LUK240

ISSUE 240 JANUARY 2020

UK ÂŁ6.25

Big Moon rising

London quartet take it to next dimension

London’s Koko survives nighttime blaze Gigantic moves by German giant Opposition to Viagogo-StubHub deal grows Committed to the unsigned and emerging live sector see page 26-29

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CONTENTS I 3

Contents

ISSUE 240

4-13 News

The business of live music

8 Forthcoming Events

Key industry gatherings

14-19 City Limits Edinburugh

A look at the people and venues behind live music in the city 20-25 Sector Focus PA Hire

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

26-29 NXT News

Business activity in the unsigned and emerging artiste sector

26-29 NXT Profiles

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

30-33 Production News

14

Developments in technology and show production

34-37 Tour Plans

Artistes, their agents and tour period

38 Backstage Stars

Interviews with the key people who shape the industry

20

Publisher & Managing Editor: Stephen Parker

Research & Pictures: Tom Philips

News Editorial: Lisa Henderson T: 020 7486 7007 E: lisa@liveuk.com

Accounts Manager: Murali Sri Balaskanda

Editorial Contributors: Allan Glen, Claire Bicknell, Mike Gartside.

Advertising: Gareth Ospina, Tom Brint

Sales Director: Gareth Ospina Advertising Executives: Tom Brint

Circulation Manager: Victoria Brush

T: 020 7486 7007 E: gareth@liveuk.com E: tomb@liveuk.com Design: Charles McQuaid

26

Circulation & Subscriptions: Victoria Brush T: 020 7486 7007 E: victoria@liveuk.com A subscription costs £75 per annum and includes 12 monthly issues of LIVE UK, four seasonal issues of Festival, the UK’s Best Venues For Contemporary Live Music directory and other annual publications and free digital access to all publications.

Subscribe online at: www.liveuk.com Print: Stephens & George Ltd www.stephensandgeorge.co.uk

30

ISSUE 240: January 2020 Published monthly by:

Cover photograph: © Rex 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.

January 2020 • Issue 240 • www.liveuk.com

4 I NEWS

Industry bodies submit evidence to Viagogo-StubHub take-over inquiry SEVERAL INDUSTRY inevitably lead to even higher organisations have submitted fees for consumers, and an even evidence for a preliminary greater dominance of search and investigation into the social media advertisproposed takeover of ing – increasing the risk eBay-owned StubHub of consumers being by controversial resale led needlessly towards website Viagogo. inflated tickets in the The Competition secondary market, and and Markets Authoraway from authorised ity (CMA) launched the primary ticket agents. inquiry into the $4.05 “While there are other billion (£3.11bn) deal in Annabella Coldrick smaller less significant December, along with B2C secondary platan invitation to comment until the forms operating in the UK – for 10 January. example Gigsberg and Vibe Tickets The government watchdog – these are populated by resellwill investigate whether the deal, ers already active on Viagogo and expected to complete by the end StubHub.” of March subject to regulatory The Association of Independent approval, would result in a sub- Festivals (AIF) has been campaignstantial lessening of competition ing on the issue of for-profit secwithin any market or ondary ticketing since markets in the UK. 2014 and set-up the Anti ticket-touting Ticket Trust, an ethical campaign group Fanticket exchange.

Fair Alliance was the “If this merger was to first to urge the CMA go ahead, it would undo to investigate the takeall the positive progress over and its potential that has been made by implications for conFanFair Alliance and sumers and the live other parties in the last Adam Webb event industry. few years,” AIF CEO Paul “A merger of the two, Reed tells LIVE UK. would potentially leave a single “The UK is hosting more conmarket-dominant platform – there sumer-friendly ticket resale services would be no competition,” writes than anywhere else in the world, but FFA campaign manager Adam you can’t compare Viagogo with all Webb in a letter to the CMA. the other emerging resale sites.

“This would, we believe, “Viagogo dominates Google

listings but is masquerading as an are dependent upon large-scale official resale site, when the way commercial resellers. The dynamics they operate shows flagrant disre- are completely different,” Coldrick gard for any sort of regulation. tells LIVE UK. “We’ve had some absurd situa“Therefore, a merger would effections where festival customers have tively offer Viagogo a monopoly paid five times more in for-profit than face value for secondary “The way they [Viagogo] operate festivals that are ticketing. They still on sale through would have shows flagrant disregard for any legitimate primary no competisort of regulation” channels, because tion, and given Paul Reed Viagogo is the first their history site that pops-up of bad pracon Google. Festival promoters are tice and legal non-compliance, that powerless to do anything. would likely lead to further abuse “Google advertising and search of consumers and further market is essentially Viagogo’s oxygen sup- distortions.” ply and without it they don’t have a Based on the evidence previable marketing platform. sented, the CMA will decide “This merger would reduce that whether to launch a formal Phase 1 market to one single, all-powerful investigation. player and I think regulaIn August last year, it tors should be extremely suspended preparations concerned about that.” for contempt of court The Music Managers action against Viagogo, Forum (MMF), which repfollowing its failure to resent around 700 artiste comply with consumer managers, has also subprotection laws. mitted evidence to the Following that, in CMA, with MMF CEO November, the comAnnabella Coldrick citing pany’s suspension from Paul Reed StubHub and viagogo Google Ads was quietly as “hugely controversial lifted, just four months companies”. after being imposed.

“Their business practices run Viagogo founder and CEO Eric counter to developments in the UK Baker also co-founded StubHub, but market which is embracing capped, left before his then partner sold the consumer-to-consumer ticket resale. business to eBay for $310 million By contrast, Viagogo and StubHub (£238m) in 2007.

Festival Republic targets Dundee for new event FESTIVAL REPUBLIC (FR), promoter of events such as Reading (cap. 90,000), Leeds (80,000) and Latitude (35,000), has applied to stage a three-day, four stage festival in Dundee’s Camperdown Park in May. Owned by Live Nation Entertainment, which also owns Scotland’s leading promoter DF Concerts and its Glasgow festival TRNSMT (50,000), FR has placed a public consultation advertisement in local press.

It revealed the application for an afternoon and evening event on Friday 23 May, plus two full days on the Bank Holiday Weekend of 24 and 25 May. FR declined to comment to LIVE UK on the size or nature of the event and Dundee City Council was unable to reveal its licenced capacity.

However, local newspaper the Evening Telegraph speculates it may echo the format of Carnival Fifty-Six, a 15,000-capacity,

January 2020 • Issue 240 • www.liveuk.com

Main Stage at TRNSMT

two-day non-camping event, which Promoted by Jigsaw Events & took place in 2017, headlined by Management, the event folded in Mark Ronson, Basement Jaxx and 2018 following a reported disagreeRudimental. ment between directors.

NEWS I 5

Koko saved after fire breaks out ICONIC LONDON venue Koko (cap.

1,500) has been badly damaged by a fire that started late in the evening of 6 January and lasted over five hours.

The London Fire Brigade (LFB) was called just before 9pm to tackle the fire at the Camden-based venue, which was undergoing a major refurbishment.

According to the LFB, 30 per cent of the roof was on fire but firefighters managed to contain it, saving the rest of the building.

“We are deeply saddened by the fire that took place at Koko last night and pleased to announce there have been no casualties,” says Koko CEO

Olly Bengough.

“The amount of support we have received from the public has been amazing and we’ll be doing our best to get the redevelopment of this iconic building back on-track.”

Eight fire engines and around 60 firefighters attended the scene and the cause of the fire is under investigation.

As reported in LIVE UK (issue 230), Koko owner The Mint Group says that when the venue reopens, initially planned for spring before the blaze, it will feature six live performance spaces, including one at 1,500 capacity, a radio station and Koko Camden on fire broadcast studio, three restaurants, a rooftop conservatory, and a penthouse space where artistes can rehearse and record.

The final show at the venue before work began was Wiley on 5 March AEG EUROPEAN Festivals, led by CEO Jim King, has appointed Clare Lusher as the last year. division’s first marketing and brand director. Lusher has previously held senior marThe venue launched as Koko in keting roles at Live Nation Entertainment-owned MAMA & Company and Sony Mu2004 and has played host to artistes sic. AEG festivals include American Express presents BST Hyde Park (cap. 65,000) including Amy Winehouse, Kanye and All Points East (40,000), both in London, and Rock En Seine (40,000) in Paris.

Newsbite

Promising the moon HAVING CUT their teeth on London’s live scene and gained exposure co-headlining a tour with peers INHEAVEN and Vant, The Big Moon have gone on to open for The Maccabees, Ezra Furman and The Vaccines.

The London-based quartet has enjoyed similar success off the road too. In 2017, their debut

COVER ARTISTE

album Love in the 4th Dimension was short-listed for a Mercury Prize – a feat they’ll be hoping to match with their next offering Walking Like We Do, released on 10 January.

In support of the new album, the band will be playing venues such as Liverpool’s O2 Academy (cap. 1,200), Bristol’s The Fleece (450) and Nottingham Contemporary (300).

“The Big Moon are a band of outstanding musical quality – their hard work in consistently delivering incredible live performances has already earned them a tremendously loyal fan base with whom they have a very special connection,” says the band’s agent Angus Baskerville at 13 Artists.

The band are managed

by Milo Ross and Louise Latimer at Golden Arm Management.

West and Prince. Previously it was known as The Music Machine and then Camden Palace.

