisit the Damian Collins MP have been, what initiaimportant issue of secondary ticket selling,” says com- tives can be put in place to help mittee chair Damian Collins MP. emerging acts and whether small “We want to hear from the public venues should be classified as culabout their direct experiences tural venues. The deadline for subwith this issue and what they missions is 28 February.

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10 I news

Phased reopening Stadium plans more live music for Fairfield Halls

Ticket fraud on the rise THE NUMBER of reported ticket fraud incidents has increased, according to figures released by the Society of Ticket Agents & Retailers (STAR) and crime agency Action Fraud.

The organisations reveal that 3,973 reports of ticket fraud were reported during a six-month period in 2017, Adrian Sanders with victims losing an average of £195.

In 2015 a similar report measured the number of cases at 2,885 over the same period, although the average amount lost was higher at £205.

“Sadly, customers are continuing to fall prey to fraudsters and therefore need to know exactly where they should purchase tickets from safely,” says STAR chairman Adrian Sanders.

“Despite the considerable advances in ticket fraud prevention, some customers are still being tricked too easily.”

City of London Police’s national coordinator for economic crime, temporary commander Dave Clark, adds, “If a deal looks too good to be true, it probably is. We recommend that people buy from reputable ticket sellers who are members of STAR.” STAR is celebrating its 20th anniversary this year.

February 2018 • Issue 217 • www.liveuk.com

Theatre boss to step down THE MD of Nottingham’s Royal Concert Hall (cap. 2,300) and Theatre Royal (1,186), Robert Sanderson, is to retire after nine years in the role.

Sanderson, who was initially appointed on an interim basis, has overseen the theatre’s £3.3 million Royal Transformation Project, which included improvements to the foyer area, restaurants and disabled access.

The project, jointly funded by the venue’s Theatre Royal owner Nottingham City Council and Arts Council England, is due to be completed Sanderson has turned both venues from loss-making into profitable organisations. this autumn.

“Robert has been exceptional,” “This venue is now without says deputy council leader Graham doubt one of the most successful Chapman. “He has provided a great arts and entertainment venues service to the city for which we in the country,” says Sanderson. should be very grateful.”

“It plays host to the very best Sanderson will step down from performers and producers and his post at the end of April. Shows we work with some of the UK’s at the theatres include Erasure and biggest concert promoters.”

Paul Carrack.

During his time there, Robert Sanderson © Whitefoot

THE OWNER of Fairfield Halls (cap.

1,750), Croydon Council has insisted the venue will reopen this year, despite being unable to provide An artiste’s impression of Fairfield Halls a specific date.

As it stands the concert hall and adjacent Ashcroft Theatre (700), which are currently undergoing a £30 million refurbishment, is scheduled to reopen in November.

However, having been closed since July 2016, there are fears the completion of the project will slide into 2019.

During a recent cabinet meeting, council leader Tony Newman is reported in the Croydon Advertiser as saying the venue would not open until next year.

“It was the Tories who questioned whether Fairfield Halls would ever reopen and now it’s down to which day in 2019 it will reopen,” Newman told the newspaper.

When contacted by LIVE UK, the council refuted the claim and stated that Fairfield Halls would be handed over to venue management company BH Live, which also manages the Bournemouth International Centre complex, in November ready for final fit-out.

“Our plan is that there will be a phased opening of Fairfield Halls with an initial event by the end of this year, further details of which will be available nearer the time,” says a Council spokeswoman.

BH Live said it could not comment on the progress of construction work until the venues were handed over.

MANAGEMENT AT West London’s wanted to come as they have never played 55,000-capacity Twickenham Stadium are Twickenham and we are in London, which is working towards staging more live music a big selling point. We have a good relationevents at the venue, following securing two ship with Metropolis and Live Nation, and they love working with us.” shows with Eminem.

The stadium, which is located As part of his Revival world in a residential area, can hold up tour, the artiste will perform at to four concerts annually, with the stadium on 14 and 15 July, his Harris revealing it is in advanced only UK dates. Last year the venue discussions with a number of prohosted two sell-outs with U2. moters to confirm more shows.

Stadium head of ticketing “Eminem is a ground-breaker Richard Harris tells LIVE UK the for us and demonstrates the prievents are part of a drive to put on Richard Harris ority we are giving to music,” says more live music.

Harris.

“We had long ongoing conver“We are a world-class sporting venue sations with [Live Nation Entertainmentowned promoter] Metropolis about bringing and we have prioritised being a world-class London summer venue for live music, and Eminem here,” says Harris.

“Both the artiste and his manager are already in talks for 2019-2020 shows.”

Stars line-up for BRITs week PERFORMANCES FROM artistes including Ed Sheeran, Rag’n’Bone Man and Jessie Ware will form part of War Child BRITs Week.

Promoted by AEG Presents, the shows are a spin-off from the annual BRIT Awards held at London’s The O2 on 21 February, and will raise money for the charity War Child.

In all, 11 concerts will be staged between 12-24 February at various venues.

“It’s fantastic to be marking our 25th anniversary by working with acts of this calibre,”

says War Child head of music, entertainment and development Liana Mellotte.

Sheeran will play Indigo at The O2 (2,350), Ware takes the stage at London’s Bush Hall (350), while Rag’n’Bone Man performs at Islington Assembly Hall (800).

Others include Wolf Alice at Gorilla (600) in Manchester and alt-J at The Garage (600) in north London.

Last year’s event raised £567,000 for the charity.

news I 11

DHP festival raises £100k for homeless A NEW multi-venue festival, organised by promoter DHP Family in Nottingham, has raised more than £100,000 for homeless charity Framework.

The one-day event featured performances from 80 acts including Sleaford Mods, Ferocious Dog and The Invisible Orchestra, at DHP-owned venues, including Rock City (cap. 1,900), Rescue Rooms (450) and The Bodega (250) on 28 January.

“Everyone involved has worked so

hard these past few months to deliver £46,000 raised, while DHP donated £30,000 and a number of a meaningful event to acts donated profits from raise awareness and merchandise sales. money for a serious issue Due to its success, DHP that we can’t ignore,” says say the festival will become DHP director George an annual event and will Akins. “The whole of the take place on 27 January Nottingham music scene next year. The company, really came together to which owns Thekla in make a difference.”

Bristol, also donated A large share of the fun- George Akins £5,000 to homeless charity draising came through ticket sales and bar proceeds with Caring in the city.

Cardiff venue adopts mobile-first ticketing THE 460-capacity Clwb Ifor Bach is bringing in a mobile-first ticketing strategy in a bid to stop tickets appearing on the secondary market.

The Cardiff venue has teamed up with ticketing app platform DICE to allow fans to get refunds on unwanted tickets and transfer tickets to others on their phone. People wanting tickets for

sold-out events can also join a waiting list for returns.

“Working with DICE felt like a natural fit for us, our mutual belief in putting fans first made it an easy decision,” says Clwb Ifor Bach CEO Guto Brychan.

“Digital ticketing is the future of the music industry and using DICE means we can provide tickets in a safe and

easy to use format for our gig-goers.”

Forthcoming shows at the venue include Haus, Icicle Works and The Fused.

North London’s Islington Assembly Hall (800) partnered with DICE last year (see LIVE UK issue 213), becoming the UK’s first venue to do away with paper tickets entirely.

Newsbites PELIN OPCIN has been appointed director of programming at promoter Serious, which produces the London Jazz Festival. Opcin was the artistic director at Istanbul Jazz Festival in Turkey for more than a decade. London Jazz Festival takes place in November across venues including the Southbank Centre’s Royal Festival Hall (cap. 2,500), Barbican Centre (1,989) and Ronnie Scotts (220).

ARENA MANAGEMENT company NEC Group has appointed Ben Sharman as venue sales manager, working across the company’s Arena Birmingham (cap. 15,800) and Genting Arena (15,685), and building relationships with promoters and event organisers. He was previously NEC’s sponsorship manager for three years.

February 2018 • Issue 217 • www.liveuk.com

12 I news

Price cap resale Full circle for Malawi project site launched EVENTIM UK has launched fan-to-fan resale platform FanSALE, which limits prices to no more than 10 per cent above face-value.

The facility is for tickets originally purchased via Eventim and those offered for resale will be verified by the company.

Through a link-up with delivery service UPS, event-goers using FanSALE can track tickets from a seller’s pick-up point to the delivery address.

“FanSALE is about fan-first thinking,” says Eventim UK director of development Dale Ballentine.

“We know that sometimes fans cannot attend their event as planned and FanSALE will help solve these problems, and ensure tickets are not sold at an extortionate price, making events more accessible for the real fans.”

The campaign manager for anti-touting group FanFair Alliance, Adam Webb, says the new platform reflects what the majority of music fans want.

“They don’t want to profit, just to recoup their costs in a safe and efficient environment,” he says.

“It has been hugely positive to see a growing number of responsible ticketing companies listen to consumers and move in this direction.”

Eventim UK is a subsidiary of German pan-Europe ticking giant CTS Eventim.

RECENT PERFORMANCES PERFORMANCES FROM FROM RECENT The Wonder Wonder Years, Years, Jack Jack Savoretti, Savoretti, The Lower Than Than Atlantis, Atlantis, Stormzy, Stormzy, Lower Ben Howard, Pendulum Live, Ed Sheeran, Ben Howard, Pendulum Live, Ed Sheeran, Chase & & Status Status Live, Live, Skindred, Skindred, Chase High Contrast, Contrast, Newton Newton Faulkner Faulkner High

THE PROMOTER behind one of Africa’s leading music festivals featuring international artistes, Lake of Stars (cap. 3,000) in Malawi, is to stage spin-off events in London and Glasgow.

To celebrate the 15th anniversary of the event, British-born Will Jameson is holding a one-day multi-venue event in Waltham Forest, prior to a concert at Walthamstow Assembly Hall (cap.1,000) and a show at Glasgow Art School’s Assembly Hall (500) in March.

