LIVE UK 199

issue 199 August 2016 UK ÂŁ6.25

Summer Time high Michael Kiwanuka takes soul on tour AEG celebrates summer blockbuster Managers fight touts with FanFair The Empire strikes back

Committed to the unsigned and emerging live sector see pages 14-17

Dedicated to the Business of Contemporary Live Music

contents I 3

Contents

issue 199

4-12 News

22-26 Sector Focus Live Broadcasting

The business of live music

Whereas a few years ago, there were few outlets for live broadcast, now there’s a plethora.

8 Forthcoming Events

Key industry gatherings

28-31 Production News

14-15 NXT News

Developments in technology and show production

Business activity in the unsigned and emerging artiste sector

16-17 NXT Feature Getting Protection Early

Engaging a good music business solicitor early in a career can pay dividends in later years.

15-17 NXT Profiles Insight from venue operators, artiste managers and A&R executives

18-19 Festival News The business of festivals, with a festival founder profile

32-36 City Limits Manchester A look at the people and venues behind live music in the city

38-41 Tour Plans Artistes, their agents and tour periods

42 Backstage Stars

Interviews with the key people who shape the industry

22 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, Christian Hodges Picture Manager: Isabel Victoria Dakin Circulation Manager: Sam Wickens

32

28 Subscriptions Management: Laurie Burgess

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ISSUE 199: August 2016

Published monthly by:

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

August 2016 • Issue 199 • www.liveuk.com

4 I news

AEG Live consolidates Hyde Park success with record sales THE COMBINATION of popular artistes, careful planning and the perfect venue helped AEG Live’s Barclaycard presents British Summer Time (cap. 60,000) to draw a record attendance, says event director Jim King.

British Summer Time

Overall, 325,000 tickets were sold for the six concerts held over 10-days at London’s Hyde Park in July, with a total of 385,000 people attending.

Five of the shows were sold-out, as artistes including Take That, Mumford & Sons, Stevie Wonder, Florence & the Machine and Massive Attack performed on the Great Oak Stage.

“After taking over the venue four years ago, we invested very heavily in improving the facilities and experience for fans and the artistes performing,” says King.

“We are now seeing the benefit with both fans and the

world’s leading artistes once again viewing Hyde Park as the best outdoor venue in the UK. People like coming to Hyde Park and artistes now love playing there.”

Live Nation EntertainJim King ment had previously run events such as Hard Rock Calling and O2 Wireless at the site, but pulled out of the re-tender process in 2013 and moved its events to other locations.

King says it takes around two weeks to prepare the park and a tried-andtested egress plan has been developed with site owner The Royal Parks,

Westminster Council and emergency services.

“The road closure of Park Lane plays a pivotal role in getting a very large number of people through Mayfair to major bus and tube hubs,” he says.

BST is one of Hyde Park’s most popular events and contributes vital funds to its upkeep.

“We have worked hard with our event partners AEG Live to minimise the local impact of events, and this approach has meant that complaints have reduced year on year and 2016 was no exception,” a Royal Parks spokesperson tells LIVE UK.

Refreshed Empire finally reopens FOLLOWING AN unplanned six-month closure for structural repairs, London’s 2,000-capacity O2 Shepherd’s Bush Empire has reopened.

Owned by Academy Music Group, the venue staged its first concert since December on 5 July with Band of Horses performing.

It was forced to close after what the company calls a routine inspection prior to a show by The Courteeners, discovered a section of the roof required repairing. The concert was pulled on the day and others following either cancelled or moved to other venues.

“We apologise that such delicate repair works at our Grade II listed building were regrettably delayed,”

says Empire general manager Bill Marshall.

“However our ultimate objective and ambition has been achieved to preserve our venue for the future and reaffirm its position as one of the country’s most historically important live entertainment theatres.”

As well as roof repairs the venue also carried out a series of other improvements, including refurbishing its toilets, replacing parts of the auditorium floor, repainting the bar frontages and installing a new chilling system.

Forthcoming shows include Travis Scott, The Avett Brothers and LIVE UK cover artiste Michael Kiwanuka.

O2 Shepherd’s Bush Empire

Rebecca Kane Burton to leave The O2

THE VICE-president and general manager at London’s The O2 (cap.

20,000) Rebecca Kane Burton is to leave the AEG-owned venue complex after four-and-a-half years.

Burton, who was previously MD at Alexandra Palace (10,400), is to join theatre owner and operator Really Useful Theatres (RUT) as MD on 1 September.

“Rebecca can be rightfully proud of the legacy she leaves and the

Rebecca Kane Burton

August 2016 • Issue 199 • www.liveuk.com

excellent team in place at the venue,” says CEO and president of AEG Europe Tom Miserendino.

RUT, a division of Andrew Lloyd Webber’s Really Useful Group, will launch a new ticketing company in 2017 and has plans to grow its concert business and secure new sponsors.

“Rebecca has a truly unique blend of heritage, commercial, venue management and ticketing

experience that will be invaluable,” says Lloyd Webber.

Kane Burton will replace departing RUT MD Bishu Chakraborty.

“I cannot think of a better or more exciting time to join Really Useful Theatres,” says Burton. “I have a real passion for theatre and historic buildings and I am fortunate that this role combines the best of both.”

RUT owns and operates West End venues such as the London Palladium (2,286), Theatre Royal Drury Lane (2,196), Her Majesty’s Theatre (1,216) and the Adelphi (1,500).

news I 5

FanFair launch Fairfield Halls operator by top managers goes into administration A STEADY escalation in industrial-scale and insider ticket touting has driven four leading artiste managers to set-up FanFair Alliance (FFA) to galvanise widespread industry support against what they call a “blight”.

The managers of artistes such as One Direction, Arctic Monkeys, Mumford & Sons and PJ Harvey have committed funds and plan a campaign to pressure the Government to enforce the Consumer Rights Act, which requires touts and the websites that facilitate their activities, to list the block, seat number and face value of tickets being offered for resale.

FFA supporters include Iron Maiden manager Rod Smallwood, agents such as X-Ray Touring’s Jeff Craft, promoters Stuart Galbraith of Kilimanjaro Live and Crosstown Concerts’ Paul Hutton, anti-ticket abuse campaigner Sharon Hodgson MP and industry organisations such as the Music Managers Forum, the Association of Independent Festivals and the Musicians’ Union.

Meanwhile, a petition launched by Mumfords’ manager Adam Tudhope had reached almost 46,000 signatures as LIVE UK went to press.

See the full story on pages 12-13.

DAYS AFTER Croydon’s Fairfield Halls (cap. 1,750) and adjacent Ashcroft Theatre (700) shut for a £30 million refurbishment, its operating trust went into administration.

Fairfield (Croydon) Ltd appointed Herron Fisher on 18 July to oversee the trust’s winding up proceedings, after informing staff it was unable to pay redundancy entitlements.

The announcement came after the Croydon Council-owned venues closed for two years for a major upgrade.

It is thought around 70 permanent and 30 casual staff lost their jobs as a result of the venues’ closure.

“We are looking for a buyer for any part of the business that can be salvaged,” says a statement from Herron Fisher. “We are meeting with some of the ex-employees to assist them with making redundancy claims.”

Home and away for Kiwanuka HAVING STARTED out as a session guitarist, Michael Kiwanuka began making a name for himself as a solo artiste in 2011, supporting Adele on tour.

The north-London-born soul singer was named winner of BBC’s Sound of 2012 poll and released his debut album Home Again in March of that year.

Kiwanuka followed up with his second album Love & Hate in July, featuring the singles Black Man in a White World and One More Night, and reaching No 1 in the album charts.

COVER ARTISTE After performing at British Summer Time Festival (60,000) in London’s Hyde Park, Kiwanuka is appearing at European festivals such as Germany’s Haldern Pop Festival (cap. 6,000) in August.

He begins a UK tour in the autumn, appearing at venues such as The Liquid Room (700) in Edinburgh, Sheffield’s Leadmill (900) and The Academy (800) in Dublin.

“Michael’s new album will surely be recognised as an album of the year,” says his agent Angus Baskerville at 13 Artists.

“It’s a magical record that sounds better and better with each listen – it is just absolute quality. We are looking forward to some very special shows this autumn and beyond, with his incredible six-piece band.”

Kiwanuka is managed by Robert Swerdlow at Starwood Management.

Fairfield Hall

Fairfield (Croydon) had wanted the work to be completed in phases to allow the venue to remain open during refurbishments, fearing the council may look to tender for new operators once the project is finished (see LIVE UK issue 193).

Earlier this year it had received a grant of £750,000 from the Council to help cover the costs of closure.

Acts to have performed at Fairfield Halls include G4, Saint Etienne and Lee ‘Scratch’ Perry.

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August 2016 • Issue 199 • www.liveuk.com

6 I news

Media is ‘scare-mongering’ on sexual abuse at festivals THE ASSOCIATION of Independent Festivals (AIF) and organisers of the 26,000-capacity Secret Garden Party (SGP) have accused sections of the press of inaccurate reporting over concerns about sexual assaults at festivals.

In particular they dispute a feature in August’s Cosmopolitan asserting that sexual violence is commonplace at festivals and that some festival organisers are not dealing adequately with the problem.