Other artistes to perform in the building’s various incarnations include the Rolling Stones, iron Maiden, Paul Weller and Ed Sheeran, with Madonna and Elton John hosting events there.

entecLIVE.com

517 Yeading Lane, Northolt, Middlesex UB5 6LN, United Kingdom +44 (0)20 8842 4004 sales@entecLIVE.com fb.com/EntecSoundLight Photography © Joe Okpako • projoe.photography

January 2020 • Issue 240 • www.liveuk.com

6 I NEWS

Gigantic leap into DEAG family Gigantic in a competitive marketNOTTINGHAM-BASED Giganplace” says Gasson. “We now look tic Tickets has sold a 75 per cent forward to continuing stake in the company this growth alongside to pan-Europe live the committed team entertainment conat Myticket,” glomerate Deutsche Last year Gigantic, Entertainment AG which has over two (DEAG). million registered The deal has been users, launched its fandone via the UK subto-fan resale platform sidiary of DEAG’s and made its first foray MyTicket platform. into paperless ticketGigantic, which ing with Ed Sheeran’s was founded in 2007, Detlef Kornett summer 2019 shows. will continue to oper“We’ve been followate under its existing ing Gigantic for quite some time name and co-MDs Mark Gasson and we’ve seen it develop and and James Woodward will remain grow at the same time as our busishareholders and continue to ness in the UK, so we felt now was drive the business. the right time,” DEAG executive “We are extremely proud that director Detlef Kornett tells LIVE we have established and mainUK. tained consistent growth for

“I think servicing third-party content has been the recipe for Gigantic’s success, they are a reliable provider for these third parties and will remain exactly the same partner as before. Over the long haul, I think MyTicket in the UK will benefit from those relationships.”

Kornett says that due to the vast differMark Gasson ences between the UK market and the continental European market, there is currently no plan to merge the platforms.

“Ticketmaster, for example, have put a huge investment into making their system work for the German-speaking markets.

Therefore, I think we will take our time and explore the opportunities that all of this new technology will offer in order to go a way that will be quicker, more effective and less cost intensive.”

DEAG already owns a controlling stake in promoter Kilimanjaro Live, through which has acquired 60 per cent of promoter and show producer Flying Music Group in August 2017. Acquisition of Scotland’s Belladrum Tarten Heart Festival (cap.

15,000) followed in 2018.

Meanwhile, Kornett says DEAG is on the lookout for further acquisitions and partnership deals in the UK.

The O2 is crowned Venue of the Decade THE O2 (cap 23,000) in London has been named Venue of the Decade by US music industry publication Billboard, beating New York’s Madison Square Garden (20,780) and Radio City Music Hall (6,013) as runners-up.

The venue kicked-off 2010s with Bon Jovi performing on the roof and has hosted over 2,000 events during the decade, featuring artistes such as Beyoncé, Drake and Taylor Swift.

“Last year was incredible and we’re proud to have hosted 219 performances and welcomed world class content,” says Emma Bownes, vice-president of venue programYC• ming. “Our 2020 calendar is already Pete Tong at The O2 LI • AND A BOCEL E R ARVEST D H N S E A looking great and we’re so looking LAY JAM • ALT-J • C R W A O B L IDE • • E IM 21 Club, L TO2’s forward to another brilliant decade.” artistes have joined The Manchester Arena KULLS BLACK Twas ATH •(21,000) AINS • AL ING • BAND OF S B H B C A RING ME S B IN K • E C N the LIC BLAother UK venue Mirroring Prince’s 21 perforOne Direction, the toSO make K •only • B.B. K Take That, R • Aincluding WIL R E O N P S LJO S O IA B O R O • R B C G Q • The O2 ICE GE THE E EW ELL IN D Ncoming mancesALFin more Drake and Michael in at • BIG SHA NE • BTop OE • ALseveral RAN10, TIN5.E • CA IE B2007, • E • AXW TON Bublé.

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V E N T T T E E H T B SCO GS • T ETS • TH YS • TH RTHUR M • TW MAFIA • OVEMEN IN P A E A E H T P M S F W T Y U E U B O S S Y P U O D T D O S T H W L N R E E N SOU S • TH Y WOR SHADO WHITE THE PR SWEDISH E STROKE EEHIVE • THE LAST THE CRAZ IS • TROJA ECTIVE •

NEWS I 7

Ed Sheeran’s manager gives Newsbites evidence against ticket touts

CATERING AND hospitality company Global

ED SHEERAN’S manager Stuart Camp has given plus a booking fee, but he saw some offered for evidence against two ticket touts who bulk-bought £7,000 on Viagogo.

“I bet none was donated to charity,” he said. “This tickets to the artiste’s charity show and sold them is absurd. We just really wanted to make sure we for almost four times their face value.

Peter Hunter and David Smith are alleged to weren’t in that situation again.”

Camp said he decided to put a no-resale clause have used fake names and addresses to buy more in the terms and conditions of tickets than 1,000 tickets to Sheeran’s confor the stadium leg of Sheeran’s worldcerts before reselling them immediwide Divide tour. ately on secondary ticketing sites such He explained that he wrote to the as Viagogo, Leeds Crown Court heard big four secondary ticket sites informin November. ing them of the change and three According to the Press Association, complied. He said Viagogo “ignored it”.

Camp told the court on 6 December Hunter and Smith are also said how he had tried to stamp out the to have targeted events by artistes resale of Sheeran’s concerts tickets including Gary Barlow, Coldplay and after seeing how they were being Taylor Swift, and the X Factor and resold for his Teenage Cancer Trust Strictly Come Dancing tours. show at London’s Royal Albert Hall in Stuart Camp They both deny fraudulent trading March 2017. and possessing an article for fraud.

Camp told the court that Sheeran had performed for free, with tickets costing £75 The trial continues.

The Sound of Music

Sector Focus See page 20

Infusion Group (GIG), which includes Eat To The Beat, has scooped two accolades at the National Business Women’s Awards. Bonnie May, who runs GIG division Bonnie May Food & Events, won the Veuve Cliquot International Women’s Award category before receiving the accolade of Overall Winner. The awards took place in December at the Millennium Gloucester hotel in London.

SCOTLAND WILL host its first electronic mu-

sic conference this summer, featuring over 100 industry contributors and two days of seminars, workshops and product showcases.

SEMCON20 will take place at Edinburgh Corn Exchange between 17-18 July and expects to attract more than 1,500 delegates per day to seminars, A&R feedback forums, demo markets and skills development classes. Acts giving live performances have yet to be announced. A limited number of early-bird conference passes are available at £35.

LIVE EXPERIENCE and events marketing agency Boom Ents & Sport has rebranded as Boom Live. The London-based agency was founded in 2012, the London-based company specialises in campaign strategy and management, ticketing insights and analysis and social media. It works with clients such as One Fifteen Artist Management on Jools Holland and His Rhythm & Blues Orchestra’s tour last autumn.

Live

PROFESSIONAL MANAGEMENT FOR MID-SIZED VENUES New central London office. Revitalised venues, music and services.

Visit vmslive.org

January 2020 • Issue 240 • www.liveuk.com

8 I news

Celebrating independent venues DJ Steve Lamaq will be taking his BBC Radio 6 INDEPENDENT VENUE Week (IVW), the annual celebration of independent music venues, has revealed show to IVW events in five cities where he’ll present artistes including Gruff Rhys at Clwb Ifor Bach (380) in the schedule for this year’s event.

The seventh edition, running between 27 January and Cardiff, Frank Turner at the Exeter Cavern (200) and Calvi 2 February, features more than 800 shows taking place at Brixton Windmill (150) in south London.

Brixton Windmill have taken across 230 venues nationwide. part in six of the seven IVWs Among those participating and have welcomed back are Concorde 2 (cap. 600) in “When emerging acts know the different homegrown acts including Fat Brighton, The Boileroom (275) artistes that have played these venues White Family, Black Midi and in Guildford and The New Goat Girl.

Adelphi Club (200) in Hull. and gone onto bigger things, that’s a “We’ve always used IVW “IVW is about the people direct inspiration” as a great excuse to have behind the scenes that own a week-long festival featuring and run the venues because, Sybil Bell all our favourite bands,” says by default, they don’t get the Tim Perry, who has been a publicity,” says IVW founder booker at the venue for 20 years.

Sybil Bell. “This is about them being on stage, “So many bands that started out in this if you like. venue have returned, so the week feels like “The venues feel that they’re part of somea real community event. We see ourselves thing bigger because every other week of the as a local venue within London. year they’re doing their thing at a local level, but “We’re so excited to be the final during this week the venues are treated equally stop on Steve Lamacq’s tour, as we’re in terms of the opportunities they are given. actually his local venue, and can’t wait to “What’s so important about independent see Anna Calvi play here for the first time. venues is that everyone can go there and it’s a Sybil Bell “Going back 15 years ago, people would safe place for artistes to learn their craft. And when emerging acts know the different artistes that take a punt at an unknown band at a local venue have played these venues and gone onto bigger things, and now the industry is more monetised and has got better marketing – people spend their money that’s a direct inspiration.”

This year’s IVW ambassador is Anna Calvi, who on going to big shows and won’t go to a small will also be one of the artistes performing, along venue unless they’ve heard the band on Radio with others including Nadine Shah, Frank Turner and 6 Music.”

For the first time, there will two additional ambassadors Twin Atlantic. for the nations -- BBC Radio 1’s Huw Stevens for Wales and BBC Radio Scotland’s Vic Galloway for Scotland.

Supporting organisations include Arts Council England, Arts Council Wales, BBC Sounds, PRS For Music, PPL and the Musician’s Union.

To coincide, IVW will be releasing its second vinyl-only live album featuring a collection of acts including Cancer Bats, John Paul and Pip Blom from last year’s event, as well as a documentary called Long and Winding Road, presented by Radiohead’s Brixton Windmill Philip Selway.

January 2020 • Issue 240 • www.liveuk.com

Forthcoming events FEB 18 BRIT Awards London www.brits.co.uk

FEB 25-26 Event Production Show London www.eventproductionshow.co.uk

MAR 3-6 International Live Music Conference London www.ilmc.com

Nov 22-25 Brighton Music Conference Brighton www.brightonmusicconference.co.uk

APR 23-25 Wide Days – Scotland’s Music Convention Edinburgh

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10 I NEWS

ReBalance goes live Dugher takes a FESTIVAL REPUBLIC is expanding its challenges for female artistes whilst ReBalance scheme to give additional also drawing attention to the lack of live support to emerging female women working in other industry roles including the recording studio,” says artistes.