Among the acts performing will be

Frightened Rabbit, Ghanaian hip hop artiste M.anifest and Malawian singer Faith Mussa.

“Our anniversary celebrations will offer a unique chance for UK artistes to perform and collaborate with some of the best new acts from Africa,” Jameson tells LIVE UK. “Having kick-started Malawi’s festival industry, we are taking things full circle by further developing platforms for African artistes in the UK.” Tickets for Lake of Stars in London cost £18-23.50.

Tribute to Parkwood Group boss THE FOUNDER and executive chair of theatre operator Parkwood Group, Tony Hewitt, has died at the age of 68.

Hewitt died on New Year’s Eve after being admitted to hospital.

Through its Parkwood Theatre division, the company operates venues including The Hawth (cap. 862) in Crawley, Weston Super Mare’s Playhouse (664) and Barnstaple’s Queen’s Theatre (680).

“Tony was enthusiastic and passionate, with boundless energy, and he will be remembered as both a charismatic business leader and a loving family man,” says Parkwood in a statement. “We thank him for the invaluable contribution he made to the leisure industry over the past 20 years.”

Hewitt is survived by his wife Patricia and three children, Daniel, Amy and Lara.

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February 2018 • Issue 217 • www.liveuk.com

VENUE OWNER & GENERAL MANAGER Gary Lullham gary@sincityclub.co.uk

Office Contact - 01792 468892 Box Office Contact - 01792 654226 General Enquiries - info@sincityclub.co.uk

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14 I city limits

Highlands & Islands

Mareel Arts Centre

With venues in the Highlands and Islands often hundreds of miles, and a ferry trip, apart, to sell tickets in the region it’s important to know what works - and what doesn’t. Fortunately for those acts looking to tour this most remote of UK locations, there are several promoters and venue operators based in the area who know exactly how to do that. Allan Glen reports

F Robert Hicks

Les Kidger

rom one local promoter working with new venues in rural locations such as Wick and Findhorn, to another trying to encourage audiences from Orkney, Shetland and Stornoway to travel to Inverness for major shows, live music in the Highlands and Islands is, like the landscapes, a challenging environment.

Veteran Highlands & Islands promoter Robert Hicks of Beyond Presents is in expansion mode through building new audiences in local settings, Inverness-based LCC Live is growing audiences for bigger shows by marketing heavily in the outlying areas, and persuading people to travel to Inverness for special events.

“We know you have to market the big shows just as hard in places like Thurso, Orkney, Shetland and Stornoway, because we’re relying on these people travelling down to Inverness to sell those extra tickets,” says LCC Live’s Les Kidger.

“It’s not just about the people who live 20 miles away. You have to work hard at it, but as long as you know where your market is, and you can find the right artiste to fit that market, then you can sell tickets.”

Both Kidger and Hicks report an uptake in business last year, with Kidger bringing acts such as Bryan Adams, Texas and The Beach Boys to Inverness, more of which later.

Hicks, one of the region’s longest-serving promoters, is responsible for recent tours in the Highlands and Islands by Scouting For Girls, Jake Bugg, Newton Faulkner and Lucy Spraggan.

February 2018 • Issue 217 • www.liveuk.com

“This has been our busiest year ever,” says Hicks, who promoted a series of open-air concerts for Mumford & Sons in Aviemore a few years back. “There’s a renewed vigour of people in the Highlands wanting to go out and see live music, so we’ve started to explore more remote areas, places like Wick, which we’ve never done before.”

It is an approach that seems to be proving consistently successful.

“In the past 12 months we’ve had about four shows in Wick, all of which have performed really well,” he says. “There are two venues we use there. As well as Mackays Hotel [150], we also put acts into the Assembly Rooms [600].

“Places such as those have really come on stream, as well as smaller venues such as The Barn [350] in Banchory, on the edge of the Cairngorms, and the Universal Hall [350] in Findhorn.”

Bringing Scouting for Girls back to the region was a particular highlight for Hicks.

“The last time they were in the Highlands, except for festival dates, was about 10 years ago,” he adds. “We did a lot of shows with them up here then but they’ve just never had the opportunity to come back. So we were really pleased to have them tour in the area again.”

Venues included Mareel (600) in Shetland, The Sound Archive (250) in Orkney, The Loft (500) in Forres, An Lanntair (250) on Stornoway and The Ironworks (1,000) in Inverness. There was

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

limits I 15

An Lanntair

even time for a show at the Birnam Arts Centre [300], on the banks of the River Tay. Other notable Beyond tours include a series of low-key acoustic concerts by Jake Bugg and dates for The Pigeon Detectives and Lucy Spraggan.

“We’ve done a stack of shows with Lucy over the last 12 months, about 15, including dates at The Never Centre [700] in Fort William and Mackays Hotel in Wick – and a string of dates with Newton Faulkner across the Highlands, too. He played the same venues as Scouting For Girls, with two additional dates, one at the Universal Hall in Findhorn, and another at Aros Hall [250] in Tobermory.

“As a company, we’re increasingly covering the whole of Scotland now and a lot of these dates are part of a Scottish tour across the central belt.”

While Beyond Presents concentrates on tours, the other side of the company, Beyond Events Presents, looks after outdoor shows such as two-day festival Loopallu in Ullapool, which last year included performances from Glasvegas, The Pigeon Detectives, Tide Lines, The View and The Rezillos.

“We had to move homes last year so it’s non-camping now and based near the pier in the centre of Ullapool,” says Hicks. “It’s a stunning location but it meant we had to drop the capacity slightly to 1,500.”

Local knowledge

Also reporting a busy 12 months is the aforementioned Les Kidger of LCC Live, where being realistic about the market and, perhaps more importantly, knowing what sells and what doesn’t, has resulted in growth.

‘I’ve seen some shows come up here and just not sell tickets because the promoter thinks it’s a mass market and it isn’t. We’re not a Glasgow, we’re not an Edinburgh’ Les Kidger

“We’ve seen some outside promoters bring acts up here, thinking it’s this metropolis, but as local promoters we know the market,” he says. “I’ve seen some shows come up here and just not sell tickets because the promoter thinks it’s a mass market - and it isn’t. We’re not a Glasgow or Edinburgh.”

All together, LLC Live sold 30,000 tickets for its five sell-out shows under the banner of Live In the City in Inverness last year.

Bryan Adams and Olly Murs performed at Bught Park, while

From Mareel on Shetland to Glasgow’s Royal Concert Hall

From Edinburgh’s Usher Hall to An Lanntair in Stornoway

Past Shows & Tours include: Mumford & Sons, Jake Bugg KT Tunstall, Newton Faulkner, Hunter & the Bear Tom Walker, Phil Jupitus, The View, Jeremy Hardy Scouting For Girls, Sam Fender

Current Shows & Tours include: Joan Armatrading Rich Hall, Turin Brakes, This Is The Kit, The Xcerts King Creosote, Tide Lines, Fickle Friends, Tom Allen Jon Richarson, Django Django

The only promoter regularly reaching all parts of Scotland For more information contact Robert, Nicky or Laura at info@beyondpresents.co.uk or call 01854 612691 February 2018 • Issue 217 • www.liveuk.com

16 I city limits Bryan Adams show was the first time it was ever used for an event like that, and was a fantastic success,” says Kidger, who adds that, across the UK – “from Exeter to Inverness and everywhere else in between” - LCC sold 150,000 tickets in 2017. “We kept the infrastructure in place and the following week we had Olly Murs there, and we had 10,000 people there for that one.”

“Last year was exceptionally good for us and we’ve found that when artistes come up here to play the Inverness Leisure Centre they really like it as a venue. It’s a bit like a mini-style [Glasgowbased] SECC venue [8,200]. Obviously it’s a lot smaller but people always come out to support it. We haven’t yet put on a show there that hasn’t sold out.

“We’ve had people like Deacon Blue and Peter Andre there. We also had Wet Wet Wet a few years ago – they came straight out of the SSE Hydro [13,000] to us – so it definitely works, if you can bring the right people to the right market.”

Ironworks

Caroline Campbell

The Beach Boys, Status Quo and Texas played Inverness Leisure Centre (1,900).

“The leisure centre is the biggest indoor capacity in the Highlands and it takes a lot for us to make it musically possible but it works well,” he says.

Last summer also saw LCC stage two outdoor events at Bught Park (12,000), the main green space in the city, located next to the river. First to appear was Bryan Adams, who sold to capacity, followed a week later by Olly Murs.

“We’ve been working with the Highland Council for a while to see if we could make Bught Park work as a music site and the

Steel town

Also in expansion mode is the Ironworks (1,000), the largest purpose-built live music venue in the region, which, this month is adding staging and draping to allow for a more intimate, 300-capacity performance area.

“This means that acts who previously may have had to miss a gig in Inverness due to feasibility now have the platform to engage with their Highlands and Islands audience,” says venue director Caroline Campbell. “This will be a major change for the venue and a great opportunity for emerging talent to perform here, which we’re all very excited about.”

Those currently playing the venue include The Libertines, Shed Seven, Twin Atlantic, The Stranglers, Amy Macdonald (all DF

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

Concerts), Happy Mondays (Regular Music), Tom Findley, Sophie Ellis-Bextor, Paul Oakenfold, Tide Lines, Stiff Little Fingers, Wishbone Ash (all in-house), Future Islands (PCL Presents) and Stewart Francis (Live Nation Entertainment).

Ticket sales remain steady, adds Campbell, while the number of performances taking place at the venue is on the increase, currently running at approximately 150 per year.

Elsewhere in the region, ticket receipts vary. For example, at An Lanntair over on Stornoway on the Isle of Lewis in the Outer Hebrides, attendances can vary from show to show and season to season, according to head of performing arts and cinema Alex MacDonald.