Journalist Corinne Redfern wrote in Cosmopolitan that her phone calls to organisers including Festival Republic – promoter of Reading (90,000), Leeds (80,000) and Latitude (35,000), Isle of Paul Reed Wight Festival (55,000) and SGP to discuss sexual violence “got nowhere”. She wrote, “It seems, despite the huge amount of negative publicity last year . . . UK festivals are still reluctant to talk about the subject”.

But AIF’s Paul Reed claims the article was

scaremongering. “It was inaccurate and no substantive effort was made to contact the festivals,” he tells LIVE UK. “Clearly this is a serious issue which the industry is taking active steps to address.”

SGP’s Joanna Fellowes, wife of founder Freddie Fellowes, defended her event in the Huffington Post, explaining how it had handled a rape allegation in 2015.

“We took the decision to appeal openly for witnesses and be transparent about what occurred,” she said.

Reed says the AIF, which represents over 50 independent festivals, is planning a campaign for April 2017, before the next festival season, when audiences are starting to purchase tickets and media interest in festivals is reviving.

In addition the association is working on a charter of best practice for sexual safety, to ensure its members have a “robust” process in

MJR continues growth with Plug THE CONTINUED rise of venue developers and promoters The MJR Group shows no sign of abating, with the acquisition of Sheffield’s 1,100-capacity Plug, in a joint venture with club night organiser Propaganda.

In the last two years MJR has bought or taken on the management of nine venues and staged nearly 4,000 shows.

MJR jointly owns Cardiff’s Tramshed (1,000), which opened in October, again with Propaganda, followed by the pair acquiring Leamington Spa’s The Assembly (1,000) in November. They also jointly own Attic (1,000) in Leeds.

“The growth of venue ownership is just one angle of The MJR Group and we have also grown as an international promotions company,” says owner Richard Buck.

Plug was launched in 2005 by founders Adele and Scott Bailey and has played host to acts such as the Arctic Monkeys, The Prodigy and Ed Sheeran.

MJR also programmes Dingwalls (500) in London, Motion (1,300) and Marble Factory (550) in Bristol, Southampton’s Engine Rooms (800, 600, 400), Reading’s Sub 89 (600) and The Bowery District (300), and jointly owns The Globe (350) in Cardiff.

Newsbite AEG HAS agreed a three-year sponsorship deal with Barcadi which will see the drinks brand become the official spirits partner at three of its venues and The SSE Hydro (cap. 13,000) in Glasgow. The agreement will give Barcardi exclusive category sponsorship at London venues The SSE Arena, Wembley (12,500) and Eventim Apollo (5,039); The SSE Hydro and sister venue SESS(10,000), and from 2017, The O2 (20,000) in London. Casa Barcardi, the brand’s live music activation, also featured at AEG Live’s Barclaycard presents British Summer Time (65,000) in London’s Hyde Park.

August 2016 • Issue 199 • www.liveuk.com

Secret Garden Party

place to deal with such incidents.

“At a licensed event such as Secret Garden Party you are far more supported in your ‘leisure’ time (in terms of welfare, security and medical support) than you would be in many a metropolitan West End environment,” says Fellowes.

“Whilst this is true, a festival cannot be expected to be an entirely safe space. This allows the media to take a hysterical tone when an incident occurs.”

In the last 18 months, news outlets including the BBC, Evening Standard, The Daily Mail and The Mirror have reported on sexual assault allegations at festivals such as T in the Park (70,000), V Festival (60,000) and Wilderness (10,000).

Designs unveiled for Wolves Civic revamp

THE FIRST images depicting how Wolverhampton’s Civic Hall will look following a £14.4 million renovation of the Grade II listed City of Wolverhampton Council-owned venue have been revealed.

The improvements, including a new balcony enhancing, will give the Civic Hall capacity to increase by 539 seats to 2,554, with standing capacity up to 3,549. Sister venue The Wulfrun Hall will also get a new balcony, raising seating capacity to 862 and standing to 1,300.

“The increased capacity of the Civic Hall will make it a more attractive place in the entertainment market, enabling it to attract significantly more popular and

Wulfrun Hall

Wolverhampton Civic Hall

prestigious acts, while retaining the current characteristics that make it popular with performers, producers and audiences,” says city councillor John Reynolds.

Blur, The Specials, Robert Plant, Paloma Faith, Bombay Bicycle Club and London Grammar are among artistes to have played the venue in recent years.

Work will start in January and the project is expected to be completed

by March 2018.

During the renovation, concerts featuring artistes including Toseland, The Feeling and We Are Scientists, will continue at the complex’s third venue, the Slade Rooms (550).

news I 7

Awards vote has begun THE FIRST phase of voting for this year’s Live Music Business Awards (LMBA) has begun and concludes on Friday 19 August.

After submissions from LIVE UK readers, shortlists of nominations for 22 of the 23 categories will be whittled down by about one third, before a second phase of voting takes place in September, when there will also be an opportunity to add nominee submissions relating to late summer festivals.

The 23rd category, Outstanding Contribution, is selected by LIVE UK in consultation with leading industry figures.

“The number of nominee submissions this year is significantly up and so we are expanding the list of nominees for the first voting phase,” says LMBA executive producer Steve Parker.

Tickets for the gala awards event, held at the Radisson Blu Portman Hotel in London’s West End after the LIVE UK Summit on 12 October, are available for £135 plus VAT, with discounts for Summit delegates and LIVE UK subscribers.

For more information and tickets, go to www. livemusicawards.co.uk

City Hall is under new management NEWCASTLE THEATRE Royal Trust intends to double the number of live shows at City Hall (cap. 2,135) after taking over its management.

Philip Bernays The trust, which runs the city’s Theatre Royal (1,250), is managing the venue on behalf of leisure management company Fusion Lifestyle, which was granted a lease of the building by owner Newcastle City Council.

City Hall puts on around 50 shows a year, but Trust CEO Philip Bernays says, “We are looking to double that amount.

“There is so much history involved and it is the go-to venue in Newcastle.”

The City Hall and Theatre Royal

box offices have been integrated with the latter’s now offering tickets for both venues.

“The Theatre Royal and City Hall will continue to put on a wide and wonderful array of top shows, ensuring their place at the forefront of entertainment for the people of Newcastle and the North East,” says Bernays.

Artistes playing City Hall include Eric Burdon and The Animals and Ronan Keating.

City Hall

August 2016 • Issue 199 • www.liveuk.com

8 I news

Forthcoming events 18-20 Sep MuseXpo – Europe London www.musexpo.net 18-20 Sep PLASA 2016 London www.plasashow.com 28-29 Sep International Festival Forum London www.iff.rocks 12 Oct LIVE UK Summit London www.liveuksummit.com 12 Oct Live Music Business Awards London www.livemusicawards.co.uk

George wins appeal ruling PLANNING CONSENT to build flats close to East London’s 150-capacity The George Tavern, potentially threatening its survival, has been overturned.

The Stepney venue’s future looked bleak after an initial appeal against the proposal by Swan Housing was turned down last year, but The Court of Appeal has now ruled in its favour.

The Court found the development would make the venue vulnerable to noise complaints from residents and jeopardise the photography business above.

The venue has hosted artistes including Nick Cave, Plan B

COUNCIL-OWNED Islington Assembly Hall (cap. 850) is planning to bring ticketing in-house to establish greater control, and is encouraging other London boroughs to follow suit.

Islington Assembly Hall

Cathouse founder bids for radio licence and established artistes.

MULTI-VENUE owner and promoter “This is a once in a lifetime opporDonald MacLeod is heading an tunity that I felt could not be missed,” audacious attempt for the 96.3 FM says MacLeod, who is also chairman Glasgow licence. of the Tartan Clef awards, supporting The Holdfast Entertainment MD Nordoff Robbins music therapy charity and owner of Glasgow’s The Garage in Scotland. (cap. 650) and The Cathouse (400), and “I want to create a radio station that Aberdeen’s The Garage (700) MacLeod plays music that makes people want to is working with radio professional get out of the house and Ciaran O’Toole and music see the brilliant bands industry veteran Paul playing in their city.”

McManus on Rock Radio Rock Radio Glasgow Glasgow’s bid. faces competition from If successful the station several other bidwill have an output of local ders, with the winning programming and playlists bid expected to be that reflect Glasgow’s music announced in September. scene, supporting emerging Donald MacLeod August 2016 • Issue 199 • www.liveuk.com

The George Tavern

“It’s now time for the developers to do the right thing, realise they should cut their losses, and scrap these inappropriate plans,” he adds.

However the battle could rumble on as the secretary of state for business Greg Clark has applied to the judges to appeal the decision at the Supreme Court.

Acts playing the venue include The Beach Bullies and Jovis & The Bedwetters.

Council seeks ticketing partner

13-15 Oct Norwich Sound & Vision Norwich www.norwichsoundandvision.co.uk 19-20 Oct The Showman’s Show Newbury www.showmans-directory.co.uk

and Kodaline and the Save The George campaign petition has attracted over 6,000 signatures.

Landlady Pauline Forster has been challenging the plans to build next to the 600-year-old Grade II listed building for almost a decade.

“I have battled tirelessly over nine years for something I truly love and believe in,” says Forster.

The campaign has become a test case for venues concerned about nearby developments.