The three-year initiative, which was PRS Foundation CEO Vanessa Reed.

“Low representation of women in launched in 2017 in partnership with PRS Foundation, initially offers suc- these aspects of the creative process is an obstacle for female cessful female applicants artistes as well young women one week’s studio time with who are considering a career an engineer and expenses in music production. Coming paid, plus a performance at a up with campaigns and iniFestival Republic or Live Nation tiatives like ReBalance, will Entertainment-run festival. ultimately strengthen our Two aspiring female sound industry and be of benefit to engineers and producers were us all.” also offered apprenticeships Vanessa Reed Meanwhile, ReBalance at Old Chapel Music Studio in Presents will give female artistes, both Leeds.

The scheme was launched after a in and out of the scheme, the chance report by PRS Foundation found that to perform live, with the first event this women represent just 16 per cent of month being a sell-out featuring Nia UK songwriters and composers. The Wyn, Keedz and Duchess at The Servant Women Make Music Evaluation found Jazz Quarters (cap. 100) in Dalston.

The next show is set for 26 February a general lack of women in other roles at The Social (150), featuring Martha across the industry.

“The evaluation of our Women Hill, Luna and Ruby Duff. Tickets cost Make Music fund highlighted ongoing £8.80.

bet on new role

UK MUSIC CEO Michael says Dugher.

“I have always believed in Dugher is stepping down after almost three years leading the the power of music to transform lives and I am gratemusic industry trade body.

Since joining the organisa- ful for the opportunity UK Music’s members tion in 2017, Dugher gave me back has campaigned to in 2017, to play change planning a part in what laws to protect music is a wonderful venues, challenged organisation.” the government over Deputy CEO the impact of rising Tom Kiehl, will take business rates and over as acting CEO supported the estabduring the process lishment of regional Michael Dugher of recruiting a new Music Boards.

Dugher will leave at the chief executive.

Dugher’s former roles end of January to take up his new position as CEO of the include being Labour MP for Barnsley East for seven years Betting and Gaming Council.

“We have achieved great and shadow secretary of things for an industry that state for the Department for makes a huge and positive Digital, Culture, Media and contribution to our country,” Sport in Westminster.

Jane Beese back to Manchester roots MANCHESTER INTERNATIONAL festival (MIF), the multi-venue event showcasing a spectrum of arts, has appointed Jane Beese as head of music.

Her previous roles include head of music at London’s Roundhouse and head of contemporary music at the Southbank Centre, for which she

R Q

was responsible for the co-ordination and management of its annual Meltdown Festival.

Beese will assume the role from April as the festival prepares to open in its new permanent home, The Factory, a cultural space currently

Jane Beese

being developed.

“Manchester has been responsible for all my formative music experiences and I’m really happy to be returning to a city that has always inspired me,” says Beese.

“I’m really excited to be joining the exceptional team at MIF at this pivotal juncture, as we move toward the next Festival in 2021 and the historic opening of The Factory.”

MIF takes place every two years and has previously hosted artistes including Damon Albarn, Björk and The xx.

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January 2020 • Issue 240 • www.liveuk.com

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NEWS I 11

Integro team rebrands and expands into new territories INTEGRO GROUP, one of the largest insurance brokers internationally, will be changing the name of its sports and entertainment division to Tysers, following the acquisition of the 200-year-old insurance company in 2018.

Since launching in 2005, Integro has acquired a number of live entertainment- Tim Thornhill related companies, including Robertson Taylor, Doodson, Allan Chapman and James, as well as theatre broker W&P Longreach (formerly Walton & Parkinson).

Earlier this month, the company acquired Robert Fleming Insurance Brokers (RFIB) which has a presence in Asia, Middle East, Australia, Europe, and Bermuda.

“With those offices, we’re able to extend our global reach – and we’ve seen a huge amount of growth in music festivals and events in new territories such as Korea and the Middle

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East,” says Tim Thornhill, director of the entertainment & sport practice.

“Having [RFIB’s] local knowledge and expertise in new territories gives us a platform for further global growth in markets where entertainment and events are growing significantly globally, whilst keeping our colleagues focussed on top client service.”

Tysers co-head Jason Collins says, “This acquisition furthers our vision to become the leading independent specialist broker in the UK. Our combination positions us well for the benefit of both our clients and markets.”

In 2018, Integro says it entertainment team insured over 50 per cent of the Top 10 grossing artistes in 2018 and over 50 per cent of the top grossing promoters.

The rest of Integro retains its name.

See also Backstage Star on page 38.

KREPT & KONAN were presented with commemorative plaques after their first show at The O2 (cap. 21,000), on 5 December.

The pair’s Revenge is Sweet tour continues this month, playing venues such as Birmingham’s O2 Academy (3,000) and Rock City (1,900) in Nottingham.

Pictured from top L-R are Lee Laborde from co-promoter Live Nation and agent Craig D’Souza from Primary Talent. Pictured bottom from L-R is Chris Wareing (co-promoter, SJM Concerts), Marc Saunders (programming manager, The O2), Konan, Krept and their manager Riki Bleau from Since93.

Full In House Production High Spec Lighting & PA

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ONE OF WALES’ LARGEST INDEPENDENT LIVE MUSIC AND CLUB VENUES PERFORMANCES FROM The Wonder Years, Jack Savoretti, Lower Than Atlantis, Stormzy, Ben Howard, Pendulum Live, Ed Sheeran, Chase & Status Live, Skindred, High Contrast, Newton Faulkner January 2020 • Issue 240 • www.liveuk.com

12 I news

Sheffield in first regional report UK MUSIC has revealed its first Music Report for Sheffield City Region, highlighting the contribution of live music and music tourism to the regional economy.

The survey was commissioned after UK Music joined forces with Sheffield mayor Dan Jarvis in October 2018, creating the first Music Board to be set up outside of London.

Among its findings include that there were 832,000 attendances at music events in the region during 2017, of which 521,000 were by local residents.

UK Music, CEO Michael Dugher was keen to draw attention to the areas of Sheffield’s live music industry that need more support.

“To ensure that cultural and economic enrichment continues, we need to nurture and support the venues, particularly smaller and grassroots venues, that are the bedrock of the local music scene,” says Dugher.

January 2020 • Issue 240 • www.liveuk.com

“We must also strive to reverse the decline of music in education which is both a regional and national area of concern. If young people do not get the chance to play music in school or local rehearsal spaces and venues, then the talent pipeline upon which our industry relies will be in serious danger.”

Elsewhere, the report states that in 2017 £8.2 million was spent on tickets for festivals in the region, which drew 86,840 attendees. During the same year, arenas drew 439,120 attendees and accumulated £23.2m through the box office.

Opportunities for emerging talent and protecting grassroots music venues are two of the report’s recommendations to ensure the region’s music scene continues to grow. The others are developing music businesses, integrating transport and reaching out to every corner of the city region.

Plugged-in for Year 3 LIVERPOOL’S ELECTRONIC Sound Summit returns this year, with over 60 panels, keynote speeches and masterclasses and artistes from the genre.

The third annual conference will take place across venues at Liverpool Waterfront between 28 February and 1 March and feature performances

by Crazy P, Ableton Live, Elliot Adamson and Denney.

Among panelists will be Elevate Artist Management’s Jack Broom leading the Social Media - Friend or Foe? panel. Virtual Artist Manager CEO Anna Russell hosting Become Desirable to the Music Business and Data Transmission’s Grahame Farmer with Mentorship in Music.

The conference was founded in 2018 by Liverpool Audio Network, with a goal of introducing emerging creatives to the global dance music community through artiste development focused on education, access, and opportunity.

Tier 2 tickets cost £50, while students passes cost £35.

Liverpool Waterfront

14 I CITY LIMITS

Edinburgh

From the largest theatre in the UK to a stunning castle, local and UK-wide promoters have access to a wide range of venues, and plans for an indoor arena likely to elevate Edinburgh to another musical level. Allan Glen reports

I Duncan Gray

John Stout

t has always been a curious anomaly that Edinburgh, home to an internationally-renowned festival and everexpanding music scene, is one of the only European capital cities without an indoor arena.

That, of course, may be about to change with the announcement that Birmingham-based NEC Group, which operates that city’s Resorts World Arena (cap.

15,590) and Arena Birmingham (15,890), is partnering with leisure and sports consultancy Lothian Leisure Development to build an 8,000-capacity arena in Straiton, five miles outside the city centre (see LIVE UK issue 239).

It is a move that has been welcomed by

January 2020 • Issue 240 • www.liveuk.com

local promoters and the wider industry.

“We’re very encouraged by this development,” says Edinburgh-based Regular Music’s John Stout. “The arena could do really well. There is a desperate need for one in a city the size of Edinburgh, given its catchment area in central Scotland.

“The SSE Hydro in Glasgow [13,000] is one of the busiest arenas in the world, so it’s not always going to be possible to get the date you want there, and although the proposed arena in Edinburgh is smaller in scale, it could be useful for a lot of shows.”

Stout says he looks forward to seeing more detail about the arena, particularly around the proposals for public trans-

port to and from Edinburgh, a view that is shared by promoter Duncan Gray of Triple G Music, whose shows include Mark Lanegan at The Liquid Room (650).

“We’ll have to wait and see how it develops,” he says. “There are not a lot of arena acts to go around just now, and the public transport links out to Straiton could be an issue, but the Hydro is often booked so having another arena would be a good option.”

Overall, Edinburgh remains a popular destination for artistes, adds Stout, with Regular promoting approximately 80 shows a year, as well as the ever-popular Castle Concerts (8,450). This year’s season featured Paul Weller with tickets at

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

Edinburugh Castle

£47.50, two shows with Kylie (at £50) and two nights with The Proclaimers (£40) – all sold-out.