“Ticket sales have been variable in the past year with people perhaps less willing to take a chance on new bands but the bigger shows continue to sell out quickly, in minutes in some cases,” she adds. “Islanders are, however, generally slow in buying tickets for some gigs, and usually the bulk go in the last couple of days – which is always a bit of a worry for the promoter.”

As with other venues in the region, An Lanntair remains a popular choice due to its remote location. Acts currently playing the venue include Blue Rose Code, Willie Campbell, Horo, Session A9, Phil Cunningham and Aly Bain, Julie Fowlis, Martin Taylor (all in-house), Hunter and The Bear, Tide Lines, Outyla and King Creosote (Beyond).

limits I 17

Alex MacDonald

Assembly Rooms

Festival of dreams

It is also one of the venues used during the annual Hebridean Celtic Festival (HebCelt), also located on Stornoway. With three stages sited in Castle Green (4,500) in front of Lews Castle, these include a recently added stage for acoustic singer-songwriters, while accompanying shows also take place in Lewis and Harris.

Its remote location does, however, bring with it its own set of requirements, as festival director Caroline MacLennan explains.

“Our location is pretty unique, but it comes with its own set of challenges, travel and the huge costs in making the event happen in the islands being paramount,” she says.

This year’s headliner is Deacon Blue, making their first visit to the islands, while other confirmed acts include Skipinnish,

Caroline MacLennan

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February 2018 • Issue 217 • www.liveuk.com

18 I city limits

Gordon Maclean

An Tobar

Ryan Cook

Iain Hamilton

Blazin’ Fiddles, Tide Lines, Trail West, Kinnaris Quintet, Tumbling Souls, Yves Lambert Trio, Vishten and Habadekuk. Weekend ticket prices are £98 and £30 for children aged seven to 14.

According to MacLennan, the festival is a catalyst for live music in the islands, particularly for the traditional music scene, while there are other positive effects, too. “The economic benefits are enormous, with the most recent impact assessment estimating HebCelt’s worth at over £2m to the local economy.”

Also investing and playing an important role in the live music market is the Highlands and Islands Enterprise (HIE). While not an arts agency, and therefore not able to provide a subsidy for venue operators, the agency can help with funding for developments.

In the past this has included support for several venues, including Mareel (600) in Lerwick, Shetland, regularly used by Beyond Presents.

“Our patch runs from Shetland in the north to the Mull of Kintyre in the south, and we work with a high percentage of venues and events that happen in the region,” says Iain Hamilton, head of creative industries at HIE. One of the UK’s most northern venues, Mareel hosts up to 60 shows a year. Those currently playing the venue include Martha Wainwright, String Sisters (in-house) and The Furrow Collective (all in-house).

“Shetland has always held an attraction for performers rooted in traditional and folk music and so has had strong links to musicians throughout the Highlands and Islands, as well as Scandinavia, Canada and beyond,” says programme manager Floortje Matthew.

Back on the mainland, the Assembly Rooms in Wick is the largest space north of Inverness, and attracts acts who want to travel into the heart of the Highlands or who pass through on the way to Orkney. Current shows include Neon Waltz, Baby Strange and Tijuana Bibles, all booked in-house by Ryan Cook, who promotes under the Rypeco Promotions banner.

“Ticket sales recently have been pretty decent,” says Cook. “Due to the population, 400 sales is good, and we hit that number quite regularly.”

What’s the story (Tobermory)?

Over on the Isle of Mull is An Tobar (60), which hosts up to 50 shows a year, the majority booked and promoted in-house. Acts currently playing include The Mae Trio, Me For Queen, Andrew Wasylyk, Adam Homes and The Embers, The Poozies, John Goldie, John Doyle, The Alyn Cosker Quartet, Iain Morrison (all in-house) and Tide Lines (Beyond Presents).

As music director Gordon Maclean points out, homegrown acts such as Manran and Tide Lines pull in good crowds but it can be a bit of a struggle to sell tickets for unknown acts.

“It’s still difficult to get audiences to go to up-and-coming bands,” he says.

There are, however, major benefits for any act who makes the journey to An Tobar, whose terrace overlooks Tobermory Bay. “Our selling point is the beautiful road trip and ferry trip you have to make to get here,” adds Maclean.

And that - as many an artiste who has played in the region will no doubt testify – is often reason enough to route a tour here.

We will help revolutionize your business.

February 2018 • Issue 217 • www.liveuk.com

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20 I SECTOR FOCUS

Music to our ears With advancing technology and increasing audience expectations on sound quality, the pressure on live show audio hire companies to help their music clients deliver the best sound on stage is intense. But, the experts in this sector know what works and are on hand 24/7 to ensure it’s delivered. Claire Bicknell reports

D

elivering studio quality sound on the road and the University of Northampton, who offer can offer a vast choice of equipment across the has its pressures, not only from the vast a degree course in live sound technology, live audio spectrum, whether it’s DiGiCo, Avid, choice of equipment available – which and we offer our own part-time fundamentals Midas, Allen & Heath, Soundcraft, Yamaha, d&b, means a wider range of technical knowledge and and intermediate courses at our warehouse in Meyer, L-Acoustics or JBL. “We can give clients what they want, we never Twickenham, which are well attended. skills are needed by sound engineers.

“We also run our own apprenticeship pro- drive the spec,” says Bennett.

To add to that, audiences are turning to social A trend Bennett has noticed is that SSE is getmedia in real-time to give their opinions on gramme and this has given us a solid pool of sound quality … usually when they think it’s not graduates who we know have the expertise ting a lot more requests for dry hires, this is where the equipment is rented out without a member needed,” he says. up to standard. of staff in attendance.

Brit Row can also provide “For many people at concerts the “Out of 30 recent packages, 20 have services worldwide through audio is a given; they expect it to be been dry hires,” says Bennett. “Clients its associate companies, such good and only notice when it is bad,” are either bringing people over with as Clair Global in the US and says Bryan Grant, MD of Britannia them to do this job or expecting engiJapan, and JPJ in Australia.

Row Productions, generally known as neers to cover it. We’ve seen the level Set up in 1976, SSE Audio Brit Row. of preparation needed before we rent Group is one of the UK’s “Audio is very subjective, one perthe equipment increase significantly largest rental and sales comson’s Nirvana is another’s hell. People – it may have been a day-and-a-half panies, reporting 25 per cent Dan Bennett turn to social media to talk about Bryan Grant before, and now three-and-a-half days growth in 2017. everything, so concert experiences will With a wide variety of stock available, it works are needed.” also feature.”

London-based Brit Row, acquired by Clair with artistes such as the Stone Roses, Alice Global in May 2017, has been operating for over Cooper, Bastille and Blink 182, as well as outdoor Maintaining standards 40 years as one of the leading audio rental houses, events including festivals Reading (cap. 90,000) Also in London, Capital Sound Hire has been and stocks all the main console brands, as well and Leeds (80,000). providing audio solutions for concerts, tours, Its headquarters is in Redditch, with offices in festivals and events for more than 30 years, with as L-Acoustics and Clair Global speakers. It works with clients including Foo Fighters, Hans Zimmer West London and Heywood, Greater Manchester, clients including Sam Smith, The Killers, Take That, as well as a transatlantic joint venture – United Stereophonics and Katie Melua. and Depeche Mode.

Training is important to the company, and it Audio Companies - with Sound Image in the US. It also provides the sound for British Summer “Last year was an exceptional one for us and Time (cap. 65,000) in London’s Hyde Park, which has links to the further and higher education institutions to ensure those entering the sector year-on-year we surpass our targets,” says hire represents 75 per cent of its business in live music. project manager Dan Bennett. “It’s a mix of tourhave the right skills and knowledge.

“Our latest development is that, rather than “Both the equipment and the talent of people ing clients back out, summer shows and new being a company that offers a limited amount operating it have improved immensely, especially clients arriving.” of speaker brands, we’ve adapted to offer clients Acquiring industry known names such as more choice and now have a range of brands over the last 15 years,” continues Grant.

“We are associated with South Thames College Canegreen and Wigwam Acoustics means SSE including Martin Audio, d&b, Meyer Sound and February 2018 • Issue 217 • www.liveuk.com

SECTOR FOCUS I 21

SSE Audio Group for The Stone Roses

© Entec

Outline,” explains operations and Investing in the future development director Paul Timmins. Founded in 1968, Middlesex-based “If someone wants to work with Entec Sound & Light has had a busy us, we hopefully have their first 12 months investing in new stock, or second choice in stock. We lis- including d&b audiotechnik loudten to what our clients want and speakers, DiGiCo consoles and Shure everything is designed wireless microphone sysbespoke for that particutems, and is celebrating lar job. Service support is its 50th anniversary in essential and we assign a the industry. dedicated project manClients include Gorillaz, ager and project assistant Marilyn Manson and the to each job, both techniTeenage Cancer Trust cally aware – so someone concerts at the Royal is always available to Paul Timmins Albert Hall (5,200). respond immediately.”

“These investments With the maintenance of are in reaction to client live show audio equipment demand,” says head of needing specialist attensound Jonny Clark. “It’s tion, scheduling when this about what the client happens is an important wants. We have spent a consideration. lot of money on these “We have an annual new products to future maintenance and service proof the company to programme and an expert Jonny Clark meet demand as well as warehouse team who do the work support new business.” by job cleaning,” says Timmins.

Entec has recently entered into “Consoles will go back to the manu- an agreement with Brown Note facturer if they’re a little older, or Productions in the US to give d&b before they go out on a long tour. audiotechnik’s next generation “It’s important to recognise loudspeaker series its touring debut. though that all equipment has a GSL – part of the new SL-series – life span and we try and move it on made its first appearance on the before it drops off a cliff. We keep European leg of Gorillaz’ world tour equipment as new as possible.” in 2017.