Chief executive of Music Heritage UK James Ketchell says the ruling is a “huge victory” for grassroots campaigning.

Islington Council is working on a business plan and is expected to begin advertising for a ticketing partner in the next few months.

“It will make a massive difference, as instead of the promoter setting the price we will have more control and be able to study data for marketing and put caps on booking fees,” the venue’s business manager Lucinda Brown tells Live UK. Brown says the scheme would also

help to prevent secondary ticketing exploitation at the Grade II listed venue.

“We do not want to be tarnished with that as it always reflects badly on the venue even when they aren’t to blame,” she says.

The council wants to set up its own ticketing deal before involving a wider group, but it is taking soundings among potentially interested parties.

Artistes playing Islington Assembly Hall include The Jayhawks, Benjamin Francis Leftwich and Gabrielle.

Ents24 hails top music cities A STUDY by live event website Ents24 has revealed its Top 10 cities for live events across the country.

The live guide and ticketing company drew on information from millions of users tracking thousands of events at more than 20,000 venues, to extract data based on users’ postcodes and tracking activity, venue locations and local populations, allowing Ents24 to determine an event popularity score.

Coming out on top was London, followed by Manchester, Bristol, Glasgow and Leeds.

While the first five held little surprises, Nottingham, Edinburgh and Sheffield all failed to reach the Top 10, with Cardiff, Birmingham, Brighton, Liverpool and Wolverhampton filling these positions.

An active venue was defined as one whose events were primarily live music or comedy and had listed at least one show with Ents24 in the last 12 months.

50 I tour plans a guide to artistes, tours & agents

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

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

Wednesday 12 October 2016

Radisson Blu Portman Hotel, Portman Square, London W1H 7BG Tickets £135 +VAT (20% discount for LIVE UK Summit delegates, 15% discount for non-delegate LIVE UK subscribers)

Make your vote count Voting ends 19 August

For more information T 020 7224 2442 or info@liveukevents.com

www.livemusicawards.co.uk

10 I news

Mumford’s Lovett Legendary Camden venue gets make-over behind new venue A £300,000 refurbishment has been completed at London’s 500-capacity Dingwalls in Camden, coinciding with the building readopting its original name.

The venue has been a home to live music since 1973, hosting shows over the years by artistes such as The Drifters, Eric Clapton, Blondie, Pretenders, the Stranglers, Paul Weller, James, Coldplay, The Strokes, Pink, Mumford & Sons and Foo Fighters.

Owned by Intertain, the building

housing the club, which has been known as Camden Lock 17 and is split over three levels, has been renamed the T E Dingwall Building.

Wider renovation involved refurbishing the lower bar and improvements to the terrace, and a new restaurant has also opened on the premises.

“The venue is looking fantastic,” says Intertain CEO John Leslie. “We are very much looking forward to building on Dingwalls incredible reputation for live music.”

MUMFORD & Sons singer Ben Lovett is to open a 300-capacity venue as part of a new development in London’s South Bank.

Lovett who is also co-founder of live promotions and independent label Communion, has taken on the lease for Omeara, set to open in September in The Low Line development.

“I’ve been playing and putting on shows in London for my entire adult life,” says Lovett. “Without the grassBen Lovett roots music venues in this city, the band and I simply wouldn’t have achieved what we have, so I have a lot to be grateful for.

The venue will also host club nights, comedy and burlesque.

Booked by Communion, the first acts have yet to be announced.

Live music plan for resurrected theatre

A THEATRE which has remained unused for nearly a decade is to be given a £2.2 million overhaul, with management keen to feature live music at the venue.

Leicester’s 800-capacity Haymarket Theatre is to receive investment from the city council and private backers, after Haymarket Consortium (HC) put forward proposals to run the building, hosting stage shows, concerts and conferences.

Plans include the refurbishment of the auditorium, new seating, lighting and sound systems and a bar.

“Our aim is to create a fully-equipped professional performance and rehearsal space, complete with bar and catering facilities, that will allow us to maximise our income streams from the start,” says HC director Jed Spittle.

The theatre closed in 2007 following funding difficulties and has since cost the council, which signed a 99-year lease on the building in 1974, around £1.5 million in service charges and other costs.

“It’s time to turn this liability into an asset for the city,” says Leicester’s mayor Peter Soulsby.

Subject to contract, work on the building could begin in the autumn, with the venue opening in Haymarket Theatre spring 2017.

LIONEL RICHIE has completed a record-breaking 12 performances at the Manchester Arena since 1998. His latest two Marshall Arts-promoted All The Hits tour shows at the venue in June sold out with a configured for 15,000 people. Overall, Richie has sold more than 150,000 tickets at the arena and is the best-selling male solo artiste in its 21-year history.

“This is a remarkable achievement by a remarkable artiste and shows that Manchester truly does love Lionel Richie, and it appears the feeling is mutual,” says arena general manager James Allen.

A suite stepping stone to stadium THE TEAM behind music events at Bolton’s Macron Stadium (cap. 34,000) believe they are making progress towards again using the venue for shows by international artistes.

Having launched Bolton Live earlier this year, the venue is hosting a weekend of music across 20-21 August at the 5,000-capacity Premier Suite in Bolton Whites Hotel – part of the stadium complex.

August 2016 • Issue 199 • www.liveuk.com

Artistes performing include Scouting For Girls, From The Jam and Reverend and the Makers, with day tickets costing £21.

“The space and flexibility we have with the Premier Suite means we can compete with Manchester and bring some of the very best acts and events to Bolton,” says venue controller Damian Chadwick.

In the past the stadium has played host to performances by Elton John, Pink and Oasis.

“We have had some enquiries for using the pitch, but are conscious it has to be a step-by-step approach,” says Chadwick, who adds that shows at Whites is a good starting point.

news I 11

Grassroots meets Brewery adds hi-tech at Summit beats to the mix TWO SPECIAL elements of October’s LIVE UK Summit will be the latest technological advances to enter the world of live music marketing and promotion, and a celebration of the thriving grassroots music sector.

The event will feature demonstrations on new tech such as fan-to-artiste apps, new ticketing packages and marketing for YouTube. Conference sessions will focus on how acts find their way through the sprawling grassroots breeding ground, into the hands of people who know how to build careers.

“Despite being at apparently opposite ends of the spectrum – grassroots artiste development these days tends to embrace social media immediately, even to get some friends to turn up to the local pub, so there’s actually a direct connection,” says Summit executive producer Steve Parker.

The Summit is held at the Radisson Blu Portman Hotel in London’s West End on 12 October, with early-bird registration still available at £115 + VAT, available until 11 September, with discounts available for LIVE UK subscribers.

• For more information, phone The Events Team on 020 7224 2442 or check www.liveuksummit.com

THE REINVENTION of Newcastle’s Palace of Arts as part of a £2 million refurbishment has created a new venue for live music.

The Grade II building in Exhibition Park had been redundant for nearly a decade until Wylam Brewery decided to transform it into its new base, also featuring an 800-capacity events space.

Since opening the venue has already seen performances from local ‘70s legends Lindisfarne and events curated by North East music magazine NARC. “We’ve taken great care to make sure the building has been renovated to a high specification and are looking forward to welcoming people from the North East and beyond to see what we do,” says Wylam Brewery events director Dave Stone.

Upcoming shows feature Mystery Jets, Michael Kiwanuka and Sunset Suns.

City Limits, Manchester, p32-36

presents:

Two large production-style rehearsal rooms available to hire • 1400 sq ft and 600 sq ft • Natural daylight • 3 phase power • Trussing • On site parking For more info contact Lee Webber lee@oooshtours.co.uk / 01273 911382 / www.oooshtours.co.uk August 2016 • Issue 198 • www.liveuk.com

12 I news

Industry unites agains With the launch of a campaign to fight online ticket touting, momentum is building for the Government to enforce the law, and for the Big 4 secondary ticketing platforms to take greater responsibility in policing the activities of their sellers – in the name of protecting live music fans from exploitation. Neil Bracegirdle reports GROWING DISCONTENT across the industry over industrial-scale and insider ticket touting has galvanised a group of the industry’s top artiste managers and others to take action.

Launched at London’s Somerset House in July, FanFair Alliance (FFA) consists of managers, agents, promoters and trade organisations who are determined to fight against the manipulation and exploitation of the ticketing market by what they see as a relative handful of people and companies.

FFA, are also demanding the Government enforces Consumer Rights Act regulations applying to resale websites.

The campaign is being funded by its four founding members; Ian McAndrew of Wildlife Entertainment, whose artistes include Arctic Monkeys and Royal Blood; Adam Tudhope of Everybody’s Management (Mumford & Sons, Keane, Laura Marling), Harry Magee of Modest!

Management (One Direction, Little Mix) and Brian Message of Courtyard Management, where artistes include Radiohead and PJ Harvey.

“The motivation for supporting this campaign is simple – the effects

Industry supporters:

• • • • • • • • •

Assoc. for Electronic Music Assoc. of Independent Festivals Assoc. of Independent Music British Academy of Songwriters, Composers & Authors Featured Artists Coalition Music Managers Forum Music Producers Guild Musicians’ Union Music Venue Trust

of ticket touting and fraud is the FanFair Alliance – Brian Message, Harry Magee, Adam Tudhope, Ian McAndrew No 1 grievance among music fans,” says McAndrew. primary and secondary markets, leavGenting Arena (cap. 15,700) were on “We have a collective obligation ing them paying inflated prices when offer at £3,300 on GetMeIn!. to protect and educate fans, and to face value tickets are still available.