“It’s a generalisation of course, but, as you’d expect in a largely affluent and multicultural city, the Edinburgh audi-

ence is interested in music of all forms, has time and disposable income available and is keen to experience the best of UK and international artistes,” he says. “They will also party like there is no tomorrow if Kylie is in town.”

Other Regular shows include Bat For Lashes, Saint Etienne, Lloyd Cole, Cowboy Junkies and Van Der Graaf Generator at the Queen’s Hall (900), with Kelly Jones and The Flaming Lips each at the Usher Hall (2,900), Noel Gallagher’s High Flying Birds and Joe Bonamassa at the Playhouse (3,047), John Grant at the Festival Theatre (1,900) and Goodbye Mr Mackenzie at The Liquid Room.

From club shows to concert halls, sales are strong in Edinburgh, he says, but what might become an issue in the future in the city is the availability of dates as venue diaries get booked further and further in advance, particularly at concert hall level.

“Although very well served for smaller capacity standing venues – Voodoo Rooms, Mash House [200], The Caves [350], Sneaky Pete’s [100], as soon as you have outgrown The Liquid Room or Queen’s Hall you have a problem.

“The next available option is the standing floor format at Usher Hall.

“I think everyone in Edinburgh is hoping that Leith Theatre [1,400] will soon be able to fill that gap and with a bit of investment it could be a great asset to the city’s live music scene.”

At the top end is Edinburgh Playhouse, which, at a capacity of 3,035, is the largest seated theatre in the UK, hosting approximately 10 shows a year, and once described by Regular Music boss Mark Mackie as “one of my favourite venues in the world”.

From the Rolling Stones and Queen, to Diana Ross and AC/DC, it is often seen as a rite of passage for top end acts. Acts currently playing the venue include Noel

LIMITS I 15

Gallagher’s High Flying Birds, Bon Iver, Pet Shop Boys, Alison Krauss, Elvis Costello, Joe Bonamassa (all promoted by Regular), Ben Howard, Gary Barlow, Brian Wilson (all DF Concerts), Steve Hackett (Kilimanjaro Live), and Tim Minchin (Phil McIntyre Presents).

“The first four months of the year are taken up by a record-breaking 21-week run of Disney’s The Lion King, which is a challenge for programming live music,” says theatre director Colin Marr. “But we have deliberately held slots in our programme during August’s Edinburgh Festival Fringe, November and December, which are great months for live music in Edinburgh – my door is open.”

Also operating at the upper end is the family-owned Corn Exchange (3,000), which recently celebrated its 20th anniversary, having opened with a show from Blur on 7 December 1999.

“Since then we have become known as Edinburgh’s home of live music by music fans across the city and beyond, having hosted 280 concerts and we are fully focused on reaching our next milestone of 300 gigs,” says the venue’s sales and marketing manager Neil Rudram.

At present, the venue hosts approximately 10 concerts a year. Other acts to have played over the years include Oasis, Radiohead, Kings of Leon, Foo Fighters and Florence + the Machine, while currently it’s acts such as The Chainsmokers, All Time Low, Hot Dub Time Machine, Tom Walker and Bear’s Den (all DF promotions).

International party

With an eclectic line-up that included Mark Ronson, Marc Almond and the Ninth Wave, Edinburgh’s Hogmanay Event, produced by Underbelly, is as much street party as festival, with stages across the city. These include the 10,000-capac-

We will help revolutionize your business.

January 2020 • Issue 240 • www.liveuk.com

16 I CITY LIMITS

Lorne Scott

ity Hogmanay in the Gardens, nestled in West Princes Street, and three stages for the official Street Party, the latter taking up the whole of Edinburgh’s City Centre stretching from Rose Street in the north to Parliament Square outside St Giles on the Royal Mile, in the south.

Tickets for Hogmanay were £70, which included access to all events, while tickets for the Street Party cost £30.

“We very actively try to programme younger Edinburgh and Scottish bands as well as bringing in internationally recognised artistes throughout the event no stages or events are without Scottish artistes - so it’s a great way to showcase the strength of talent in the city and the central belt in an international context,” says the event’s music programmer Stuart Nesbit.

“Concert in the Gardens itself has become the model for other summertime events in the same space, West Princes St Gardens, so to a certain extent Hogmanay has kicked open the doors of this iconic site in a city which lacks a major purposebuilt arena.”

One venue that is reaping the benefit of the rise in the UK of electronic and dance music is the Royal Highland Centre (RHC), whose West Arena can hold up to 20,000

The SSE Hydro

people standing. Located in neighbouring Ingliston, it held five music shows last year, including Terminal V – The Rising, promoted by TV17, Elrow Town Edinburgh Music Festival (Elrow UK Tickets Ltd) and Rezerection and EH1 (both We Are Ready).

As well as outdoor areas, the venue is home to the Highland Hall (8,000) and the Lowland Hall (6,000). It also launched the

outdoor South Arena in 2017 with a Little Mix concert, promoted by LCC Live.

Forthcoming shows include Terminal V – Electronic Music Festival (TV17) and Ultimate 90s Rave (We Are Ready), featuring 50 DJs and 20 live acts.

According to RHC commercial director Lorne Scott, the venue has become the home of electronic and dance music in Scotland, and expects to host more such

EDINBURGH CASTLE CONCERTS

30 YEARS OF WORLD CLASS ARTISTS AT SCOTLAND’S MOST SPECTACULAR VENUE

including Kylie, Stereophonics, James Taylor, Noel Gallagher’s High Flying Birds, Tom Jones, Paul Weller, The Proclaimers, Blondie, Arcade Fire, Rod Stewart, Westlife, Il Divo, Pink, Leonard Cohen, Paul Simon, Elton John and many more.

NOW BOOKING FOR JULY 2020 AND 2021: Mark

January 2020 • Issue 240 • www.liveuk.com

Mackie +44 131 525 6700 mark@regularmusic.co.uk

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

Edinburugh Playhouse

events this year.

He adds that what makes the RHC attractive to music organisers is the diversity of facilities on offer.

“Be it indoor or outdoor, large or small, the RHC can cater for all,” he adds. “The team that is now established at RHC works in partnership with music organisers, as if the event was its own.”

For Scott, the local live music scene is

slowly beginning to rival its biggest neighbour and competitor.

“The music scene in Edinburgh has for many years now lived in the shadows of Glasgow in terms of scale,” he says. “But the city has been experiencing renewed interest from worldwide acts through concerts at Edinburgh Castle to Princess Street Gardens. Smaller concerts are gathering momentum in venues as bands take

LIMITS I 17

more to the road.”

At mid-market level, many of those aforementioned venues used by Regular Music and other promoters remain active, with the Queen’s Hall currently reporting a rise in ticket sales.

“We have around 200 shows a year,” says chief executive Evan Henderson. “The venue has great acoustics, while excellent marketing facilities support an intimate auditorium even though we have a decent capacity.”

Henderson says the local scene has always been good but he believes it needs more investment in grassroots venues.

Acts playing the Queen’s Hall include Echo and the Bunnymen, The Pictish Trail (both Regular), Ute Lemper, Decoy with Joe Mcphee, Catrin Finch and Seckou Keita,The Dodge Brothers (all in-house), Agnes Obel (PCL Presents), Tindersticks (432), Fish (The Gig Cartel) and Ward Thomas (DF).

Club culture

At club level, venues such as Sneaky Pete’s (100) and The Liquid Room are integral to the infrastructure, the latter hosting up to 100 shows a year, with ticket prices ranging from £10-30.

“As a medium sized venue we

Evan Henderson

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January 2020 • Issue 240 • www.liveuk.com

18 I CITY LIMITS

Sneaky Pete’s

Nick Stewart

are accessible for a lot of bands and with our very high-tech spec we are very appealing to the touring acts,” says events manager Jon McWilliams.

Acts playing the venue include We Were Promised Jetpacks, Myles Kane, Keifer Sutherland, Easy Life, Julian Cope (all DF), Hayseed Dixie, Goodbye Mr Mackenzie (both Regular), Pete & Diesel (Beyond Presents) and Roy Ayers (AGMP).

With updates to the lighting rig and front-of-house desks, the venue has never looked or sounded better, says McWilliams, adding there has been an increase in the number of shows at The Liquid Room, and across the city.

“The Edinburgh scene is booming again and has seen a massive jump in live gigs,” he says.

He points out one area for potential improvement.

“I think support from local press and media would really help as all the local radio stations and press have been nationalised and pay very little attention to local events.”

According to Sneaky Pete’s manager

January 2020 • Issue 240 • www.liveuk.com

The Queens’s Hall Edinburugh

Nick Stewart, assistance from the industry and government agencies would also help.

“I think Edinburgh is on the verge of a hugely exciting and positive period for music.”

Jim Byers

“The scene is great right now,” he says.

“I think we’d benefit from more support from Creative Scotland, which has not been able to support grassroots music venues in the same way Arts Council England has. We also look forward to more commitments from the music industry in the form of a Pipeline Investment Fund that Music Venue Trust is arguing for.”

Acts playing the venue include Vetiver, Childcare, Free Love, Imperial Wax, Giant Drag, Public Practice, Bambara (all inhouse), Larkins, BILK and Vistas (all DF).

“We’ll have hosted nearly 300 shows

by the end of last year, plus a club night every night except Christmas Day and Christmas Eve,” he adds. “Attendance is really good across the board. Musicians love the vibe at Sneaky Pete’s. It’s warm and friendly, the audience is up close, and the sound and lights are excellent.”

One relatively new promoter in Edinburgh is Jim Byers, a former music journalist-turned PR who recently returned to the city to launch Edinburgh Music Lovers, which he describes as “a boutique music promoter focusing on special one-off shows”.