517 Yeading Lane, Northolt, Middlesex UB5 6LN, United Kingdom +44 (0)20 8842 4004 sales@entecLIVE.com

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22 I SECTOR FOCUS

ESS getting gig ready

Entec - Production for Gorillaz

“This speaker system is applicable to all parts of the market, from festivals to indoor,” adds Clark. “Behind the speaker hangs you can hardly hear it working which is one of the holy grails for live sound.”

Right frequency

In the East Midlands, ESS (Entertainment Sound Specialists) work with clients such as

Latitude Festival (35,000), Russell Watson, UB40, Astro & Mickey, and the ABC and Tony Hadley orchestral tours.

Operating since 1990, it supplies DiGiCo, Yamaha, Avid, Midas, Allen & Heath and Cadac consoles as well as d&b front of house and monitor systems and L’acoustics front of house systems.

“The beauty of the live sound business is that it’s ever changing,” says partner and sound

engineer Carl Lewis. “With so much competition between the manufacturers and the emphasis on live performance, we are witnessing a constant race to the next big advancement in the technology we use.

“The use of improved prediction software has changed the way we do things from a system deployment point of view. We now have the ability to reliably map the room and tailor the system to the space, giving us a more standardised approach, and generating more predictable results across a tour or run of shows.

“These tools, combined with a good ear, make it possible for systems to sound great even in the most challenging of rooms.”

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SECTOR FOCUS I 23 The availability of space on the radio frequency (RF) spectrum for wireless microphones and in-ear monitors (IEMs) is still challenging for the sector, and administration heavy. Radiotransmitting equipment can only be used if it is either licensed or exempt by Ofcom, and there is competition for the available channels.

“The good news is that generally RF awareness has increased, and the need for effective RF coordination is becoming clear,” adds Lewis. “The general level of co-ordination skills and awareness amongst audio monitor engineers is vastly better now than it was two years ago. This is why we run day-long RF specific workshops at ESS. “Digital RF equipment is key to future live shows having stable RF performance.”

Speakers in venues

Midland Sound & Lighting, operating since the ‘80s, provides audio solutions to clients including Jools Holland and His Rhtym & Blues Orchestra and Fairport Convention. The Leicester-based company has been working with both for many years.

“In-ear monitors have really helped us on stage for Jool’s set up,” says MD Andy Salmon.

“The focus is on Jools piano, and we also have a 12-piece brass section going hell for leather and a rhythm section. With IEMs, the on-stage levels have gone down quite remarkably.

Salmon has noticed that more and more

Capital Sound Hire for the Killers

venues have in-house speaker systems installed.

“We’re taking in the control gear, backline and monitors, but the speakers aren’t needed.

We’re also playing a lot more smaller shows now as we’re finding that the picnic style outdoor

concerts aren’t as popular. Tastes are changing and the audience demographic is getting older, so they prefer a comfortable indoor seat rather than taking umbrellas, waterproofs and having a wet seat.”

STS Touring offers Backline Rental, Lighting Rental, PA Rental and Staging Rental Tel: +44 (0) 161 273 5984 pete.dutton@ststouring.co.uk

www.ststouring.co.uk Febraury 2018 • Issue 217 • www.liveuk.com

24 I SECTOR FOCUS

ML Executives - PA equipment

Technical advances

“From small flypack Offering full audio production, Dartford’s ML control systems right Executives has L-Acoustics loudspeakers, desks through to large format, from Yamaha, Avid, Soundcraft and DiGiCo worldwide full producand wireless systems from Shure & Sennheiser tion touring, we’re able amongst its product range. Established in 1991, to offer consoles from all of the major manuIron Maiden and Squeeze are amongst clients.

“We build bespoke packages,” says operations facturers including all of manager Martin Hale. “The necessity of ease to the optional extras that set-up and dismantle is becoming even more we’re regularly asked apparent, as is the need to conserve floor and for,” explains account truck space wherever possible, so building cus- manager Mark Ellis-Cope.

“Our speaker brand is tom systems to suit each engineer has taken a greater importance than just being able to supply d&b which we’ve been a major investor in now for the necessary equipment.”

Ace Vintage Systems - Modular Sound System at Q Club In a sector where new models are updated fre- a number of years; that quently, it’s important also to know when is the means we have access to new stock and the pleasure of being invited to Vintage revival best time to invest in a new piece of kit.

“While we keep up with new technology being new product launches and demos, and beta test- For those who prefer the older sound of analogue, brought to market and we welcome manufactur- ing prior to general release.

Warwick-based Ace Vintage Systems has spent “The growth in recordings of shows, both as the past 25 years putting together the totally anaers bringing new product to demonstrate to us, we generally avoid purchasing until we begin to extra media for the artiste to take away with them logue Martin Audio modular system. see requests from clients and can see a viable rev- and also for the sound engineer to make use of, Owner Alex Czechowski explains why analogue to do a virtual sound check, has meant we’ve is still appealing to many clients, including its work enue stream to support a purchase,” adds Hale. also expanded our offerings “There’s lots of technical innovations with venues across the West Midlands in this area and taken on a in products too, such as Waves offering up to larger one-off music events. diverse range of software and additional signal processing, and digi“The resurgence of vinyl record sales hardware platforms.” tal RF transmission systems reducing clearly shows the return of the passion For product maintenance, the bandwidth taken up by individual for analogue,” says Czechowski. “Our Skan schedule it around the wireless microphone channels. The system is perfect for clients who want shows, and updates and reduction of available RF spectrum to make a sonic statement with their upgrades as required. A dediand the continued increase in the event. It’s all about the warm and clear cated service manager and number of wireless channels used by sound, together with a unique retro, Martin Hale Alex Czechowski technology specialist manproduction poses a significant chalbut actually rather contemporary look. age this process. lenge however.”

“It’s a surprisingly compact truck pack, and “We have the benefit of space to ensure that we scalable to suit concerts of all sizes.” can set-up a production line to perform these tasks With digital equipment advancements leading Capturing data Operating since the ‘70s, Berkshire-based Skan and get the process completed as soon as pos- the way in the industry, the products may be ever PA Hire covers all aspects of live audio for clients sible,” says Ellis-Cope. “With the number of shows changing, but one thing is for sure – you can rely such as Muse, Take That, Elbow, Liam Gallagher, we currently provide support for ever increasing, on the live audio experts in the sector to keep you Jeff Lynne’s ELO, Biffy Clyro and Pete Tong & The we keep very accurate records of the exact specifi- updated with what’s possible and what will give cations with firmware and software versions.” the best sound on stage.

Heritage Orchestra.

February 2018 • Issue 217 • www.liveuk.com

I 27

Production news Prodigy show is ready for a riot Newsbites A DISTURBING vision of the future lay at the core of the stage set by Prodigy, whose lighting and set designer Tim Fawkes created four hexagonal retro-style search light features as the visual core of the production.

He worked with Blackburn-based production providers HSL to create the units, designing them in WYSIWYG before settling on a housing which contained seven Claypaky Sharpies, a Martin Atomic LED, two Philips Nitro 510C strobes and eight individual PAR 36 ACLs. The shells were outlined with LED tape

so they glowed in the shadows and designed to be tourable, each weighing under 300kgs.

“The underlying idea was to create a scene of dystopia on stage,” says Fawkes. “The band are passionate about lighting and it is an essential element helping them feed the intense rapport between stage and fans. A typical Prodigy lightshow involves layers of visual effects and for this one I alternated between beams, strobes and Moles/blinders, flipping between tungsten and LED.” The show, which toured venues including Brixton’s O2 Academy

(cap.4,900), The Doncaster Dome (2,100) and Plymouth Pavilions (2,500), saw the search light assemblies positioned two on risers towards the back of the stage, with two on the floor in front. Three scenic surveillance camera masts also dominated the stage, while truss towers carried Vari-Lite VL4000 wash beams, Atomic LEDs and Robe PATT2013s.

“Fans are expecting to come in and tear the place up,” says Fawkes. “Capturing that whole riot vibe is essential to delivering a successful show.”

Capital’s new system proves a perfect fit WITH THE audience filling three quarters of the circular Royal Albert Hall (cap. 5,300) in London, for Imelda May’s concert featuring guests Ronnie Wood and Bob Geldof, the audio system needed to cover a 270 degree angle, with only the choir stalls at the back of the venue remaining unused.

Audio supplier Capital Sound completely redesigned its trussing system to improve PA control, load-in and coverage for the show, according to the company’s director Paul Timmins, allowing a new approach to delivering the bass sounds.

“We were conscious that our [trussing] system design hadn’t changed in a while, and during that time loudspeakers have become

much lighter,” says Timmins. “We needed to design a universal rigging package that would be easier to load.”

The main and side PA hangs were flown from single mother trusses, and picked up on two Capital Sound with Imelda May at the Royal Albert Hall points via house motors.

Capital then deployed two motors fills. The central hang featured four per hang, giving them full inde- MLX subs, with one reversed while, at ground level, three more MLX pendent control.

“We not only get much more ac- were recessed under the stage, with curate focusing using these two one reversed.

“We haven’t always flown subs points, but it means that neither the main or side hangs are moving before, but for a circular room, it is better in terms of time alignment,” around,” says Timmins.

The PA comprised 12 flown MLA says Timmins. “The icing on the elements per side, supported by 11 cake is our ability to fit the PA into a MLA Compact on each flank for out- 25-tonne truck rather than an artic.”

Specialist Suppliers to the Entertainment Industry

On Stage, On Air, On the Road Delivering quality equipment and professional services to the entertainment industry since 1976

THE 1,000-capacity Hippodrome, Darlington, newly refurbished as part of a £13.7m scheme, including a £5m Heritage Lottery Fund grant, has chosen distributor A.C. Entertainment Technologies (AC-ET) to supply most of its audio, lighting and video systems. The company supplied 273 separate pieces of equipment, consisting of 45 different products and accessories. Brands included Chroma-Q, A&H, Yamaha and Panasonic.