Campaigners also believe sellers improve the ticket-buying experi“The distortion and confusion is should identify themselves – a ence for all concert-goers.” very damaging,” Magee says. requirement originally in last year’s In order to halt the rise of the “The backlash from the price of CRA amendment, but removed by the black market in ticket resales with tickets on secondary markets always Government at the last minute, under touts and some insiders operating ends up at the artistes door. FanFair is pressure from lobbyists – to prevent anonymously and with impunity very much about protecting the fans.” touts from operating anonymously. on what FFA calls “under-regulated Supporter Stuart Cain, MD of The FFA says the Big 4 secondary ticksecondary ticketing sites”, the group eting platforms should show “proper Ticket Factory, which has partnered has set out four steps which it calls with ethical resale platform Twickets, corporate responsibility”, comply on Government to follow. allowing the purchase and sale of with the CRA and ensure sellers do They want the Consumer Rights tickets at face-value or below, says too. Furthermore, FFA wants the use Act 2015 venues are often left to tidy up the of computer (CRA) – which mess left by unscrupulous operators. technology “The effects of ticket touting (commonly states anyone “Ticket touting is not just affecting and fraud are the No 1 reselling tickartistes, agents and promoters, known as ets via a resale grievance among music fans” bots) to har- but it’s tarnishing the reputation of site must provenues that have to deal with furious vest tickets, Ian McAndrew vide details customers who can’t gain access to a to be made of the block, gig or performance,” says Cain. a specific row, seat number and the face value criminal offence, although the use “We’re fighting a war with ticket – enforced. touts on a daily basis and have of bots already breaches computer The Government review into the invested significant resource into mis-use and fraud laws. secondary ticketing market, led by trying to combat the issue.”

“With this in place we can seriProfessor Michael Waterson and ously disrupt the more egregious published in May, says the Act is touts and help get more face-value A turning tide regularly being breached. tickets into the hands of fans,” says The origins of FanFair go back to A recent example involved Black McAndrew. “That support is crucial, 2011, as America’s StubHub entered Sabbath’s seven-date arena tour, for otherwise fans will continue to be a UK market then dominated by which 11,695 tickets were listed for ripped-off and we in the industry will Viagogo – launched here by Stubre-sale within minutes of general sale continue to fight an uphill battle.”

Hub co-founder Eric Baker, and an going live. independent Seatwave.

Resale sites such as TicketmasterConcerned by the growing threat Protecting the fans owned GetMeIn! listed 3,870 tickets, from mass touting, Iron Maiden Everybody’s Tudhope adds, “There and Seatwave 2,227, while eBaymanager Rod Smallwood of Phantom are a lot of disgruntled fans and it is owed StubHub listed 2,679 and Music Management invited interested really bad for the industry. It is not Viagogo 2,910 – all at inflated prices parties – managers (including McAnjust the big shows – if a show is hot and many with no details, thereby drew), promoters, agents and MPs and that can be in a 1,000-capacity flouting the law.

Sharon Hodgson and Mike Weathervenue, it is still affected.”

Prices for standing tickets at Modest! Management’s Magee says ley – to a London hotel for talks.

Sabbath’s final show at Birmingham’s many fans are left bewildered by the Loosely calling themselves FanFair

August 2016 • Issue 199 • www.liveuk.com

news I 13

t touting ‘blight”

What Channel 4’s Dispatches: The Great Ticket Scandal exposed:

4 I NEWS

Widespread outrage at Ticket Scandal revelations and secondary decep tiontion

and says, “For too long fans have been ripped-off by ticket touts and 4 I news the Government has continually failed to put music fans first.

Dismay as huge extent of promoter involvement uncovered “By ensuring legislation is propthought so,” he replied. “It would have been paid erly implemented and has the teeth FEELINGS OF outrage and shock have swept ” price. manifest on the [face value] parts of the live music business and wider inThe Concert Promoters’ Association (CPA) says to protect fans from the abuses dustry, following Channel 4’s Dispatches: The in a statement, ”The secondary market is effecGreat Ticket Scandal programme, broadcast on tively being used as es’ price primary in the secondary market, we can y sita premium 23 February. ndfor ar those fans who wish to use it. We are to seco market Undercover reporters working inside the diverted straight prepared to pay a change things for the better.” ts fans who are needs sure that those ke ‘tic Viagogo es websites to address and action ticketing secondary of cit issues offices rt take po to ter not Re that the premium be done would be happier premium hard now for the Minis newsfilmed staff talking aboutontoreceiv4 ISeatwave to be taken and that can’t tes, and secondary ticket websi and legislate,” Hodgsonwent to the rather than promoter, ” the board via artiste on tion. this When contacted by LIVE UK, has legisla Policepromoters such as the public have little without OPOLITANfrom allocations ing ticket r of THE METR members of on tells LIVE UK. ” security expert Reg Walke down to a tout.

Ticket s on tion to crack Music, legisla Metropolis and Concerts Weatherley Live Nation, called forSJM invese but to try to source ticket choic has beento ltancy Conservative MP Mike disguise the fact Seatwave and GetMeIn! owner Consube t it claims necessary would it marke Why iridium ing ” t. ticket marke ing dary of lobby guise the the a secon prices under at inflatedThe tout toUNITED secondary ticket market for the KINGDOM has also been proactively al activit fallout tigating the secon artistes are actually touting fromyChannel and dary s regula pread crimin that promoters mend recomare moral and suppo careGover about their As a4result itwho public. t to take the bywides fansaction soldrts needagainst being describes the report nmen year e and n a Great TV programm past decad e at Dispatche least £40 millio s: The secondarymethods was not made tickets andsuitable Ticket Ticketmaster, along with StubHub, mentarytheir own of to ry find and is worth a Parlia mentclear. to prima tion of the of ticketing abuse and led made at least one failed attempt and Viagogo likemost damning indict “thechairman as Scandal continues uced to dishonestticket adds, “We to reverberate acrossticket Littlewood Stuart introd cast UK. be CPA t But broad in the the been i have the They’ve marke minded practices. that promoters are “These .” debate following Channel 4, to preagainst an injunction out Ticket take industry by the police d The music business, y in order to “allow Greatask allan asworde some The strongly promoters andensure transparenc tches: members to abide by the CPA code of declined to comment on whether ourseen”.

Dispa see canThe fans the el 4’s sadly, Radiohead to see and, all for Chann ’s exposed co-manag of was er aired. t Chris being Huff programme repor the ever ord they vent of who Profile industry : Problem ns decide which side understand organisatio (see LIVE conduct, which encourages Crime n Benn,to deal fairly, mers toCourtyard them consu ofpurthe ” Managem Ticket Scandal last year it too.

Festival Republic MD Melvi systematic thea unit revealed tion Podium, Dispatches Opera is nefaribyalso and affording them ent, tells Audience create fence uncovered they dwant which, “This to be on. are buying from at all times.” The they would work with FFA to help 146),Smallwood, Reading, Leeds issue ised a honestly ises theintegrity Rod organwith Maiden s and organ whoand Irononticket so many crime.”manager using wrong levelsUKand, seriou employees Viagogo by as managem ofuptickets chase tos tackle ent set is a Dispatche better protection from ls andgeneral 9 that on they placedaffect meeting n undercove festiva stated annual deits has r reporters association clearly the Londo Latitu ticketing, ing and have secondary of with opponent ultimate “Fans vociferous responsibi huge a sals. crime and addresses, mic lity and propo for , cards the credit welfare econo multiple g to fear ticket abuse ofexpects nothinof inside nentchoice ly has the offices oppo through acurb touting, while Viagogo failed to honest be “lively”. willred of secondary ing rous mpics Littlewood delive which ticketing operat vocife e March, it Paraly because “Anyon alarming and of was pic band, “Theweprogramme says, tionsthe must ensure that theirwill touting the levels fromregula 2012 fed through business report is a ofOlym amount fansmake backed are a big want hasnded published called Lords at ofand websites E unit that themeeting they used Viagogo MusicMD butMar HOUS Resale believessecure TMthe be disba THE Seatwave, t,”by board will chang urgent An and marke bla- Audience, filmed andand these Theheadlines resale s. Seatwave from ofes,deception treated depth the”Mar LIVE (from top) Mar 2012, 2013, 2014 Dec 2014 gs, fairly. showed GameUK online sellers”. and findin ng “power calls safe police requiri which firms, of by n” fans rvative ised versio says Conse staff talking “sanitForum to fans,” ed proposed about produced ry .t music large ticket February respond at all. receiving on 28 design (MMF) March UK. “This ofprotec LIVE nce foractivity, wads of Managers’ end having as 23 n tells such differe The crooked programm ph Homan e,ordina broadcast always have websites on two ation abouttothe tantly The the February, theless says it is a “very Jon Webster. to professed inform failed of the APPG. theChristo but never give haskey to tpromoters allocations irman rs nmen co-cha from Gover ticket reselle erley, statement Thedirect following wishes of fans and it Weath suchit asappears the CEO Live Mike sfrom ” tickets.