The company’s current events include Colin Stetson at Summerhall (400), Kojey Radical at The Caves and Erland Cooper at Queen’s Hall.

“My aim is to continue on a small boutique level and promote half a dozen shows in 2020,” says Byers. “I think Edinburgh is on the verge of a hugely exciting and positive period for music.”

With an expanding number of shows, buzzing emerging acts and a new arena on the horizon, few would argue with that.

ome

Edinburgh's H of live music

20 I SECTOR FOCUS

The sound of music

With immersive sound technology leading the way, innovations in audio are enhancing the concert experience for artistes and audiences alike, which is fortunate, as audiences these days have the ability to quickly take to social media if things don’t sound right.

Claire Bicknell reports

W John Penn

Dan Bennett

ith audio quality from the stage under evermore scrutiny from today’s social medialinked concert and festival-goers, the importance of ensuring an artiste sounds their best at all times is even greater.

While manufacturers compete to constantly introduce transformative innovations, the country’s leading PA hire companies are keen to stock the latest gear and keep their clients – and the latter’s audiences – satisfied.

“Immersive sound solutions have really changed the game,” says SSE Audio’s hire manager Dan Bennett. “Manufacturers need to keep selling boxes, and immersive sound – such as L-Acoustics L-ISA system – is one of the biggest leaps forward in the industry.”

The company recently supplied Mark Knopfler’s world tour with L-ISA

January 2020 • Issue 240 • www.liveuk.com

technology, featuring Immersive Hyperreal Sound. L-ISA allows audio to be presented to every listener in the same 3d image. The Knopfler tour utilised a total of seven PA hangs to form the primary L-ISA configuration, with a further two hangs added to provide outfill beyond the footprint of the L-ISA system.

“This was a massive project, and it received some of the best audio reviews for shows I’ve seen,” adds SSE Audio strategic advisor John Penn.

In November 2019, SSE and parent company Solotech announced a new unified UK organisational structure. SSE Audio, Wigwam, Capital Sound and new acquisition BCS Audio are now collectively known as the Solotech UK group, under the new joint leadership of MDs Alex Penn and Spencer Beard. After 43 years of leading SSE Audio, John Penn remains within the new structure under the new role.

Operating as one of the UK’s largest audio equipment rental, sales and installation companies, its clients include Rammstein, Coldplay, Don Broco, Hugh Jackman and Fatboy Slim.

Control packages are also leading the way in the quantities of hires going out.

“In terms of the biggest quantities of hire and changes, control touring has caused a real arms race amongst suppliers,” continues Bennett. “Clients want to take control packages around the world, and it all has to be slicker, more compact, with a higher channel count and able to get through baggage handlers and work [with the local PA] at the other end. We are driving innovations in packaging and panel work.”

Capital Sound, also a Solotech company, has serviced the live industry for over 30 years, with clients including The Killers, Sam Smith, Stereophonics and The Australian Pink Floyd Show.

SECTOR FOCUS I 21 the products that we run. Clients want to work closely with them to get everything they need to achieve the results they expect and want.”

With show production designed to impress in line with audience expectations, the aesthetics of equipment on-stage are a substantial consideration.

“It’s very important to maintain a clean stage image but if the artiste needs 20 [monitor] wedges on stage it can be tough,” says Connolly. “What’s important is that on-stage equipment needs to be modern, as opposed to 10-year-old wedges that have been through the mill.

“It’s always good to upgrade wedge stocks every few years as all manufacturers like to give their new products a new, sexy look – such as curved lines, rather than straight.”

Sustainable planning

Entec - LynyrdSkynyrd © Joe Okpako

“We specialise in bespoke loudspeaker system designs for tours and festivals, especially in urban areas where off-site noise is perceived to be a problem,” says senior account manager Martin Connolly.

“It’s been a fantastic year for us and business was up; we’re seeing more RF equipment going out on tours, and interest in L-ISA and Soundscape loudspeaker designs.

“We have a full tech team to support all

Britannia Row Productions, commonly know as Brit Row, is another leading audio rental houses, operating for over 40 years.

Clients include Pink, Foo Fighters, The Cure, and the 40,000-capacity WOMAD festival.

“Clients are looking for the best presentation of their art, with the best quality they can get,” says director Bryan Grant.

“There have been some absolutely stunning leaps in sound over the last 20 years, with line arrays, digital consoles, and increased sophistication of the equipment. We will continue to see increases in quality and efficiency in the future.

“Immersive sound equipment such as L-Acoustics L-ISA system is gaining traction, but this is not for everyone; it depends very much on how the artiste want to presents themselves and their music.”

Brit Row offers a variety of extensive training and continuing professional development opportunities for its staff

and external contacts, as well as for new talent entering the sector.

“We run a Live Sound Production degree course with South Thames College, as well as picking half a dozen apprentices to run through our own apprenticeship programme,” adds Grant. “We also offer an intensive 12-week course, with both live sound theory and practical, as well as weekend courses.

“It’s vital technicians really know what they are doing. The stakes are too high.”

Through its parent company Clair Global, Brit Row also supplies internationally across the US East and West coasts, South America, Australia and Japan.

“From a sustainability point of view, and logistics and financial, clients are looking for ways to take less stuff around the planet,” adds Grant. “With our international links, we can help with supplying equipment in-country.”

Feedback issues

With clients including Van Morrison, Editors and The Good, The Bad & The Queen, Entec Sound & Light has a 52-year history in supplying sound and lighting systems to the industry.

“With many of the small to medium venues now having high spec PA systems installed, the touring requirements at the moment are much more about tidy desk packages, in-ear monitoring and wireless systems,” says head of sound Dan Scantlebury.

“We have been putting a lot of thought into how to deliver these systems, so that they are quick to rig and are efficient with truck space.”

“We are regularly increasing and updating our mixing console stock, with emphasis on DiGiCo products and our most recent major investment has been in d&b’s KSL system which we – and many clients – believe is a real game

Dan Scantlebury

Martin Hale

Bryan Grant

January 2020 • Issue 240 • www.liveuk.com

22 I SECTOR FOCUS changer,” adds Scantlebury.

More than ever audiences are turning to social media to give live reactions to shows, including the perceived quality of sound and Entec.

“As with all businesses, social media plays a key role,” says Scantlebury. “We now receive real-time feedback from audience members during a show and this is always valuable in helping to inform actions and solutions.”

Nature of work

Entertainment Sound Specialists (ESS) counts UB40, 10cc, Mahalia, CMP Entertainment and Festival Republic – promoter of the Reading (cap. 90,000) and Leeds (80,000) festivals – amongst its clients.

“Equipment isn’t the sole focus these days,” says partner Bill Keown. “Products are released at such a rate that it makes it very difficult for companies to be able to offer everything all the time. At ESS, the real stand-out factor is our crew – prompt, calm and helpful, with vast experience.

People like to see a team on the ground that work well together.

“The type of work hasn’t varied enormously, but the nature of the work is

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PA equipment

changing. Preps continue to become increasingly granular and super detail-focussed. The other recent shift in our work is that there are no quiet months.”

Its in-house team looks after the

“Immersive sound solutions have really changed the game” Dan Bennett

maintenance, defect management and compliance of the equipment, and Keown

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agrees aesthetics are important.

“The kit should look as neat and as slick as practically possible,” says Keown, who confirms that ongoing staff training is also a priority area.

“We also regularly send our crew on courses to keep them up to speed with new developments, and let them develop their own preferred area of expertise through both research and real world experience. We then get everyone in the ESS family together for a few days each year to share this expertise, and to learn from each other.”

Julie@musicbank.org +44 207 2520001 www.musicbank.org

clients of all shapes and sizes to be the cheapest option, regardless of the extras we offer,” says Hale. “That said, we still custom build all our touring racks in collaboration with the engineer’s preference.

This year we’ve also seen an increase in requests from tours for us to supply specific-named engineers and technicians.”

Staying focused Monitors for George Ezra

Named engineers

Offering full audio production, ML Executives works with clients including Iron Maiden, Squeeze, The Raven Age and British Lion.

“There’s a continued push from touring clients for packages of equipment to be smaller, lighter and more efficient, which manufacturers have responded well to,” says operations manager Martin Hale.

“Our rental inventory is still heavily driven by artiste rider demands and remaining competitive with other rental clients,” he says. “There are several items we’ve either had repeated requests for, or

requests for from a particular client that have resulted in us investing in specific products.

“Both Iron Maiden and The Raven Age asked for specific consoles and resulted in us now carrying DiGiCo SD12s’ and Yamaha CL5s’ in our rental inventory.”

It has also invested in loudspeakers and amplifiers including L-Acoustics KARA and LA12X – with SB18s coming soon – RF equipment including Sennheiser D6000, and full facilities for rechargeable batteries for its Shure PSM 1000 systems over the last 15 months.

“We’ve continued to see a drive from

Skan PA Hire works with clients including Muse, Take That, Jeff Lynne’s ELO, Liam Gallagher, The Chemical Brothers, Robyn and The National.

“We’ve seen a lot of changes in the industry as a whole,” comments account manager Mark Ellis-Cope. “There’s the uncertainty of Brexit, plus acquisitions. It always begs the question of ‘who’s next?’ and keeps industry gossip lively!

“We are yet to see how this will affect things, but from a Skan perspective we are keeping going with our commitment to our clients along with making sure our stock stays at the cutting edge of the industry.”

The company has invested recently in d&b’s KSL which fits in with the existing GSL and V-Series offer, as well as taking

Bill Keown

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

24 I SECTOR FOCUS

Pete Dutton

Stephen Lakin

delivery of its first DiGiCo SD7 Quantum which has added to its existing four SD7 consoles and its range of other DiGiCo consoles.

“We always aim to supply exactly what is required,” adds Ellis-Cope. “With the continuing reduction in available RF spectrum, we have also increased our range of Digital Radio Microphone systems.