Artistes performing at the theatre include Jimmy Osmond, Smokie and Russell Watson.

MANUFACTURER Penn Elcom has launched a “high performance” cable protector designed to withstand the weight of tractors, forklifts and scissor lifts, which is aimed at concerts, festivals and other sectors. Cross 3 is manufactured from thermoplastic polyurethane (TPU), chosen for its strength, fire retardancy, resistance to abrasion and flexibility and recyclability, according to the company.

It says the product is ideal for accommodating multicores, mains, data, TRS, fibre and copper cabling and has hatches for use on bridges and overhead structures.

THE LIGHTING and rigging provider TSL, which has worked with live music clients including Gary Numan, Daughter and Daddy Yankee, has appointed Colin Paxton to manage its dry hire department. Paxton has worked in similar roles in production rental companies, including hire manager at Enlightened Lighting.

John Beer, who previously held the position, moves into the role of operation manager.

Backline Rental Amplification Brass & Wind Cymbals Cymbals Drums Effects Flightcases Grand Pianos Guitars Guitars & & Basses Basses Keyboards Keyboards Music Stands Organs Percussion Synthesizers Transformers Vintage

John Henry’s Ltd. | 16-24 Brewery Road, London N7 9NH | www.johnhenrys.com | e: info@johnhenrys.com | T: +44 (0)20 7609 9181

February 2018 • issue 217 • www.liveuk.com

28 I

Production news Hurts get what they desire EPS predicts business boom PRODUCTION DESIGNER Rob Sinclair

worked to a quirky industrial brief for synth duo Hurts, who played shows at Brixton’s O2 Academy (cap. 4,900), and Manchester’s O2 Apollo (3,500) as part Colour Sound at work with Hurts of their Desire tour.

Sinclair also insisted that no rig, complete with some visual surstrobes or blinders be used in the prises throughout the set.

Effects included a chandelier light show, presenting lighting director and operator Matt Arthur made of 36 Martin Sceptron LED with the challenge of achieving battens in three concentric rings, an upstage truss concealing 20 1K those effects in different ways.

The set was based around four fresnels rigged on vertical pipes “concrete” pillars, or stalagmites and six Robe BMFL spots for front measuring 12 to 16ft high and projection and downstage washes.

“Colour Sound ensured we re20” in diameter, offset at different angles and rotations. The team in- ceived exactly the rig we wanted vited West London-based Colour and the gear came out of the Sound Experiment to provide a warehouse meticulously prepped,” “practical and compact” lighting says Arthur.

growing importance of events not just THE EVENT Production Show (EPS), for businesses but for consumers, with the event trade exhibition at Olymover 700 festivals in the UK. There are pia, London, later this month, is conevents every weekend and the season sidering a range of venue and format runs far beyond the end of September.” options for its 2019 event based on The show runs simultaneously with what it already believes is the sucMash’s conference event, Internationcess of this year’s event. al Confex (8,000 visitors in 2017).

The exhibition showcases entertainSiegle says traditional services inment technology in all sectors of the cluding theming and bars festival and concert tourare buoyant as organisers ing industries, from staging, seek to make their events screens and audio to marmore individual, while Wiketing technology and tickFi and ticketing businesses eting. Significant live music are doing well, expanding exhibitors this year include their offering beyond traStar Events and GL Events, ditional roles. while speakers include John “The show has stepped Giddings of Isle of Wight Fes- Duncan Siegle up to the extent that we’re tival (cap. 47,000) and Stuart discussing whether, in 2019, it will Galbraith of promoter Kilimanjaro. become stand alone, whether we do “We had over 5,000 visitors last year and could reach 6,000 this year,” it earlier in year and, possibly, change venue as we’re ‘maxed out’ at Olymsays event director Duncan Siegle of pia,” he says. EPS runs from 28 Februorganiser Mash Media. “We expect to ary-1 March. sell out at 190 stands. This reflects the

MagicBlades adjust to the Quo SWITCHING BETWEEN their acoustic or “Aquostic” concerts to the electric Plugged In – Live and Rockin’ tour, Status Quo required lighting capable of both dynamism and subtlety in a single touring set up.

Lighting designer Ewan Cameron says he chose a range of fixtures, supplied by event production specialist Hawthorn Lighting, for their flexibility, for shows including London’s Eventim Apollo (cap.

5,000), Newcastle-upon-Tyne’s City Hall (2,100) and Cardiff’s St David’s Hall (2,000).

“I needed a range of units that could provide the punch required for a classic high energy rock and roll show but could then be retasked to fit in with the subtlety and gentler pace of the acoustic show,” says Cameron.

Among the lights were Martin MAC Viper Profiles, Aleda BEYE K10

and K20s, Mac Aura XBs and Ayrton MagicBlade FXs. “The Ayrton Blades are a great example,” Cameron says. “For the acoustic show, Hawthorn lights shine on Status Quo I needed a fixture that would provide an even wash for the electric shows to become across the grey velvet backdrop a punchy audience blinder and efto give bold stripes of vibrant col- fects unit providing a wide range of ours. They can be rigged differently different effects.”

Mobile stages | Platform stages | Risers | FOH structures | Front of stage barriers

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30 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

Call for Kendal Troubadour is back collaborators KENDAL CALLING (cap.

25,000) is now accepting applications for its 2018 edition, held 26-29 July in Lowther Deer Park.

Programming director Emma Zillman says that the size of the event, along with the vast number of stages available to host acts, means that any Kendal Calling talented artiste can find a “We just need to be able to see place within the festival.

“We don’t worry too much about how confident they are on stage, genre in the sense that we have 15 and how good a job they’re doing in front of an audience.” stages to book in total,” she says.

She adds that live ex“While the majority of perience also tends to acts will go onto the main mean a more savvy apor second stages, I always proach to marketing. have the option of talk“If an act is already ing to the other bookers touring, they tend to if I think an act is a good understand how best to fit elsewhere.” promote themselves,” Zillman notes that says Zillman. “It’s an atwhile the focus of the ap- Emma Zillman tractive quality if a band plication is on recorded output, evidence of live ability is is out there creating a buzz, and is therefore louder about playing our equally important.

“If I hear a recorded track that I festival.”

Last year saw acts including Manic like, that’s great, but the next step will be to see if I can find a live video Street Preachers, Frank Turner and Slaves take to the stage. on Youtube or Facebook,” she says.

February 2018 • Issue 217 • www.liveuk.com

LEGENDARY LONDON venue The Troubadour (cap.

110) is hoping to enjoy a renaissance, having booked in a new series of monthly and weekly nights working with emerging musicians.

Ian Williamson, who describes himself as ‘director of happenings’, says that since his tenure began in August, significant efforts have been made to keep the venue’s listings eclectic and fresh.

“That can range from rock club nights, which comprise both acts and DJs, via what I’m pretty sure is London’s only electronic open mic night, through to ska and reggae performances in association with the Alpha Institute in Kingston [Jamaica],” he says.

“We have a lot of options with different rooms in the building, Ian Williamson from the basement stage through to the cafe and gallery area that used to be a wine shop, so we can put different acts on in more appropriate places.”

The venue was bought outright by existing shareholder Giles McNamee after falling into administration last summer, and Williamson says that getting the

The Troubadour

buzz back will require a thoughtful strategy.

“Obviously we’re keen to make sure the venue reasserts itself as an artistic hub for the area – the number of legendary artistes that have passed through these doors is incredible, and the venue itself is beautiful, so it’s just a case of making sure the right artistes are here,” he explains.

“I’m looking at getting the capacity increased soon, and we’ve upgraded the sound system along with hiring the talents of some world class live engineers, so there’s a lot of potential.

“There’s nothing of this size in the area either so it can be a great place for emerging artistes.”

Artistes to have previously played the venue in its heyday include Joni Mitchell, Bob Dylan and Jimi Hendrix, while in recent years Jamie T, The Dead 60s and Paolo Nutini have taken to the stage.

NXT news I 31

in association with

Building from the bottom up THOSE LOOKING to Dundee for touring potential should take note of Conroy’s Basement (cap.

100), a venue booked and hired out by DIY punk promoter and record label Make That a Take (MTAT) since 2006.

Co-founder of the collective Derrick Johnstone, who also uses Abertay Student Centre (350) for larger events like annual weekend festival Book Yer Ane Fest, says that the basement has long since diversified in its output.

“We probably do a couple of MTAT shows a month these days, although that goes up or down depending on circumstances,” he says.

“Our basement is also available to other pro- to host them, and beyond that, Please, Believe!, moters, and we’ve hosted a large variety of acts, Goodbye Blue Monday, PMX, Holy Snakes, Delinquents and VFLambda are the club nights, meetings, spoken word first local acts killing it that come to acts and fundraisers. mind,” he says.

“We’ve certainly been fairly busy reWhen it comes to booking acts, cently, and we’ve had a bunch of sellJohnstone looks for high standards out shows over the last few months. in both music and attitude.

Book Yer Ane Fest in particular was “MTAT only put on bands that we crowded chaos.” like – that is pretty much the sole Johnstone notes that Dundee has primary criteria, and everything its fair share of homegrown talent, too. Derrick Johnstone beyond that is subjective and dis“Kaddish will always be the greatest band on earth to me, so it’s always a pleasure cussed by the collective,” he says.

Wide appeal in Edinburgh WIDE DAYS, a two-day showcase, conference and networking event held in Edinburgh, is expecting to see a total of around 350 delegates attend this year.

Founder Olaf Furniss says that while the event, on 20-21 April, was founded due to a need for emphasis on Scottish acts, the city of Olaf Furniss Edinburgh has become a unique draw for Wide Days in itself.