MP cards has buySharon ignore also credit drivento ent”. ment MP but facilities, amend Hodgson fan-to-fan purely cant statem be on ticket try rip-off to calldoesn ’tthe signifi down g.group crack ment Nation, aretoofferin SJM Governof We action they Concerts Alliance, the set about workin – or the music transparency. about take and tickets that theinvolved d and would reduce concerned Metropolis “We’re tive aroun year’s Music, last essary sts impera author to “It’s Hodgson, unnec on sugge the Sharon t MP Offi for ce kable, from is of repor Fair business little voted their Trading is of unwor third “The a is than to peers less investigate there ment, thatat infl thatGovern ingthe Bill comes the the , claim tout for the ated er protec selling ment a defeat prices In crime with and amendBill issue under lost no than thepromoters e this guiseBill levels of consum cap the mark-up have to when is being of byor183 e[promoters] to revers Members’ companie Private in VAT improv failed emen s involved. from involv is aleither rest The public. the Rights crimin of mertresale nce sold Consu byrather evide the£10m ls to the public. being dispe ing toclause reform the sector, but industry general. as long as Ethical action by ticket, new fans. per ons.” theresold circle absol Comm golden and£2,000 in the featured in to the yearfor who t. utely tickets, back Meanwhile secondary the ticket marke getdalloca, PRS the may also in For Music an initial on touts,inwho tioneach iswas checking industrial-scale followe to or marke which ber, Dispatche other s idea Novem alsothat The is any 19t failure revealed in the two al are on websites theitscustomers the there and t systematic agrees have remov to 171 manager always act’s repor the Fair professed for of Office g the the Police asked to since the has pressin see whether programme, But be r. agencies.

178). the will or ticket promoters named in the secto us venues issue “We promoters, from resale tions LIVE UK legislathan purchase month (see other ofway tickets be purely previo found appetite within Govern“With support the wider However the FFA is due to meet with bythis Viagogo thelittle says. ” he to tackle employees going sessionfan-to-fan what’s of awarefrom Bill.” involved. companies the that. ofon, investigate ting stages programm ne opera lid offtothe thereturn taken ethe remaining has dicts paid “Anyo “This contra House of Com-Trading to performan Government membersl Brithefundamental ce “The using“It multiple now Nick facilities, statestoBenn. ”credit cards Bill [MMF] itwill ationa and appears individual Thebut intendent addresses, down is tion, erfreeinternand Superpromoters, reviewing is tive Music manag For l PRS Detec Meanwhile, to genera by ng ub motivated the royalties accept nothi to some StubH on of er the has letting dishonesty mark-ups – in wheth stedpromoters, on honestly tion thewhether hugeAlliance willledvote very intere amount Opera MPs that is they ment to consider regulations. industry, FanFair can take representatives from two of the main well less than of y doing business you’re ‘If where has aing, third alread fed to say through who of mons, are from the fans on paid were and Down royalties ns insists Bellan bookIftoa leading amounting beforewhether Ricoufigure you senior ine what happe es” of canno ” says one gitte ed hundreds greed, be heard chang t fearperformance t determ involv theseto nals at profession is likely from almarke their touts. thatIt“crimi business business to doer says protection isment. amend don’t from that, weates like the business Podium g consum hundreds of thouto… result amount existin the want s protec ontocondition mark-ups, which UK rt thousands ted to t illustr likely speaking repo ofrley agency, pounds ingpublic. on need reporunder highly “The –fight this on the UK. “Actito a alsoLIVE LIVE aretells The Mike Weathe only A later, Channel 4’s this new level. ” secondary sites in a bid to collaborate named the source you inforpromoter people, as, at fraud] [ticke ng persuade inyear alsdto cannot willing you If ’ ticketi Christm you. to with crimin the detaile persu ing more pounds. of ade sands enabl ing is s peopl it idea s.” e, ticketsdispe that; sold.ls the of“Provid laws. anonymity. of ant step toward to be taken otheriscrime in edfrom a signific comment ment was be Live The ” stipulates, will only rest Nation amend isinvolv ”utechief either UK fraud.operating shame.

“This and could name absol ment with amend Operation on touts get ,away as the is any can’t has just allow “This there thatoffi mation taken t is based the and putting can’tScandal that andLord Tim repor off the “Wefans e of crat cerWith Dispatches: The Great Ticket That unity was clear during FFA’s on the best way to address the issue.

Paul ue lobby Latham. scourg promoters Demo l elid national by the exposé gThe the black Libera to contin industrialticketing you another tacklinor up-a on vows son of the rvote, ending name Hodg the last could Ahead tickets over ut tackl gs more to fundamen in listens nue witho findin now tal way result conti m’s dishonesty done is never list tickets ng for Podiu othe be this to Artistes complicit? some ment“We Government is pushi that the t and scale first, now “Thisofamend touts,and I hope imminent, nmen be for the to who peers, mayalf rumoured secondary Gover Jones told ingt,”the nt years and concludes Cleme says. .”newspaper she r than by greed, d.” nd-a-hlid promoters lation MP Sharon ecke orated two-a ,othe r Viagogo motivated marke this legis unch Labou incorp tickbe says ary ” ” to the off what and launch, where X-ray Touring agent “[Ticketmaster’s] GetMeIn! and Seatmarket ent, tion second without the on Parliam alsoblew Olitouting legisla in consulting of and get ing ban involved ut allocations ions a will those shamenfor the time the o’s artiste beanti-to create to the“the lack ofstory eMetropolis and unicat comm and SJM’s might Viagog ed Bob legislation outlaw co-founder head Inside not intend .”Angus global says lation onetolegis have senior “iof figure a leading target thes All-Par manifesto. managem e. TheUK and the ty Parliam irmanofof s ent,in”tickets be from promoters practic toication he Labou the ticket co-cha said.tor decide how they so inat on, horise , venues compl nottodocomment Hodgs , their own d resale extrawant to LIVE would and declined Moran unaut eting Jon Webster er says, booking put for-Simon Wheel ShadowgBusiness agency, vernever the“Addin who wished ing the primarywhich Seatwave had insisted was Jeff Craft and Crosstown Concerts wave are keen to draw a distinction lobby using ticket theabuse, “We on are ofalways ) been also who or ticket generation (APPG make deters younger the by those more regula especially Group is than tickets of g remembered, taryagencies. fi ce ve ment per absenOF conversations with Viagogo Operating Officer InternaChiefanonymou s ofnaresellin for the cent Nation of the proces theChukk totary a Umun toamend remain EXCERPTS encour-ing a series ofbut Live t follow s.to “They’ve Secre tions ticket marke total menda mislead or of the alone teed dary Represent recom and of tickets the managers atives secon arency agents, , guaran of number of tion ward and artistes this let secure totally as forthcoming. diverse heartistes, lackalloftotransp was using as and Paul Latham tional years available of ’ in- been exposed Dispatches byces, e offrom camera lack on for staff, recorded coupl see more and, pastpeople Westm sadly, practi thebenefi s aatresales. ussession fan-to-fan Using promoter Paul Hutton spoke pasbetween themselves and the other fans t way. ing upulo ”the ticket unscr to will hering Ironpurely it of Maiden dary e ages ers; community. revert ce-gat and business Radiohead wider secon just chang eviden consum a at mard is will condemne ces secondary the for they defrau there tickets list d if practi such never “We so and ous can see it too.” it now, ms ” reporters: getsplatfor undercover fraud.(see initially andyear issue 173). it appea ave. Promoters arencythis Concert will rs the report was those transp to and and Seatw tickets tion activities, wished go on who buyand earlier to tions veteran, legisla gartiste industry Viago Hall n sites Music As oneGover ully sterwhile wishinopera Managers auctio managet hopef Forum ads, all consulting CEO ary eddone e thatthat nmenclassifi ket without Dispatche outlin team gsrequire primary whole using hed after apolice revealed “We have findin that the SJM report the gavet.”Viagogo second with cameras and microsionately about damage by two main secondary players in the UK, the The and onlyspublis Associatio describes tions n (CPA) nothing Joninsiders suppressed “If there’s Webster erleywere is little says, regula marke anonymous, there Weath Thesaid, ary “We’re remain area menuced. concerned where that second this shows our in introd of the about street three be The tion ment. the asked 29,000 on venues… legisla the son and tickets the promoter ty of for the Take That tour, which deals with ion. “The Stuart sellers the pauci direct wnedatStubto right eBay-o thistickets chairman o,place Labour MP Sharon Hodg Colin in the allow for two or transparen Lord a step as value face selling cysuch andles can’t just wrong it fraud the public isViagog sites rvative–asRihanna, snever down Young Will ons, to Conse tion. programme the and tioned of Comm ed with“We er protec generated commuweindividual wledg that abyfurther consum important really“enab is it’s ackno in the House In! £1.4 million not Me ions there phones, the programme mass touting. ($ has Get 2.23m) t now quest over wned nmen cked, simLittlewood a aster-o Gover is manage- ssthree unche then the behind says,contin hidereason [MMF] members recom “We , “It the much, fora idenas ue andto ”say times whether Hub andofTicketm crime han with only mic they listed all added were Moyni – and Office e why Westlife econothat exist. as toface to accounts value. to addre whatthe Home these “We believ going whyand nicate toriskanyone is an issue Seatwa Podium, it–isbe be ve, to that there ired about ask thoug it. to our ly-acqu aboutation ion must openinform promoters no Operationwebsite ment recent iderat secondary ‘Ifthe you’re Media and so-called h itmembers “cons doing re,ple, and clear amend business s that ticket like for Cultu approval. tand mend ment’s venues seller thetothat, SJM cent oftion past, andiseven per 50 Departmen fellow out there maybe tifying “I’d say promoter as r in the Westand exposed the extent ofwepro“I itallthink there should such Wild soevearency also lly Metropolis like inform be Itexamto legislaation for isthe display pay extra don’t ucing to amend d the “operationa CPA them want to help want youthe ently fans togiven refuse the do transp Tell by to introd as being ment promin excesses the.pics ple,abide d itthe singdone with to limit you’ . of to increa sometimes classe“This iswebsite the in no one Sport sed supplied have we Olym be time of the and, propo lot the will but a business know, level had there VAT with the se 9,000 ble, sale Coldplay d and becau tour horiseif applica tion clearly and reducingmake code here,”you’ve regula of conduct, unautpeople, had been name “If youthe n the itsecondary which skimmed ple elsew cannot of tickets seller’s tickets gover when ” persuade t, more exam resale ive”, ing never We that the marke market. t sensit you improv the ment could dary of preven about really imple tickets secon like, sers it’s to and 4,500– organi ng the[against keep it secret…because moter and an amnesty at a 50 per cent mark- beencourage event polici value of the ticket, s”. artiste ation”. soldconsum r, the face involveticket s public them name numbe event e can ” to and “for sale. d ation shame, general ers.” from anyon ” he tickets of registr marke said. number of the total cent ering perV five than he says. empow allocaan up –er to the to cancel them, which have don’t for the ly son.