Both offerings from Shure and Sennheiser come with the ability to have increased channel density within given ranges, so are positive additions to our stock.”

Stylus Productions’ clients include George Ezra, La Roux, Grace Carter and Lianne La Havas.

“We are very selective about the inventory we carry, specialising only in top professional equipment that we feel allows us to deliver the quality work we aspire to achieve, whilst ensuring that our stock makes sense from a business perspective as well,” says MD Sam Thomas.

“We stock equipment by manufacturers including d&b audiotechnik, Martin Audio, DiGiCo, Avid, Shure, Sennheiser, Radial and Neutrik, amongst others. Due to the bespoke nature of a lot of our systems, we naturally carry a lot of custom items and infrastructure that we have designed and developed ourselves.

“We view the audio hire sector as a constant process of refinement, always seeking to achieve higher quality output with greater efficiency wherever possible.”

Aiding clients in delivering their vision often means equipment should be heard, and not seen.

“Our role as a service and equipment provider is to help the artiste deliver the experience to the audience, and so we place great importance on finding what is right for each production,” adds Thomas.

“As a general rule, we like stages to be neat, tidy and to make our equipment as unobtrusive as possible; the audience is there for

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Capital Sound Hire for the Killers

the show, not to see us or our gear.”

STS Touring Productions was established in 1997, with clients that included Midge Ure, Mott The Hoople, Gogol Bordello and sporting events.

“We view the audio hire sector as a constant process of refinement” Sam Thomas

“We’re seeing a large increase in spot hiring of PA items rather than a complete system, such as in-ear monitors, desks, microphone packages,” says MD and owner Pete Dutton. “We work closely with L-Acoustics and DiGiCo.” Recent developments for STS include the opening of a satellite office and warehouse in Leipzig, Germany.

“It’s staffed and there’s more and more equipment being transferred over there,” adds Dutton. “It’s a new option for us, but already there is massive interest in this particular service. STS Europe will run

alongside STS UK and gives us the advantage of having equipment in Europe ready to use.”

Protec is one of the world’s largest event technical and staging solutions companies. Its European base is in Birmingham, with Middle East operations across fully equipped facilities in United Arab Emirates and Saudi Arabia. Clients include Janet Jackson, Mariah Carey, The 1975 and 50 Cent.

“We offer an extensive and comprehensive range of L-Acoustics and DiGiCo consoles,” says CEO and founder Stephen Lakin. “When it comes to investing in new products, we keep our finger on the pulse of the industry by keeping up-to-date with the latest technologies, attending the major trade shows and listening to our clients’ needs.

“The technology hasn’t changed so much, but we are seeing a demand for redundancy and back-up radio frequencies which has led us to further investing in specific equipment, larger and more powerful consoles to cater for increased channel demand.”

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26 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

Leadmill sharpens focus on emerging artistes SHEFFIELD’S VENUE The Leadmill (cap. which has been a challenge,” she says.

Though the venue has branched out 900) is celebrating its 40th anniversary with new refurbishments and a pro- into other realms of entertainment, the refurbishments that have been taking place gramme for breakthrough artistes.

Having established a reputation over throughout the last couple of years are four decades, The Leadmill seems to have dedicated to new talent passing through.

“We are developing each of our as much pulling power with marooms bit by bit, to enable our venjor artistes as it does with the ue to be more adaptable, giving a smaller ones. platform to smaller, breakthrough Rebecca Walker, who has been acts” says Walker, who cites acts assistant general manager at The such as Patawawa, Sheafs, Clear Leadmill for 11 years, says much Vinyl and Your Life & Mine as fast work has been put in to return emerging. the venue to the kind of offering Rebecca Walker it had in its early years.

Forthcoming shows feature The “We’ve expanded our proMurder Capital and The Night Cafe. gramme so much over the past decade, Among Walker’s highlights at The Leadmoving away from just being a night- mill are when Steve Lamacq hosted his club with indie bands to hosting a range Radio 6 Music show, featuring Pulp as of events including comedy shows, drag guests, and a Halloween show by Royal shows, and a variation of club nights Blood.

Managing Talent

Loretta Andrews, 43 Safe Music Management, London E: Loretta@safemusicmanagement.com Your artiste roster: Joshua Luke Smith, Guvna B, Bianca Rose.

Favourite venues for seeing and/or showcasing new artistes: Servants Jazz Quarters, Zigfrid Von Underbelly, The Bedford, The Social, The Islington – all in London.

How important is it for artistes to play live: “You’re only an artiste if you’re actually out there being an artiste. Writing at home and singing into your home studio doesn’t count. You need to test new material in front of a live audience and you need to hone your performance and strengthen your vocal

Manchester’s multi award-winning music venue 340 cap - gig 450 cap - club

bandonthewall.org info@bandonthewall.org

The Leadmill

ability in a live setting. It’s also the best way to gain true fans – not just followers.”

Other emerging acts to watch: Jennifer Kamikazi, Tina Boonstra.

Greatest lesson learned: “That what seems like the smallest, most insignificant gig still deserves an artiste’s best performance, because you never know whose watching.”

Worst live experience: “I used to be an artiste myself many years ago before I was a manager, so I’ve had plenty – from wardrobe malfunctions, to forgetting lyrics to the wrong version of the backing track being put on in an arena full of people.”

Current live music projects: Joshua Luke Smith – just completed UK tour, Bianca Rose - touring this year.

Perfect for album launches, warm-ups and media showcases with L’Acoustics PA, Soundcraft Vi3000 desk, Steinway B Piano, extensive lighting and recording and filming facilities.

Former showcases by:

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Plus flagship monthly nights:

Mr Scruff Keep It Unreal, Craig Charles Funk & Soul Club and more.

January 2020 • Issue 240 • www.liveuk.com

Loretta Andrews

Squeeze – ‘The Difford and Tilbrook Songbook’ 2019 UK Tour

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THE PERFECT LINE-UP Issue 40

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Campaigners Campaignersslam slamViagogo-StubHub Viagogo-StubHubdeal deal London’s London’sMSG MSGSphere Spheredelayed delayedindefi indefinitely nitely AEG AEGpartners partnerswith withAmEx AmExfor forBST BSTrebrand rebrand Committed Committedto tothe theunsigned unsignedand andemerging emerginglive livesector sector see seepage page26-27 26-27

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NXT NEWS I 29

in association with

Immersed in Wales IMMERSED FESTIVAL, a one-day conference, music festival and showcase for local talent, returns to Cardiff ’s Tramshed (cap. 1,000) for a second year.

Produced by students at The University of South Wales, the event will take place on 30 January in collaboration with the Music Managers Forum.

Among artistes who will be performing are Richard Ashcroft, Tom Grennan, Bad Sounds and emerging acts Elina Lee, Sonny Winebago and Bloom.

“Wales music scene is the most colourful and welcoming – there is something new and fresh being performed from each corner of the country, consistently fuelling creatives with more inspiration which really encourages our scene to grow,” says student organiser Emily Kocan.

“I’m excited to be a part of Immersed, as it’s given us a platform to showcase the acts that make the Wales scene what it is.”

Ocean Colour Scene’s Damon Minchella, head of the University’s Popular Commercial Course, has given his assistance to the students in organizing the festival, and will be performing with Ashcroft.

“This is a fantastic opportunity for young artistes to share a stage with some of the industry’s finest,” says Minchella.

Conference sessions will include David Coker discussing the creation of music and the Music Education Symposium and academics investigate the issues facing popular music education in Wales.

Conference and festival tickets cost £30, or £20 for students. Any profit will be donated to Teenage Cancer Trust.

Stage Break

The Boileroom

The Boileroom 13 Stoke Fields, Guildford, Surrey, GU1 4LS Bookings: Lydia Stockbridge T: 01483 440020 E: Lydia@theboileroom.net W: www.theboileroom.net Capacity: 275 standing

PA/lights: Yes

Dressing rooms: One Booking policy: Tend to support Guildford/SE artists to support our local creative community.

Best unsigned/emerging acts currently playing the venue: The Chocolas, Drag Me Down, Joss Mogli, Pinc Wafer – we’re putting on a programme called Fresh Faces in mid-Jan showcasing local emerging artists, promoters and labels.

The best advice you can give the manager of unsigned/ emerging artistes: Invest in some good demos – if you have access to a studio at college/school, or can link up with a local production/recording course student to help record a track or two, this really helps. A concise, short email with your band bio, URL links, and if you’ve played locally in that venue’s area before; any upcoming shows that venue has that you might be suitable for are also good to note down.

Immersed Poster

Better known acts who’ve played the venue: Ed Sheeran, Kate Nash, Bastille, The 1975, First Aid Kit, The Bronx, You Me At Six, Gallows.

VENUE VARIETY UNDER ONE ROOF 5 IN-HOUSE VENUES 150–2,100 FLEXIBLE CAPACITIES

Upcoming Artists include: Freya Ridings, Steve Aoki, The Struts, The Lemonheads, Neneh Cherry and Stefflon Don.

Chat to Vicki Scott on v.scott@leeds.ac.uk for all information, pricing and availability.

January 2020 • Issue 240 • www.liveuk.com

30I

PRODUCTION NEWS Newsbites Compact console for ‘bold’ Walker PRODUCTION COMPANY OneBigStar has invested in the Maverick MK3 Profile lighting fixture by Chauvet Professional to add a “versatile” unit to its inventory. MD Steve Yeardsley says, “The MK3 Profiles are great for aerial and animation effects as well as stage lighting.” The company works with live clients including Bryan Ferry, Noel Gallagher’s High Flying Birds and Glastonbugdet (10,000).