“Over the years, we’ve refined the format – there’s a much greater emphasis on networking now, and in 2014 we were named Best Networking Event at the Music Con-

vention Awards,” he says.

“Alongside the various talks, panels and performances in various venues across the city, I also personally host a guided tour of the city, which has proven to be a popular way of people connecting.”

In hunting out acts to perform at the showcase side of the conference, Furniss says that a little forethought helps to rule out those acts who are less compatible.

“They all have to go through the same application process, which includes us checking whether or not they’re signed up properly with

Wide Days conference

PRS,” he says.

“It’s a really good way of weeding out the fantasists in the first instance, and then from those that make it through, because of the broad experience and interests of the team, at least one of us will be able to vouch for the quality of

those acts making it through.”

Artistes playing in 2017 included Emme Woods, JR Green and The Ninth Wave perform. Venues include EUSA’s Pleasance Theatre (230) and La Belle Angele (cap. 600).

Early-bird tickets are from £75, weekend tickets from £99.

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CONTACT Jo Ditch Venue Director by calling 01923 474100

Febraury 2018 • Issue 217 • www.liveuk.com

32 I NXT Feature

in association with

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

Utilising the sonic boom Making it to Eurosonic is only half the battle – if an act is going to walk away with the right deals, they need to be prepared. Rob Sandall finds out what it takes.

E

“If you’re a relatively unknown artiste and you which I’m very grateful for.” urosonic Noorderslag, the four-day showcase Alongside the promotional possibilities, Bent and conference held in the Dutch city of pick up several touring offers in one weekend, it’s notes that the event is as much a useful networkGroningen, has built a reputation for itself safe to say that you’re on your way up.” ing event as it is a chance to go to the live shows, as a crucial gateway for emerging acts hoping to which don’t necessarily hold as much potential for conquer Europe.

Right place, wrong time Savvy managers, agents and labels can take Booker Robert Meijerink says that the acts that acquisition as one might think.

“I primarily go to support my acts and meet all advantage of the industry gathering to secure see the most benefit from performing tend touring deals across the continent, but only if their to be those that already have a strong team key promoters, but it’s such a small network in this industry, you will hear about what’s worth seeing,” timing, talent and support are a cut above the rest. around them.

Co-founder of the event, launched in 1986, “It can be hard sometimes, when an act clearly she says.

“The tough bit is that the majority of ‘hot’ acts Ruud Berends believes that the real draw for the has the talent to play Eurosonic, but haven’t got 4,100 attending delegates is the opportunity to the support they’ll need – from radio, an agent, usually already have an agent in place.”

“In terms of promoting my own acts, I will send find themselves surrounded by the a label, or indeed financially – to get best of European talent, for one weekthem there and get them enough a solid update in advance to my network of industry promoters, labels etc that I already have long end, in one easily navigable city. attention,” he says.

“We have 350 relatively-unknown “We try to prevent acts essentially standing relationships with.

“Usually, I have been updating them already for European artistes performing, and I turning up for a ‘fun trip to Groninthink that in itself is quite a unique congen’, and that means making sure that months on said acts and it becomes a must-see cept,” he says. they’ll be able to make the most of show for them.”

“There’s a broad spectrum in terms their exposure to the industry.” of background, experience and expec- Ruud Berends Meijerink adds that the ‘readiness’ Best in the west tation among our delegates, and that’s of said acts, along with their country Chief executive of MMF Annabella Coldrick agrees fun because regardless of whether of origin, has a strong bearing when that Eurosonic is a unique opportunity to get they’re from independent set-ups picking out the 4,500 submissions they ahead of the curve. or heading over from majors, it’s still receive each year.

“It’s an excellent chance to be able to take in a a people business ultimately, and a “Obviously it’s quite tricky getting huge number of acts at once, but at a pace that’s chance for great discussion within the turnaround fast enough – we don’t still manageable,” she says. the industry.” have too long to make sure not only of “I consider myself to be slow and I get to say six Berends says that the focus this the quality of those who are playing or seven bands in one night – some people are year has been on nurturing that com- Natasha Bent but also that each country is well rep- scouting acts incredibly quickly, listening to two municative side to the event, and resented,” he says. songs per act, then on to the next one. notes that great pains have been made to help “The UK is typically well represented in that “It’s a good and slightly odd experience seeing people connect. of course, it’s just a case of deciding acts that will go on to be future festival “The networking element is what people want which acts are going to have the best main-stage acts in a small pub in Gronmost, and that’s been something we’ve been really chance of securing bookings, in the ingen.” happy to refine over the years,” he explains. right stage of their career.”

Coldrick adds that despite not being a “We want to make sure that the entire experibooking agent, the event still holds sigence and conference is tailored to reflect the needs Prior planning nificant value to her, especially in comof those attending – that includes understanding Coda Agency’s Natasha Bent feels parison to equivalent events. trends in gender and age and so on – and making that Eurosonic has become a “People tend to obsess over SXSW [in sure that within half an hour of being welcomed particularly important point in any Annabella Coldrick Austin, Texas], but the comparative hasthere’s a real sense of hospitality. sle involved is worth considering,” she says. agent’s calendar.

“We’re a non-profit, so we tend to judge our suc“Eurosonic is a fantastic networking event for “All the acts that have been picked to play Eurocesses by the number of acts that have picked up sonic get great reactions from it,” she says. me with very little difficulty involved in the logisdeals through the event [monitored via the Euro“A lot of my acts have benefitted in the past tics of getting and staying there, and I’ll be able pean Talent Exchange Program, – we want to make including CHVRCHES, First Aid Kit, IDLES, Superor- to meet European managers of the various acts sure that our delegates are benefitting, and that ganism, YOUNGR – if they play at the right time, it’s there, so it’s a place to make connections and their acts are too. incredibly effective, and it’s yielded opportunities form alliances.”

February 2018 • issue 217 • www.liveuk.com

NXT Feature I 33

in association with

Managing Talent Building emerging careers builds a connection with listeners, gives them irreplaceable chances to extend their network, sell physical merchandise and grow as a performer.

“Especially in this age of the digital releases and streaming, live performances are super important to generate revenue for artistes as well.”

Other emerging acts to watch: Boadi Greatest lesson learned: “Sometimes it’s better to play for less than you’d have liked, rather than to stick resolutely to the fee you want and not play at all.”

Ré Poko OverTheEdge, London E: overtheedgemusic@mail.com Artiste roster: Asante Justice, Pokovsky, J River, Kab Favourite venues for showcasing/ playing: Silver Bullet and Jaguar Shoes, both London, and Patterns in Brighton Importance of playing live: “It’s incredibly important for artistes to play live in the early stages of their career. It locks in their core fan base,

Worst live experience: “There were a pair of back to back festival bookings a couple years ago, which meant we had to drive from Brighton to Cambridge and back to Brighton in one weekend.

The only problem was we hadn’t sorted a driver. It was a nightmare logistically, but it taught me to always be organised well ahead of time.”

Current live projects: Asante Justice

Stage Break

Duncan Smith

The Boileroom 13 Stoke Fields, Guildford, Surrey, GU1 4LS Bookings: Duncan Smith T: 01483 440022 E: Duncan@theboileroom.net W: www.theboileroom.net Capacity: 275 PA/lights: Yes Dressing rooms: One Booking policy: “Live music most nights of the week with most genres finding an audience at the venue. We push to have at least one local band on every show, even with the bigger artistes.”

Best acts currently playing venue: Vinyl Staircase, Drug Store Romeos, China Bears, FOXE, Blackwaters, Grapefruit Moon, Otis Mensah Best advice for managers: “Be communicative, polite and understand that putting on a successful, enjoyable live show involves effort from everyone. Understand the importance of not overplaying locally and that getting an audience takes more time than you’d like and a lot of hard work.

Aim to sell out your local venue before hitting the van and playing way out of town.”

Acts who’ve played the venue: Wolf Alice, Ed Sheeran, The 1975, First Aid Kit, Ed Sheeran, Blossoms, Catfish & The Bottlemen, The Amazons, Pale Waves, Declan McKenna

February 2018 • issue 217 • www.liveuk.com

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

Period

Contact details

All Our Jun-Sept Sarah Casey, The Leighton-Pope Exes Live Organisation In Texas T 020 8741 4453

arah@l-po.com Alice Sept-Dec Zac Peters, DMF Music Jemima T 01392 437733

zac@dmfmusic.co.uk Ana Moura Jul-Nov David Flower, Sasa Music

T 07798 743466 rab@sasa.demon.co.uk Billy Ocean Jun-Sep Sarah Casey, The Leighton-Pope

Organisation

T 020 8741 4453

sarah@l-po.com Boomtown Rats with Bob Geldof

Jun-Sept Alan Cottam,

Alan Cottam Agency

T 01254 668471 alan7000uk@yahoo.com

Bonfire Jun-Nov David Clough,

Extreme Music Agency

T 01924 438295 Dave@extrememusicagency.com CC Jun-Aug Sarah Casey, The Leighton-Pope Smugglers Organisation

T 020 8741 4453 sarah@l-po.com Cliff Bennett Jun & The Rebel Rousers

Mark Lundquist, MLM Concerts T 01483 224118 mark@marklundquist.com

Chris Jun-Dec Steve Galeazzi, Industrial Bannister Strength Media

T 01942 321435 steve@industrial-strength-media. co.uk

CC Smugglers

Artistes

Period

Contact details

Artistes

Cregan & Co Jun Mark Lundquist , MLM Concerts

T 01483 224118 mark@marklundquist.com Dreadzone Sep-Dec Zac Peters, DMF Music

T 01392 437733

zac@dmfmusic.co.uk Graham Jun-Aug Alan Cottam, Alan Cottam Bonnet Agency Band

T 01254 668471 alan@alancottamagency.co.uk Gary Jun Chris Wade, Strada Music Stewart’s T 01377217662 Graceland info@stradamusic.com Glenn Jun Alan Cottam, Alan Cottam Agency Hughes T 01254 668471 alan@alancottamagency.co.uk Hannah Oct Sanders & Ben Savage