If wet says says Hodg twin f***ing shady. the that festivals, and possib are which ce, and wheth bly took thesecond there pair t make referen gdue t proba The repor clearare itdeal ary ssites fairly, honestly r or bookin Iron Maiden “The repor and g“This and SeatViagogo numbe repor manager seat Latham.

Smallwood reveals er, it”the this numb interest.” available ,ticketing aersticket can beleadin Howev large highly isthe will which promote them, that buy do be weptitiou with and then way tion, not in the public sites], MCD. sRod ment in secondary secondary se, way, seeatisticketing “surre of the n with ions mean integrity Government by surpri mnatio vociferous andofcondit unavailable conde ht were opponent wave terms market straig their to the ed touting, dishonest in was it says, whether ous divert Asked “The unanim Other tickets ry tickets arediscover it has been resold. f***ing immoral. given directly to Viagogo were of prima all times. programm if organisers ledalarming e was for”comment as LIVE UK not because fan-to-fan sales, he says, “I’m tickets as it showed these about speaking team leader, Nation-pro Viagogo Acancel (see panel), leaving manyfor Live to name names as moted concerts by Westlife no needticketing the depth of deception used, and blatantly went to press. [the site’s] advertising. I expectAnother (3,000responsible tickets) andfor ‘power sellers’ (touting operations), “The Rihanna (2,200). in stra exposé by the crooked activity, such as having wads of credit Dis- r is rumoured to e watch the newspape Toa national tak advertistheir of nt look at that bit is will to the age suppliers Thewhoever of partners, people across the music long as they sign up and programm sellers are kind Let e revealed us: that out of more foc be imminent. cards to buy tickets.

Sector patches programme, fullness of time.” in the27 it20address ing andViagogo than 38,000 estransaction us. They know our names and we deal pag s in November LiveTo watch See the “It’s down to artistes and managers.

Dispatche www.channel4. visit s programm whether Latham asked visit ” also UK LIVE Those every day…there’s 2011, only about 9,000 tickets were actually agree to clean up industry shocked. theire,act, with the same people www.chan / es/dispatc s e nel4.com/ m m a r g o parties since July, paid PRS royalties on the additional c o m / p rhearinprogramm Nation had the twohes. professional sellers, doing it full time.” gs involving Stuart Cain of . collection royaltyhave dispatches pay“I the wouldn’t to d sales. ent would have the via raised ordere income settlem was Hodgson and Weatherley, Hutton suggested. and alleged its legal uing ed meaning any contin is it report says also .com was Music He . liveuk OWER £7,987 www. of • PRS-P Copy legal costs • issue 158 ction right March 2013colle e the body’s socie pub- been made out of court. ty ter Vince Power, despit music intrans com t promo pete agains s d from playing for still pursuing the banne is it nt been pare 146 • www.liveuk.com who stepped down as an MP • Issue have adama 2012 is to March action ncy PRS saer, Howev ser claiming the organi l organi LITHUANIA former festivaof ues, we are A group the outstanding licence issues. musicians have set up their lic until he settled “While the legal action contin and poets,” dsays no case. madewriter settoaside its High Court caseown copyright se, had 6 manageme and actor agreed nt association had tion he claime PRS singer-song in atoformed bid detail,” it says in a statebring transparen in May 2015, the All Building momentum in In respon ent cy to the collection comm to of unable Andrius Mamontov legal as, who ingisitssupporting performance the new t him regard t him. allegations royalties. contac the agains to t deny ly attemp strong we proper associationant court that Power . is able to apply to set ment. “However, PRS told the Group year NATA, this whichEarlier means defend note in English, Party Parliamentary The movement curb . By law, a“Musicians has been created when Vince Power relating to the action ly by response recentto to some aware without a PRS licence in of the ingthe were not moneymade performers’ dissatisfact they most into the ent ifbring had been operat ion with in respect of Hop judgem him t non-governmental court’s a agains aside Lithuanian action from Copyright Court organisation, until Festival in Kent case had don’t the know how itHigh after Hop Farm Protection is shared and insider2011.” t them but we holding the(LCPA), on Association Ticket Abuse (APPG) to1990 to also handle industrial-scale whichMusic was founded in of the claim the agains Farm Festival in 2009, 2010 and out and whether it goes to the other performers LIVE UK issue 175). collection of 2009 to 2012 . royalties

by Power ’s Kent owed(see to literary writers.

The Hop Farm events were run t the action been heard. Every time we try s toheraise been defence agains had the file asector to LCPA question, Ledinvestigate report by lawyer it iswebsites that ts Power and failed contes the and former touts, and the in 2012 with debts also vice-president Power Gerda Leonavičienė and never answered.”

Festival Ltd, which collapsed songwriter Raigardas Tautkus, NATA’s aim is to g live shows. “The order sim. More than £300,000 was banned from stagin ensure a fair distribution million £5 almost of Mamontov to as says order in associationtheir new fees of royalties. has beenactivities, press for Government action. ply requiredapproved facilitate is performed at the him to pay licencethe to 20-plus artistes who owed

by Lithuania’s culturey,minister ” says and “Until now there was only one organisation that gone and that is the law anywa events stage managed the -capacity festival (see issue 159). money through the correct legal Power was procedures ter. , and50,000 owed to artistes, became and Earlier this clearly growing it collect is three per cent of but they for the promo alsoyear manageTudhope all other performers such as spokesperson a writers entitled to is PRS official in February. at press time. average ticket for commentMP Sharon unavailableHodgson ticket revenues, so with an Power ’s claims, grossthat hosted another informal Conservaaudience PRS insists that, contrary to understood the three events of £137 and AUDIENCE • Issue 146 • March 2012 ordering it to set price over en 25,000 betwe been have to there was no High Court ruling ed believ numbers . award could gathering to again talk over tive peer Lord Colin Moynicosts www.audien owed and es ce.uk.com tion aside its injunc , performance royalti and Tribunals and 35,000 A spokesman for the Courts 00. s top £360,0 record are no – the issue and this resulted in co-chair of the APPG therehan UK LIVE to s confirm ry Judicia FanFair Alliance: supporters the launch of the campaign. with Hodgson and a longwww.liveuk.com December 2014 • Issue 179 • Smallwood says, “The time campaigner against Viagogo and StubHub,” says Tudhope. launch of FanFair Alliance touting, is keen to attach an “In their minds, because their as a funded and expert-led amendment about ticketing parent company is Live Nation, they campaign can, I am sure, to the Better Markets Bill, see themselves as investors in the Rod Smallwood lead to sustained Governdue to be debated in the music business – they put money ment action to counteract House of Commons. into shows, into acts established this scourge.

Meanwhile, a petition led by and new.

“These secondary ticketing Tudhope calling for Government to “We don’t disagree with this companies are siphoning off huge enforce CRA regulations and take distinction, and so hope that amounts of money directly from the tougher action against resale webthrough talks we can persuade pockets of the fans. Their profits have sites that flout them, has received Ticketmaster to act as ethically as it increased immensely over the last more than 45,000 signatures. can, and in the best interest of fans years and who benefits? Certainly Hodgson is delighted to see the and artists.” not the fans, the bands – unless emergence of a determined FFA The Big 4 have all claimed in the

Police call for legisticlakets se of u b a t s in a g a Call for artistes and manage

rs to protect fans against exploitation rds ‘Significant step’ as House of Lo ns backs anti-touting recommendatio Paul Latham

Rob Smallwood

Paul Latham

‘

‘

Sharon Hodgson MP

world news

Tim Clement-Jones

Melvin Benn

Rod Smallwood

Mike Weatherley MP

Broadcast in February 2012, it showed undercover reporters working inside the offices of Viagogo and Seatwave where multiple credit cards and identities were being used to purchase tickets.