TOUR AND production management company Patchwork London used a Shure PSM 1000 wireless in-ear monitor (IEM) system supplied by AC Entertainment Technologies (AC-ET) on the tour by Skunk Anansie following good experiences with the manufacturer’s Axient system. “We’ve had increased enquiries for the PSM 1000, so when a threemonth-tour hire with Skunk Anansie came in it seemed a good time to expand our Shure stock,” says Patchwork’s Steve White. The band played venues including O2 Academy Newcastle (cap. 2,000), Rock City (2,000) in Nottingham, and Cardiff University (1,500).

CPL, WHICH supplies festivals including Boomtown (cap.

60,000), Elrow Town (30,000) and Camper Calling (6,000) has made its first investment in Robe moving lights, purchasing 40 of the manufacturer’s LEDBeam 150 fixtures. “We needed a reliable, versatile, small moving light,” says CPL’s events director Lee Gruszeckyj. “The LEDBeam 150 produces a decent wash as well as nice beams thanks to its 3.8 to 60 degree zoom.”

THE WIDE range of Tom Walker’s vocal demands an audio console capable of handling a “big, bold” show, according to his front-of-house (FOH) engineer Mike Platt.

Touring venues including London’s O2 Academy Brixton (4,900), O2 Victoria Warehouse (10,000) in Manchester and the Corn Exchange (3,000) in Edinburgh, the production used a

SD10-24 by Digico, one of the smaller desks in the manufacturer’s series.

“I chose the SD10-24 mainly for its size and power,” says Platt. “I like to mix on one layer, so its 24 faders makes me prioritise the most important channels for the show.”

Platt says he does the majority of his processing from within the console.

KNOWN FOR their multi-layered, “spacey” sound, Hawkwind presented a range of challenges to audio engineer, Rik Elliss, not least the need to accommodate Eric Clapton and Motörhead’s Phil Campbell, who join the band on stage at certain shows.

The front-of-house (FOH) engineer opted for an S5000 dLive surface

by Allen & Heath (A&H) to handle 11 channels of keyboards, five of “screaming” guitars, a “distorted”

bass, 11 channels of drums and four vocals.

“The vocals had to sit on top of this mid-range, heavy music,” says Elliss.

“But the dLive is great at keeping sounds distinct and that separation really adds clarity to the mix, which is something that’s incredibly important, particularly in a venue as iconic as the Royal Albert Hall [cap. 5,300].”

Other venues included Glasgow’s O2 Academy (2,550), G Live (1,700)

“I know the exact sounds I want, and I can get those results with the DGiCo onboard features,” he says.

“Tom has probably the largest dynamic range going: from whispers to blisteringly loud parts. My job is to make my artiste sound great, and for the audience and management to not even think about the tech side of things. There is no scope for failure.”

Hawkwind conquers sound-space

in Guildford - where Clapton performed, and Manchester’s Albert Hall (2,290).

“I rely heavily on the dLive’s onboard effects,” he says. “When an audience is as engaged as Hawkwind’s and they know the records inside out, it’s important to create a live experience for them, rather than a generic mix. And dLive is the perfect choice for that – it’s a really creative tool.”

The dLive in FOH position for Hawkwind at the Royal Albert Hall

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I 33

PRODUCTION NEWS

Focusrite acquires Martin Audio Kenyon’s sumptuous HIGH WYCOMBE-BASED audio interface specialist Focusrite plc has acquired professional live sound manufacturer Martin Audio, also based in the town, which developed the MLA system and works for clients including BST Hyde Park (cap. 65,000), SW4 (20,000) and Fat Boy Slim.

Focusrite owns the ADAM Audio, Novation and Ampify Music brands.

“Martin Audio is a close neighbour to Focusrite Audio Engineering,” says Focusrite founder and chairman Phil Dudderidge.

“Their current management recognised that Focusrite plc was the obvious trade candidate to acquire the business from its private equity structure.

“The acquisition of Martin Audio is a strong demonstration of our strategic aim to expand into new markets. Martin Audio is also an established brand with solid financials that instantly add value.”

Martin Audio MD Dominic Harter, who

continues to lead the company under the new deal, says, “Our continued success has been down to a clear, well-executed strategy with over 60 new products over the last four years and double-digit growth each year. In Focusrite we have an industry neighbour of the finest pedigree.”

Colour Sound at work on Aretha Songbook © Leslie Forde

Martin Audio’s MLA in action at BST, Hyde Park

David’s White Light new year welcome WHEN CRAIG David performed both as a singer and a DJ at London’s Central Hall (cap.

2,500) in Westminster on New Year’s Eve, lighting designer Steve Abbis worked with in-house technical production company White Light (WL) to create different visuals

Craig David at Central Hall, Westminster

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before and after the midnight fireworks on the nearby River Thames.

The event was broadcast as part of BBC One’s live celebrations and saw David perform an initial live set, followed by the dance set after the outdoor spectacle.

WL deployed 45 Ayrton MagicbladeFX fixtures, vertically rigged behind the performance area, to enhance the camera shots, while Ayrton Ghibli luminaires were used for aerial gobo effects.

According to WL venue technical manager James Thurlow, “We worked closely with Steve to achieve a different look to mark the significance of entering a new year and decade. Our lighting rig for the show was specifically designed to complement the architectural features of the Great Hall.”

SHOW PRODUCER Adrian Grant aimed to create “big sumptuous” looks for the latest leg of Respect: The Aretha Franklin Songbook, which features singers Stacy Francis, Tanya Edwards and Cleo Stewa performing the music of the “Queen of Soul”.

Production manager Aaron Booth invited London-based Colour Sound Experiment, the show’s provider of lighting, LED screen, rigging and crew, to source a lighting and visuals director for this outing.

Long-standing company collaborator Sam Kenyon joined the team and had to recreate the visuals from scratch, without an existing show file.

“That was a major task

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with plenty of pressure as the producer put great emphasis on production values and general standards of excellence,” says Kenyon. As well as capturing the show’s signature looks, he added his own touches including sections of new video content.

With venues ranging from Stockport Plaza (cap.

1,300), The Cresset (800) in Peterborough, and the O2 Newcastle City Hall (2,150), the rig needed to be versatile says Kenyon.

“Combining a bit of rock ‘n’ roll with some theatre methodology, using trusses for some shows and house fly bars for others, we ensured maximum production continuity each day,” he adds.

Backline Hire Amplification Guitars Drum Kits Electronics Cymbals Percussion Effects Keyboards Synthesizers Pianos Organs Stage Fans Seating Transformers Pedals Instruments Flightcases

January 2020 • Issue 240 • www.liveuk.com

34 I TOUR PLANS A GUIDE TO ARTISTES, TOURS & AGENTS Artistes

Period

Contact details

Artistes

Period

Contact details

Artistes

Period

Contact details

5K HD

May

Ryan Balch, The Leighton-Pope Organisation T 020 8741 4453 ryan@l-po.com

Joe Satriani May

Alexis Ffrench May-Jun

Emily Robbins, UTA T 020 7278 3331 Emily.Robbins@unitedtalent.com

Amy May Montgomery

Matthew Bartlett , Midnight Mango T 01458 211117 mb@midnightmango.co.uk

Jovhn Bramwell May Nigel Morton, Money Penny Agency & The Full T 01377 240162 Harmonic nigel.morton@moneypennymusic.com Convergence

Anathema

May-Jun Andy Farrow, NMC Live T 01274 306361 andy@northernmusic.co.uk

Atari May Teenage Riot

Jeff Aug, Maximum Booking T +49 177 642 4221 info@maximumbooking.com

Boyz on Block

May

David Samuel, ASM Talent T 020 3005 9170 david@asmtalent.co.uk

Blackfoot

May

Jeff Aug, Maximum Booking T +49 177 642 4221 info@Maximumbooking.com

Bernie Marsden

May-Aug Alec Leslie, ALE Consolidated T 01829 730488 alecconsol@aol.com

Cameron Graves

May

Matt McCluskey, The Kurland Agency T 01482 014971 matt@thekurlandagency.com

Jungle Brothers Atari Teenage Riot

Cliff Bennett May-Jun Mark Lundquist, MLM Concerts & The Rebel Rousers T +1 161 7254 0007 mark@marklundquist.com Chesney Hawkes

May

Ryan Balch, The Leighton-Pope Organisation T 020 8741 4453 ryan@l-po.com

Callaghan

Apr

Phyllis Belezos, ITB T 020 7637 6979 phyllis@itb.co.uk

Dreadzone May

Zac Peters, DMF Music T 01392 437 744 zac@dmfmusic.co.uk

Frank May Gambale & All Star Band

Jeff Aug, Maximum Booking T +49 177 642 4221 info@Maximumbooking.com

Fofoulah

David Flower, Sasa Music T 07798 743466 rab@sasa.demon.co.uk

May

Graham May Gouldman’s Heart Full of Song Gong

May-Nov Glenn Povey, Event Horizon Live T 07841 594677 glenn.eventhorizon@gmail.com

Hannah May Sanders & Ben Savage

Baxter Dury

Steve Parker, Miracle Artists T 020 7935 0222 steve@miracle-artists.com

Chris Wade, Strada Music T 01377 217662 info@stradamusic.com

Holy Moly & May-Oct Polly Bolton, Strada Music The Crackers T 01482 014971 polly.bolton@stradamusic.com

Jun-Aug Albert Samuel, ASM Talent T 020 3005 9170 albert@missioncontrol.net

Juan De’ Jun Marcos Afro Cuban All Stars Kathryn Williams

Wayne Forte, Entourage Talent Associates T +1 212 633 2600 wayne@entouragetalent.com

May

David Flower Sasa Music T 07798 743466 rab@sasa.demon.co.uk Nigel Morton, Money Penny Agency T 01377 240162 nigel.morton@moneypennymusic.com