Chris Wade, Strada Music T 01377217662 info@stradamusic.com

Hope & Oct Chris Wade, Strada Music Social T 01377217662 info@stradamusic.com

Billy Ocean

Period

Jools Jun-Aug Holland & His Rhythm & Blues Orchestra

Contact details Nick Peel, Miracle Artists T 020 7935 9222 nick@miracle-artists.com

Keid Jun-Jul Debra Downes, Dawson

Breed Music

T 02077330508 debra@dawsonbreedmusic.com Kenney Jun-Jun Mark Lundquist, MLM Concerts Jones &

T 01483 224118 The Rebel Rousers mark@marklundquist.com Lindisfarne Oct-Dec Chris Wade, Strada Music

T 01377 217662

info@stradamusic.com Lo’Jo Jun David Flower, Sasa Music

T 07798 743466

rab@sasa.demon.co.uk Moon Jul Zac Peters, DMF Music Hooch T 01392 437733 zac@dmfmusic.co.uk

Johnny Jun-Sept Sarah Casey, The Leighton-Pope Hates Jazz Organisation

T 020 8741 4453 sarah@l-po.com

Martine Jun-Sep Carl Leighton-Pope and McCutcheon Rebecca Drouet, Leighton-Pope Organisation

T 020 8741 4453 becky@l-po.com

Jacky Jun-Jul David Flower. Sasa Music Molard Quartet T 07798743466 rab@sasa.demon.co.uk

Maya Youssef Jun-Nov David Flower, Sasa Music

T 07798 743466

rab@sasa.demon.co.uk

Subscribers to LIVE UK can submit their artistes for free listing in Tour Plans, subject to available space and at the discretion of the publisher. Send your info to: laura@liveuk.com

“We love it when a plan comes together!”

CaLL now For a Quote

For more inFormation: CaLL 0141 954 4641 / 07737 929381 or go to www.bandrunner.Com February 2018 • issue 217 • www.liveuk.com

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

Period

Contact details

Artistes

Period

Contact details

Manfred Jun-Sept Alec Leslie, ALE Consolidated Mann’s Earth T 01829 730488 Band alecconsol@aol.com

PIST*ON Jun-Aug Dave Clough,

Extreme Music Agency

T 01924 438295 Dave@extrememusicagency.com

McNally Jun-Sept Alan Cottam, Alan Waters Band Cottam Agency

T 01254 668471 alan@alancottamagency.co.uk

REWS Jun-Sept Matt Bartlett, Midnight Mango

T 01458 211117 mb@midnightmango.co.uk

Michael Jun-Oct Chris Wade, Strada Music Chapman T 01377 217662 info@stradamusic.com Nazareth Jun-Sep Alan Cottam, Alan Cottam Agency

T 01254 668471

alan@alancottamagency.co.uk Orbital Jun-Sep Dan Silver, Value Added Talent

T 0207 704 9720

dan@vathq.co.uk

Roberto Jun-Aug David Flower, Sasa Music Fonseca T 07798743466 rab@sasa.demon.co.uk Ruby Turner Jun-Aug Nick Peel, Miracle Artists

T 020 7935 9222

nick@miracle-artists.com Steps Jun-Aug Gary Howard, United Talent Agency

T +44 20 7278 3331 gary.howard@unitedtalent.com

Peace Jun-Sept Alec Leslie, ALE Consolidated Pirates T 01829 730488 alecconsol@aol.com

Shakin’ Jun-Sep Carl Leighton-Pope, Rebecca Stevens Drouet, Leighton-Pope Organisation

T 020 8741 4453 becky@l-po.com

Peatbog Jun-Oct Chris Wade, Strada Music Faeries T 01377 217662 info@stradamusic.com

System 7 Jun-Sept Dan Silver, Value Added Talent

T 0207 704 9720 dan@vathq.co.uk

Toploader

Artistes

Period

Contact details

10cc

Jul-Aug Steve Parker, Miracle Artists

T 020 7935 9222 steve@miracle-artists.com

The Eskies Jun-Sept Matt Bartlett, Midnight Mango

T 01458 211117 mb@midnightmango.co.uk The Human Jul Paul Boswell, Free Trade Agency League T 0203 700 3377 info@freetradeagency.co.uk The Jun–Sept Ryan Balch, The Leighton-Pope Mariachis Organisation

T 020 8741 4453

ryan@l-po.com The Jul Nigel Kerr, ABS Agency Yardbirds T 020 8399 3474 absagency@mac.com The South Jun-Sept Dan Silver, Value Added Talent

T 0207 704 9720 dan@vathq.co.uk The Sweet Jun-Aug Nigel Kerr, ABS Agency

T 020 8399 3474 absagency@mac.com Toploader Jun Mark Lundquist, MLM Concerts

T 01483 224 118 mark@marklundquist.com Viva Santana Jun-Jun Mark Lundquist, MLM Concerts

T 01483 224118 mark@marklundquist.com Xander & Jun -Sep Alec Leslie, ALE Consolidated The Peace T 01829 730488 Pirates alecconsol@aol.com

The Mariachis

KINEKT

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.

K I N E K T IS A S M ALL, LIGH T - WE I GHT, MOD UL A R SCA NNI NG L A SER FI XTURE T HAT CAN C O NNECT TO ANY NUMB ER OF A D D I TI ONA L KI NEKT UNI TS. The laser beams emitted by each KINEKT laser fixture, meet on an X and Y axis to create laser scanned effects. KINEKT comes with an FB4 control in-built and works with DMX, Art-Net and BEYOND, the connections on the KINEKT allow for simple in and out daisy chain connection. Each KINEKT has a 3w laser beam comprising of red, green and blue diodes. The mounting system is designed so that the units can be connected on any side to create an endless array of laser beams as long or as wide as the stage will allow.

UK +44 1322 293 135 | USA +1 214 2700665 | AUSTRALIA +61 403 703 731 | SPAIN +34 938 000291 | info@er-productions.com | www.er-productions.com

February 2018 • issue 217 • www.liveuk.com

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38 I backstage stars Backstage

Stars Profile

Mikey Jonns After running a marathon following a two-day bender with Kasabian, it’s no surprise emerging bands want Mikey Jonns in their corner. The director of This Feeling - the promoter, club night and fanzine – runs stages for upcoming acts at some of the UK’s biggest music events and has aspirations to run his own festival.

What are your first live music memories?

“My first gig was Paul McCartney at Wembley Arena with my mum, dad and brother Chris. We were about five and six-years-old and had brown cords on, and McCartney invited us up on the stage. Bizarrely enough, Billy Joel did the same at our next gig at the same venue.

“The first gig I went to as a teenager was at The Island in Ilford and was Mansun and Sleeper. I also saw Oasis and The Verve at Earl’s Court when I was 16 and was blown away. I was completely in awe and in love with those two bands and still am.”

How did you get into the music industry?

“I did Business Studies at Sheffield Hallam. I had a 13 per cent attendance record, got a 2:2 but should have got a 2:1. I spent most of my time in The Leadmill, which was the best degree I could ever have wished for.

“When I was at university, my mate’s band Little Ze from Sheffield asked me to manage them. It started as a joke, they wanted to get this mad for it cockney lad to manage them because I was good at talking to people and making things happen. I got them tours with Kasabian, Tim Booth and The Rifles and things all stemmed from there.

“Rupert Dell who was at The Leadmill gave me early advice, guest-lists, hook ups and help. I even stayed on his floor for a year, and never did the washing up.”

April 20162018 February • Issue • Issue 195 217 • www.liveuk.com • www.liveuk.com

LIVE UK intervie ws key people who help shape our industry

How has your career developed?

“I managed bands whilst temping for various firms. I used to get in early to use their colour printer/paper, make posters and flyers. Every lunch-time I was on the phone and doing emails.

“I then started promoting and pushing new talent with This Feeling through the Jack Daniel’s Jack Rocks stage at shows across the country and festivals including TRNSMT, The Great Escape, Isle of Wight and Reading festival.”

meeting up at This Feeling nights up and down the UK, emerging right now. The spirit is all inclusive, it’s a scene, a community, and a family. The underground will become the overground sooner rather than later and it’s going to be glorious.

“We’re going to be doing more gigs, more cities and towns, visiting anywhere that’ll have us. We are hitting Dundee, Grimsby, Plymouth and many more this year. If there’s a good band in a city/ town we think we can help, we’ll get involved.”

What have been your greatest highs and lows?

How do you wind down?

“Managing bands and not getting them signed was a low. I put my heart and soul into it, and when it doesn’t go as you [and the band] want, it’s heart breaking and soul destroying.

“Similarly, when you give a band your all, do everything you can to help them and promote them, and they betray you, that hurts. My greatest strength - how much I love and will help new bands - can also be my greatest weakness, because it leaves my heart exposed.

“A real high was getting a stage at the Isle of Wight Festival. I asked John Giddings when we were out in the zone, [he’s a bit of a hero of mine] and we just made it happen. This Feeling has had a stage there for the past three years and it’s always the best weekend of the year.”

Do you have any observations about the way the industry is moving?

“There’s a great group of bands, bloggers, photographers, venues and gig-goers all over the UK,

“I barely ever stop, I’m always out. It’s not work or a job for me, it’s what I do and love. I have the best, most tolerant wife [just married] ever, but have promised this year if I say I’ll be home by 12am, I will, and not to roll in at 7am and go straight on the school run with Ray Ban’s on.