It also filmed staff talking about receiving ticket allocations from promoters such as Live Nation, SJM Concerts and Metropolis Music, to anonymously tout at inflated prices under the guise of fan-to-fan sales.

The figures

Dispatches found that among over 50,000 tickets allegedly given to Viagogo by promoters for primary sale were: Take That tour – 29,000 sold, raising an additional £1.4 million of revenue for the promoter/artiste. Coldplay tour – 9,000 sold, based on 1,000 per show. V Festival 2011 – 4,500 tickets with an overall face value of £620,000 sold for a 50 per cent mark-up. Westlife 2012 – 3,000 sold. Rihanna 2012 – 2,200 sold

Brigitte Ricou-Bellan

PRS-Power dispute escalates Jon Webster

Jon Webster

Andrius Mamontovas

AUD146_P6-7_World-News_v2.indd 6 Hop Farm Music Festival

01/03/2012 18:47

28/11/2014 16:33

LP179_04-05_News.indd

4

past that the majority of those selling on their sites are fans and although Dispatches showed a different picture, it should be acknowledged that while some tickets sell at inflated prices, many are sold at the original price or below.

To register support for the FFA campaign and sign a declaration against online touts, go to www.fanfairalliance.org, while the petition is open until 29 October at https://petition.parliament.uk/ petitions/128969.

August 2016 • Issue 199 • www.liveuk.com

14 I

in association with

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

No more dirty Rats THE NEW team behind veteran booking manager Nicholas Barnett.

“While the days of seven-nights-aLondon showcase venue The Water Rats (cap. 200) wants the pub to week shows are regrettably a thing regain its former status as a must- of the past, we still have a busy schedule with live music firmly at play stop for emerging artistes.

Since being taken over by the core.

“We’ve thrown the doors open nightclub operator Sally Fox in August 2015, a £250,000 to national promoters such as refurbishment has included a new Parallel Lines and This Feeling, and we hold label showcase nights PA system. with Wall of Sound and 25“It’s been important Hour Convenience Store,” he to us to return the venue reports. to its former glories, “Emerging acts play on not just in terms of the about three nights each money spent, but also in week and The Water Rats is the acts we’re promoting where a lot of acts played and the people we’re early London shows – Oasis, working with,” says Nicholas Barnett

The Water Rats, stage

Coldplay, Kasabian, Katy Perry among them.”

Barnett, who also works as promoter Dead or Alive, says that the venue’s revival couldn’t come at a better time. “Kings Cross is enjoying a real renaissance right now, which makes us a particularly convenient location,” he says.

Independent channel Vintage TV records Live At The Water Rats shows which have already featured The Zombies, Marc Almond and Toyah, with Nik Kershaw upcoming.

New acts playing the venue include The Dreaming Spires, The Carnations and Secret Company.

TicketWeb support for local promoters TICKETWEB HAS announced an initiative aimed at supporting local promoters nationwide, starting with Brighton-based CloseUp Promotions.

Artiste relations development manager John Talbot says that the emphasis is to encourage more live music activity outside of the capital.

“All too often, London can be the main focal point, while we are well aware that there is a wealth of new talent all over the country,” he says.

“It’s important that we work to

shine a spotlight on other regions – local independent promoters are by far the best people for local knowledge and contacts, and they know the performers and venues that are the most vibrant.

“CloseUp’s owner Sam Tucker impressed us with his enthusiasm and vision while we were in Brighton during [conference and showcase event] The Great Escape, and we agreed the partnership immediately, for an initial run of shows.”

TicketWeb, which is a division of

August 2016 • Issue 199 • www.liveuk.com

them to make use Live Nation Entertainment of TicketWeb and owned Ticketmaster, will Ticketmaster’s Artist help promote new Services team, when it showcase nights, beginning comes to subsequent on 18 August at Bleach touring plans.” (cap. 150).

“We’re very keen to “Every event will be John Talbot speak to other local heavily promoted across our website, our affiliate partners, on our promoters with a view to expanding social media and in our marketing the model to more towns and cities in early 2017.” communications,” he says.

Tickets for the first showcase cost “We’re also making connections with the performers and £7, for a line-up featuring The Island their management teams, inviting Club, Howland, Judas and Seats.

NXT news I 15

in association with

Contest rocks the Lords half of their constituTHE SOUND of music ents, for judging by infilled the terrace at dustry professionals. the House of Lords “This competition is as parliament’s Rock a great showcase for The House (RTH) young talent and it is contest reached its Among other winners were fantastic to be involved conclusion. in it,” says Nigel Adams The Reaper in the under-19 Singer Joe Jury Nigel Adams MP from Ealing, West London, MP, who took over the running band category and Tensheds, was named winner of the of the event from founder Mike who won a discretionary solo artiste category, while Weatherley this year, along rock award presented by Rick Wakeman.

Concrete Caverns from St Albans with Lord Tim Clement-Jones.

Winners of this competition “We showed the House of were awarded best band at a ceremony held at the Houses Lords can rock just as well receive recording sessions, radio as the Commons and it was plays and festival slots from of Parliament. supporting companies and Running for the sixth year, the a great combo organisations. competition, which champions with the new The competition, whose new talent and the importance boys, myself and patrons include Brian May chairing, of protecting and promoting Nigel and Alice Cooper, will be artistes’ intellectual property and Mike still run by industry umbrella rights, saw over 350 artistes heavily involved,” organisation UK Music sending demos via 250 MPs, C l e m e n t -J o n e s Tim Clement-Jones next year. who submitted music on be- tells LIVE UK.

Bursaries for artistes pushing boundaries

THE STEVE Reid Foundation (SRF), in partnership with the PRS Foundation (PRSF), has taken an unusual approach to deciding on the recipient of the Steve Reid Innovation Award.

PRSF’s Liam McMahon says that the award, which offers a bursary of up to £1,500, mentoring from SRF trustees and a vinyl release, is specifically looking for artistes demonstrating innovative musical talents.

“Steve’s career as an acclaimed jazz drummer was marked by experimentation and breaking

frontiers, and he is well known for his work with the likes of Miles Davis, Fela Kuti, James Brown, Jimi Hendrix etc,” says McMahon.

“With that in mind, we’ve been open to applications from any genre as long as they are pushing the boundaries and showcasing the talent of an emerging music creator.”

The winner is due to be announced in September, with over 100 applicants in the running. Previous recipients include Moses Boyd, Hector Plimmer and Sarathy Korwar.

Stage break Stage Break Band on the Wall 25 Swan Street, Manchester, M4 5JZ Bookings: Joe Gill T: 0161 834 1786 E: joe.gill@bandonthewall.org www.bandonthewall.org Capacity: 340 standing, 200 seated PA/lights: Yes Dressing rooms: two dressing rooms and shower Booking policy: Seven days a week, all genres Best acts currently playing venue: Spring King, John Smith, Cory Henry, Sticky Fingers, KING Best advice for managers: “Do your research on venues, so you don’t waste your time emailing ones that aren’t suitable due to musical policy or capacity. Find the right people at those venues to approach – roundrobin emails are very rarely successful.”

Acts who’ve played the venue: Catfish and the Bottlemen, Gregory Porter, Billy Bragg, Snarky Puppy, Inspiral Carpets, Lee ‘Scratch’ Perry

City Limits: Manchester, pages 32-36

August 2016 • Issue 199 • www.liveuk.com

16 I

in association with

Getting protection early Unsigned and emerging artistes might assume, in the early days, that solicitors are an unaffordable luxury, but as any manager with a modicum of experience knows, getting the legal issues right from the start can pay dividends when a career starts to take off. Rob Sandall reports

U

a shame that acts aren’t considering nderstanding the nuances of the “A contract may be written in plain legal services at an earlier stage, as the live music industry from a legal and English – although often it isn’t, but possible gains are manifold. specifically contractual point is definitely words and phrases have particular legal “It would be right to say that some not for amateurs. meanings which we can explain quickly people feel a little scared and daunted Better, then, to seek out the professionals and hopefully in an understandable by lawyers,” he says. “But this should who make it their business to not only navigate way,” she says. not be the case: lawyers are there to the legal landscape, but anticipate significant “Additionally, whether you’re a creact in the best interests of the artistes, changes and put best practice into action from ative person or business manager, and can assist alongside managethe beginning. you have enough on your plate, so Jeremy Summers ment to build a career and protect the Clintons partner Berkeley Edwards, who spent you should sub-contract out the bits artiste’s most valuable assets.” five years working for promoters, record labels that others can do better for you – and management companies, before training in tour accounting, product management or legal law, is quick to emphasise that it’s really never too advice.”

Personal interests early to seek advice.