T.Rextasy

Kenny Jones Jun and The Jones Gang

Mark Lundquist MLM Concerts T 07971401510 mark@marklundquist.com

Lindisfarne May

Graham Smout, Strada Music T 07971 072 938 graham.smout@stradamusic.com

Lisa Ekdahl May-Jun Paul Charles, Asgard T 020 7387 5090 pc@asgard-uk.com Lisa Stansfield

May-Jun Neil Wornock, UTA T 020 7278 3331 neil.warnock@unitedtalent.com

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: grace@liveuk.com

January 2020 • Issue 240 • www.liveuk.com

For immediate release: 8th January 2020

Monday 27 January - Sunday 2 February 2020

INDEPENDENT VENUE WEEK 2020 CELEBRATES WITH INTIMATE LIVE SHOWS AND shows TOURS, and Celebrating independent venues with intimate FEATURE DOCUMENTARY tours, a feature Adocumentary & new live record release. & NEW LIVE RECORD RELEASE

Over 230 independent venues participating around the UK INDEPENDENT VENUE WEEK’S 2020 AMBASSADOR: ANNA CALVI Shows Including: Anna Calvi, BC Camplight, Frank Turner, Gruff Rhys, Morcheeba, OVER 230 INDEPENDENT UKSelf VENUES Nadine Shah, Pigs Pigs Pigs,Pigs Pigs Pigs Pigs, Esteem, Demob Happy, MONDAY 27 JANUARY - SUNDAY 2 FEBRUARY 2020 Toy, Twin Atlantic + Many More SHOWS INC. ANNA CALVI, BC CAMPLIGHT, FRANK TURNER, GRUFF RHYS, For more information visit independentvenueweek.com MORCHEEBA, NADINE SHAH, PIGS,PIGS,PIGS,PIGS,PIGS,PIGS,PIGS,

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SELF ESTEEM, DEMOB HAPPY, TOY, TWIN ATLANTIC + many more IN PARTNERSHIP WITH - ARTS COUNCIL ENGLAND, ARTS COUNCIL WALES, CREATIVE SCOTLAND, BBC 6 MUSIC, BBC SOUNDS, FRED PERRY,WITH HARMAN, MUSICIANS PPL,ARTS PRS FOR MUSIC, YAMAHA, YORKSHIRE TEA IN PARTNERSHIP - ARTS COUNCIL UNION, ENGLAND, COUNCIL WALES, CREATIVE SCOTLAND, BBC 6 MUSIC, BBC SOUNDS, FRED PERRY, HARMAN, MUSICIANS UNION, PPL, PRS FOR MUSIC, YAMAHA, YORKSHIRE TEA independentvenueweek.com #IVW20

UNIQUE ART DECO THEATRE Ideal for performances, gigs, rehearsals and events • Auditorium capacity: 770 raked theatre seating or 960 standing • One of the capital’s largest stages measuring 13m x 14m • Fully equipped sound & lighting rig with 12m x 9m rear projection screen • Split level foyer space with bar, box office and cloakroom

visit qmgreathall.co.uk call 020 7882 5379

A GUIDE TO ARTISTES, TOURS & AGENTS TOUR PLANS I 37 Artistes

Period

Musical Youth

May-Jun Serena Catapano, SAS Entertainment T 07871 075 072 serena@sas-ents.com

Tokio Hotel Jun

Nazareth

Sep

Alan Cottam, Alan Cottam Agency T 01254 668471 alam@alancottamagency.co.uk

T-Rextasy

May-Jun Mark Lundquist, MLM Concerts T 07971401510 Mark@marklundquist.com

NOËP

May

Clotaire Buche, Junzi Arts T +33 615173539 clotaire@junzi-arts.com

Wolfgang Flür

May-Jun Zac Peters Dark Independent Bookings T +32 468 27 06 12 pieter@darkindependentbookings.com

Potato Head June Jazz Band

Contact details

Artistes

Period

Contact details

Tim Jennings, Big Bear Music T 0121 454 7020 tim@bigbearmusic.com

SAZ’ISO

May-Jun David Flower, Sasa Music T 07798 743466 rab@sasa.demon.co.uk

Seth Lakeman

May-Sep Dave Farrow, DMF Music T 01392 437 744 david@dmfmusic.co.uk

Period

Willie & May The Bandits

Contact details Georg Leitner,Georg Leitner Productions | T + 431 914 86 15 gleitner@glp.at

Jeff Aug Maximum Booking T +49 177 642 4221 info@Maximumbooking.com

Xander and May-Aug Alec Leslie, ALE Consolidated the Peace Pirates T 01829 730488 alecconsol@aol.com Zamilska

Sophie Evans May-Jun Heulwen Keyte, UTA T 020 7278 3331 Heulwen.Keyte@unitedtalent.com Sons of Apollo May-Jun Andy Farrow, NMC Live T 01274 306361 andy@northernmusic.co.uk

The Toploader

10cc

Jun-Jul

Steve Parker, Miracle Artists T 020 7935 9222 steve@miracle-artists.com

The Trials May of Cato

The Jim Dandies

Jul

Tim Jennings, Big Bear Music T 0121 454 7020 tim@bigbearmusic.com

Jun- Aug Alex Bruford, ATC Live T 020 7580 7773 alex@atc-live.com

The Trials of Cato

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

The Wildhearts

Jun-Nov Andy Farrow, NMC Live T 01274 306361 andy@northernmusic.co.uk

Toploader

May

Ania Marzec Central Euro Organisation T +48 22 894 60 35 ania@centraleuro.org

Graham Smout, Strada Music T 07971 072 938 graham.smout@stradamusic.com

The Lumineers

They Might Aug Be Giants

The Lumineers

Artistes

Zac Peters, DMF Music T 01392 437 744 zac@dmfmusic.co.uk

May-Jun Mark Lundquist, MLM Concerts T 07971401510 Mark@marklundquist.com

Tokio Hotel

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.

January 2020 • Issue 240 • www.liveuk.com

38 I BACKSTAGE STARS BACKSTAGE

STARS

Profile

Tim Thornhill As director of the entertainment and sport division at insurance broker Tysers (formerly known as Integro Entertainment & Sport), Tim Thornhill is responsible for sales and marketing strategy, mergers and acquisitions, as well as building the team. One particular focus in recent years has been adapting cover to cope with extreme weather, potential terrorist threats and geopolitical factors around the world.

What are your first live music memories?

“Whilst at university, my housemate at the time, Jack Dexter, decided to become a DJ, but it didn’t work out. Never one to want to miss out on the-next-big-thing, I decided to have a go.

“With a serious lack of music talent and a large dose of gung-ho spirit, I took a bold step in to promotion. My first job was to encourage the good people of Nottingham to attend my club nights, while I made ever smaller steps towards becoming an international DJ. “One balmy evening in summer 2005, I promoted the last ever night at once-legendary venue The Bomb. It was an underground club and pretty small – a great atmosphere, but lacking certain standards of hygiene.

“DJ Yousef [Circus] played and everyone agreed it was a fitting end for the club. However, somehow The Bomb managed to retain its licence and a couple of weeks later we did a second last ever event, upping the ante and flying over Justin Long from Chicago.

“Rarely finding time for studying while at the University of Nottingham, my main passion was snowsports and I spent most of the winter in the Alps, setting-up university ski trips and alpine events. One such trip involved 468 students descending on the resort of Les Deux Alpes. Sadly, a nasty ski injury meant I was out of action for the duration and had to see a spinal surgeon.”

How did you get into the entertainment industry?

“Running the snowsports events led the tour operator to ask me to join them as an event manager. Part of the role was to ensure customers were entertained off the slopes, as well January 2020 • Issue 240 • www.liveuk.com

LIVE UK intervie ws key people who help shape our industry

as on. I began to oversee booking bars, venues and bands, and that was my first true step into a paid career in the live music sector.

“A couple of years later I became the MD and we made a move towards events, organising festivals in the alps for up to 2,500 people. As a small team we would all muck in, puttingup marquees, hiring artistes and managing the production. From booking transport and accommodation, to ski hire and setting-up speakers, we did whatever was needed.”

How did your career develop?

“After five years in the Alps, and with a deep tan that covered approximately two-thirds of my face, my now wife decreed that we would not be together for much longer if I continued to spend one hundred days a year in the Alps.

So I found a job in the UK at an insurance firm, although sadly it did not have a sport and entertainment [E&S] team.

“Whilst the relationship was saved, I hadn’t yet found my place in the business world. That is, until I was offered a job working at a firm that had an E&S division.”

What were your high and low points “One memorable low came when I was responsible for booking over 700 apartments in the alps for 2,300 people arriving on a Saturday. On the Tuesday before I had a bad gut feeling and on inspection, found I had copied and pasted the spreadsheet incorrectly and we were 80 beds short in a very popular ski resort. I managed to find a few more rooms, but not enough.

“The solution was myself and other members of staff sleeping on bean bags in the fes-

tival marquee for the first three days, at an altitude of 2,100m.

“On the up side, last year we secured the Royal Albert Hall as a client and now do all its insurance. The team there are a pleasure to work with and it is one of my favourite venues, plus we also have many of our promoter and artiste clients performing there throughout the year.”

Where do you see the industry going?

“As an industry, we need to make sure that everyone who is working in the sector knows what risks they are up against. This will allow the industry to continue to develop its standards, to ensure events are safe, wellrun and give audiences the best possible experience.

“The industry is expanding globally and you only have to look at the money that is going into the Middle East’s music scene to see that. For example Saudi Arabia is hosting a 70,000-capacity event with some of the biggest names in entertainment.”

How do you unwind?

“My gorgeous wife Liv keeps me both honest and on my toes. She is incredibly understanding as well as being a wonderful mother to our two sons, Leo, now two, and Rex, born in December.

“As for winding down, anyone who has two young kids and time for hobbies, please drop me an email and let me know your secret.

“Personally, I would like to be carbon neutral by 2023, but perhaps a more achievable ambition is to take my sons on their first trip to the Alps in the next few years.”

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