“I do collect Marvel prints and comics and am a season ticket holder at Liverpool FC. “My aim this year is to run a marathon under five hours and be healthy while doing it. The first one I did was 10 years ago in New York and I had the flu. The second in Kilimanjaro, I did off the back of a two day bender post NME awards. I left Kasabian’s hotel and went straight to the airport.

I got to Kilimanjaro and my bag ended up in Cape Town, so I had to run the marathon in the converse I had on at NME awards two days before.

I am doing the London Marathon this year for Teenage Cancer Trust.

“I’d also love to have my own festival one day and book all the bands, big and small, that I love.”

RE-OPENING ‌WE CAN 2018 HARDLY WAIT! Looking forward to.

Switzerland’s largest,. most versatile and. innovative event hall..

Capacity close to 13 000!.

tionc a , ing he Thrill vents in t de e! packe akobshall St. J t ct tha a f e h pite t tly being s e d n is All th ll is curre ovated a the h pletely ren ed. com moderniz and

Ask us if you are planning an event: Switzerland +41 61 317 82 22 info@stjakobshalle.ch www.stjakobshalle.ch

Our city centre Birmingham, Nottingham and Cardiff venues have been staging international and national tour shows since 2002.

Overseen by In-House Promoter Markus Sargeant. The venues offer seated and standing formats, are highly versatile and are fully equipped with professional inhouse PA, lighting and experienced technical staff. Glee also has an in-house box office for ticketing and a marketing team.

VENUE CAPACITIES

BIRMINGHAM MAIN ROOM: 400 SEATED 600 STANDING STUDIO: 140 SEATED

NOTTINGHAM MAIN ROOM: 350 SEATED 450 STANDING STUDIO: 170 SEATED

CARDIFF 400 SEATED OR 600 STANDING Live music flourishes in the enticing show environment of The Glee Clubs, where a broad spectrum of singer-songwriters, indie-rock, pop, electronic, jazz, roots, blues, world and spoken word artists perform. The venues are universally acknowledged as key venues to play for touring artists, who require distinctive and meaningful destinations, where the desired and mercurial connection between artist and audience can be created.

The essence of music at The Glee Clubs is best expressed by the artists who have performed over the years, including award-winners and those who have have played ‘legendary early shows’ and progressed to become thrilling pathfinders and trailblazers.

& THE JOHNSONS, JOANNA NEWSOM, FEIST, BAT FOR LASHES, SUFJAN STEVENS, REGINA SPEKTOR, ST. VINCENT, LAURA MVULA, JOHN GRANT, GLEN HANSARD, LYKKE LI, ÓLA , SCOTT MATTHEWS, BENJAMIN CLEMENTINE, ADELE, RICHARD HAWLEY, IMELDA MAY, NIGEL KENNEDY, MELODY GARDOT, RUMER, ROGER MCGUINN (THE BYRDS), CERYS MATTH TON, NEIL FINN (CROWDED HOUSE), RAY LAMONTAGNE, SONS, STEVENS, LAURA MARLING, HOWARD, LIANNE LA HAVAS, ANTONY & THE JOHNSONS, JOANNA NEWSOM, FRANK FEIST, TURNER, BAT FORMUMFORD LASHES, &SUFJAN REGINABEN SPEKTOR, ST. MICHAEL VINCENT,KIWANUKA, LAURA MVULA, JOHN GRANT THE STA G, ANNAGLEN CALVI, DAUGHTER, GEORGE EZRA,ARNALDS, EZRA FURMAN, THE PIERCES,BENJAMIN THE SHIRES, JACK SAVORETTI, IRON & HAWLEY, WINE, MARK LANEGAN, HENRY ROLLINS, LOW,GARDOT BEACH HOUSE, HANSARD, LYKKE LI, ÓLAFUR SCOTT MATTHEWS, CLEMENTINE, ADELE, RICHARD IMELDA MAY, NIGEL KENNEDY, MELODY THURSTON MOOREROGER (SONIC YOUTH),(THE DIRTY THREE,CERYS MANCHESTER ORCHESTRA, WHITE DENIM, NEW,HOUSE), THE CORAL, GRUFF RHYS (SFA), RODDY&FRAME, RUMER, MCGUINN BYRDS), MATTHEWS, PAUL HEATON, NEIL FINN BRAND (CROWDED RAY LAMONTAGNE, FRANKSUPERGRASS, TURNER, MUMFORD SONS RON SE PARK, BOY GEORGE, JOHN CALE, GLENN TILBROOK (SQUEEZE), RODRIGO Y GABRIELA, LEE SCRATCH PERRY, MR SCRUFF, LAU, SNARKY PUPPY, THE UNTHANKS AND BBC MUSIC (V LAURA MARLING, BEN HOWARD, MICHAEL KIWANUKA, LIANNE LA HAVAS, THE STAVES, JAKE BUGG, ANNA CALVI, DAUGHTER, GEORGE EZRA, EZRA FURMAN , ANTONYTHE& PIERCES, THE JOHNSONS, JOANNA FEIST, FOR LASHES, SUFJAN STEVENS, REGINALOW, SPEKTOR, VINCENT, JOHNMOORE GRANT, GLENYOUTH) HANSARD, LYK THE SHIRES, JACKNEWSOM, SAVORETTI, IRONBAT & WINE, MARK LANEGAN, HENRY ROLLINS, BEACH ST. HOUSE, JULIALAURA HOLTER,MVULA, THURSTON (SONIC R ARNALDS, CLEMENTINE, IMELDA NIGEL KENNEDY,RODDY MELODY GARDOT, RUMER, ROGER BYRDS), CE DIRTYSCOTT THREE,MATTHEWS, MANCHESTERBENJAMIN ORCHESTRA, WHITE DENIM,ADELE, BRANDRICHARD NEW, THEHAWLEY, CORAL, GRUFF RHYSMAY, (SFA), SUPERGRASS, FRAME, RON SEXSMITH, MAXIMOMCGUINN PARK, BOY(THE GEORGE WS, PAULJOHN HEATON, FINN (CROWDED HOUSE), RAY LAMONTAGNE, FRANK TURNER, SONS, LAURAPUPPY, MARLING, BEN HOWARD, MICHAEL LIANNE LA HA CALE,NEIL GLENN TILBROOK (SQUEEZE), RODRIGO Y GABRIELA, LEE SCRATCH PERRY,MUMFORD MR SCRUFF,& LAU, SNARKY THE UNTHANKS AND BBC MUSICKIWANUKA, (VARIOUS EVENTS) ES, JAKE BUGG, ANNA CALVI, DAUGHTER, GEORGE EZRA, EZRA FURMAN, THE PIERCES, THE SHIRES, JACK SAVORETTI, IRON & WINE, MARK LANEGAN, HENRY ROLLINS, LOW, B ULIA HOLTER, THURSTON MOORE (SONIC YOUTH), DIRTY THREE, MANCHESTER ORCHESTRA, WHITE DENIM, BRAND NEW, THE CORAL, GRUFF RHYS (SFA), SUPERGRASS, RODDY F SMITH, MAXIMO PARK, BOY GEORGE, JOHN CALE, GLENN TILBROOK (SQUEEZE), RODRIGO Y GABRIELA, LEE SCRATCH PERRY, MR SCRUFF, LAU, SNARKY PUPPY, THE UNTHANKS A C (VARIOUS EVENTS), ANTONY & THE JOHNSONS, NEWSOM, FEIST, BAT FOR LASHES, SUFJAN STEVENS, REGINA SPEKTOR, ST. VINCENT, LAURA MVULA, JOHN GRANT, MUSIC &JOANNA EVENTS PROMOTER , LYKKE LI, ÓLAFUR ARNALDS, SCOTT MATTHEWS, BENJAMIN CLEMENTINE, ADELE, RICHARD HAWLEY, IMELDA MAY, NIGEL KENNEDY, MELODY GARDOT, RUMER, ROGER MCGUIN DS), CERYS MATTHEWS, PAUL HEATON, NEIL FINN (CROWDED HOUSE), RAY LAMONTAGNE, FRANK TURNER, MUMFORD & SONS, LAURA MARLING, BEN HOWARD, MICHAEL KIWA A HAVAS, THE STAVES, JAKE BUGG, ANNA CALVI, DAUGHTER, GEORGE EZRA, EZRA FURMAN, THE PIERCES, THE SHIRES, JACK SAVORETTI, IRON & WINE, MARK LANEGAN, HENR WWW.GLEE.CO.UK/OUR-MUSIC-STORY LOW, BEACH HOUSE, JULIA HOLTER, THURSTON MOORE (SONIC YOUTH), DIRTY THREE, MANCHESTER ORCHESTRA, WHITE DENIM, BRAND NEW, THE CORAL, GRUFF RHYS (SFA), ASS, RODDY FRAME, RON SEXSMITH, MAXIMO PARK, BOY GEORGE, JOHN CALE, GLENN TILBROOK (SQUEEZE), RODRIGO Y GABRIELA, LEE SCRATCH PERRY, MR SCRUFF, LAU, SNAR HE UNTHANKS AND BBC MUSIC (VARIOUS EVENTS) , ANTONY & THE JOHNSONS, JOANNA NEWSOM, FEIST, BAT FOR LASHES, SUFJAN STEVENS, REGINA SPEKTOR, ST. VINCENT, VULA, JOHN GRANT, GLEN HANSARD, LYKKE LI, ÓLAFUR ARNALDS, SCOTT MATTHEWS, BENJAMIN CLEMENTINE, ADELE, RICHARD HAWLEY, IMELDA MAY, NIGEL KENNEDY, MELOD RUMER, ROGER MCGUINN (THE BYRDS), CERYS MATTHEWS, PAUL HEATON, NEIL FINN (CROWDED HOUSE), RAY LAMONTAGNE, FRANK TURNER, MUMFORD & SONS, LAURA MARL

MARKUS SARGEANT : MARKUS@GLEE.CO.UK : 07973 121 958