These services can of course come at a cost, Leonard Lowy of Leonard Lowy & Co, who has “It’s a misconception that you only notes Harrison, but adds that those practiced law since 1979 and worked as head of need to think about legal matters when costs should be transparent, and legal, then director, at Island Records during the you’re at the point of getting your first that finding the right advice ulti- ‘80s, says that it’s often not just external parties deal,” he says. mately brings rewards to balance out that need contracts drawing up, but the artistes “These days, before that deal comes that spend. themselves too. along you’re more likely to have been “We are not cheap, because we have “Even an act that hasn’t yet had any third party selling or using those songs in variput in a lot of years of study and pro- offers should ideally have a partnership or interous capacities while you’re managing vide expert, specialist advice,” she says. band agreement to regulate the legal relationship things yourselves.

“However, we can often help an artiste between the members,” he says.

“If a lawyer isn’t involved during Berkeley Edwards to avoid expensive mistakes or to “Sadly, many acts overthose early stages, then you’re likely to improve the deal on offer. look this, not realising that be tying up the rights to those songs in ways that “You are always entitled to know upfront what they are actually in a legal will prove restrictive once you’ve started to make you are likely to be in for on costs, and should ask relationship with each a name for yourself.” if instalments are possible, too – if you don’t ask, other, or they put it on Edwards, who currently works with artistes you don’t get.” hold because of the cost.” including Jungle and Royal Blood, notes that Lowy adds that the another key benefit to early contact with a Help in hindsight potential costs of legal lawyer is being able to put firm foundations in Lewis Silkin partner Jeremy Summers, who has assistance tends to mean place that will remain relevant as an artiste’s worked in entertainment and media law since that even a successful act Leonard Lowy career progresses.

1992, says that typically an artiste – or indeed might need help in finding “You need to be able to put structures in place other industry figures dealing with them - will the liquidity to afford certain services. that will work as you scale up, from shows at the tend to make first contact when interest turns into “Acts that are doing well are not necessarily Lexington all the way to Wembley,” he says. “As you something potentially more concrete. always in a better position to afford specialist grow there are more people involved “After that, the advice may become legal services,” he says. in the operation and more contracts to “For that reason, it’s long been common more general, but often we’ll advise on be worked out, alongside merch deals each of the deals that come in and their practice for a new act being offered a deal to and sponsorships.” ask the other party – label, publisher, manager long-term consequences,” he says.

Ann Harrison, consultant at Swan “In fact, most labels, publishers and etc – to stump up the artist’s legal costs as an Turton and author of industry guide managers will want the artiste to be advance to be recouped later from the artist’s Music The Business, says that the advised by an independent lawyer subsequent earnings. extra knowledge a professional can “That enables the wheels to go round, and for when signing agreements, to ensure provide will likely add value to negotiartistes to receive the advice that they so clearly that certain terms are enforceable.”

Ann Harrison ating deals.

Summers says that it’s something of need but can’t yet afford to pay for themselves.”

August 2016 • issue 199 • www.liveuk.com

NXT news I 17

in association with

Managing talent Building emerging careers Other emerging acts to watch: Steve Gunn, Benjamin Clementine, The Blossoms, Jack Garrett Greatest lesson learned: “Your artiste playing live in front of their fans creates a bond forever … once a fan buys into it live, they will join the act on its journey and navigate the road bumps with them … check out the legends.”

Peter Rudge, 70 Company name: Vector Management, London E: peter@vectormgmt.com Artiste roster: Il Divo, James, Imelda May, Alfie Boe, Callum Scott, Eagulls, Twin Wild, Overtones.

Favourite venues for showcasing/ playing: Electric Ballroom, O2 Shepherds Bush Empire (both London) Importance of playing live: “It is vital, it allows your act to build a fanbase, forge a reputation, withstand fickleness of radio and the charts, and build a career on your artiste’s own terms. It buys you freedom from the machine.”

Worst live experience: “A band I managed called Ammonia had an album connecting on radio in the States. So we booked a tour that opened at a cool club in San Francisco, and it sold out 280 tickets in advance.

Before they played their last song, the venue had emptied and their dream of conquering the States was dead.

Two of the band were in tears as they left the stage, the label pulled the tour support and the band went home.”

Current live projects: Imelda May performing with T Bone Burnett, James touring with The Charlatans, The Overtones – Christmas tour.

Wednesday 12 October 2016 Radisson Blu Portman Hotel | London

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August 2016 • issue 199 • www.liveuk.com

festival

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

Not enough wanted to go Down to the Woods

POOR TICKET sales are believed to be behind the cancellation of 10,000-capacity Down to the Woods festival, which organisers had rebranded from last year’s sell-out Hardwick Live, where the bill featured James, 10cc and Cast.

The event was due to be staged at Hardwick Hall in County Durham this month, organised by event manager Jonathan Woodliffe and Hardwick Hall owner John Adamson.

“This was not something we dreamt we’d have to do, especially after the success of last year, but we reviewed the event on a daily basis and it became apparent it wasn’t where it needed to be,” Woodliffe tells LIVE UK. “We felt we had to make this decision sooner rather than later. Our main priority

now is to make sure all customers who put faith in the event get full refunds.”

He would not elaborate on the exact reasons why the event failed, but promised a full review later this summer before planning future events at Hardwick Hall.

The festival’s booker Lee O’Hanlon of tinyCOW says, “I was incredibly disappointed that sales for the day with Chase & Status, Catfish & the Bottlemen and others were below 1,000, as these artistes sell many thousands of tickets elsewhere.”

Day tickets for the Lee O’Hanlon event cost £55.

Store chain backs new Leeds fest PROMOTER HARVEY Goldsmith has launched a Leeds festival to mirror the London event he co-organises – OnBlackheath (cap. 20,000), to coincide with sponsor John Lewis launching a new store in the city.

OnRoundhay, a 15,000-capacity one-day event in Leeds’ Roundhay Park in September will be headlined by Primal Scream, James and Wolf Alice, with Harvey Goldsmith tickets at £45.

August 2016 • issue 199 • www.liveuk.com

“Our main challenge is the shortness of time,” Goldsmith tells LIVE UK. “It didn’t come together until July, but there is a lot of positive feeling about having a festival of this nature in Leeds. The council is helpful and John Lewis is very keen.”

As well as music there will be children’s entertainment and, as with OnBlackheath, parents get an early evening pass-out to take their children home to bed. Goldsmith also promises an international food offering and some “great chefs”.

He says the co-organisers of OnBlackheath, including former EMI executive Terry Felgate, declined to be part of the new venture.

Counting on Three Mills Island success LONDON’S 1-2-3-4 Festival, which ran in Shoreditch Park, from 2007 to 2012 and attracted 10,000 people at its peak, is to be resurrected as an 8,000-capacity event at Three Mills Island in Bow. Sean McLusky, organiser of the original festival, has teamed up with Rob Hallett and his Robomagic Live operation to present a lineup featuring Jesus & Mary Chain, The Cribs, Carl Barat and local artistes.

“We played our role in developing the Shoreditch music scene from when it was a derelict district, before it had all the shops

1-2-3-4 Festival

and bars it has today,” says McLusky, who cites “gentrification” of the area as the reason for the festival’s demise in 2012.

“I’ve been looking for a new park for three years,” he says. “I wanted to find

somewhere nobody knew about, rather than existing live music sites.

They filmed the first series of Big Brother at the new venue and we’re partnering with Three Mills Studios, so all our backstage area is located inside film studios.”

Aimed at an audience aged 16 to 60, McLusky says the event continues to have a strong local music brief. “Fifty per cent of the bands are very new and this festival gives them a platform to punch above their weight.

“We have a niche that no one else is doing in town – there’s always a need for something more marginal and creative,” he says.

“The fact that Three Mills is restricted in space is good – we can stay at that size, keep programming new artistes and won’t need to push the envelope to attract 40,000 people.”

One day tickets cost £39.

festival news I 19

Wickham grows with new stage

of Queen], we have to be more THE FOUR-day, 7,000-capacity professional.

Wickham Festival in Hampshire “We’ve tightened up stall has added a fourth stage followbookings, changed the layout so ing last year’s decision to appoint there’s more space for larger acts, event specialist EnTEEtainment to while the extra stage allows us manage the site. to showcase some of the many Organiser Peter Chegwyn says applications we get from unsigned the new stage will showcase bands.” local artistes while he believes Harmsworth says, “Peter was the expertise of the production keen to improve the site with a company’s Dick Tee, with Amy view to expanding in future years.

Harmsworth as site manager, was It’s always a challenge to fit in a necessary to consolidate growth. new stage, but we’ve “We’re increasing in rearranged the site for size without losing our the better.” laid back atmosphere,” EnTEEtainment also says Chegwyn. “We works with Reading were essentially a folk Festival (cap. 90,000) festival before but with and BBC Proms in the artistes including Tony Park (65,000). Wickham Hadley, The Stranglers Festival won Best and the SAS All Stars Amy Harmsworth Festival (under 15,000) [feat. Roger Taylor

Hospital expands into Finsbury Park selling out in 10 days, so we SOUTH LONDON-based drum realised there was an audience for & bass (d&b) label Hospital us doing something outdoors.”

Records has launched its first He says that, while the event’s festival, following a series core market are 18 to 25-yearof successful 2,500-capacity old Londoners, it has national Midsummer Barbeques at Studio and international appeal, with 338 in Greenwich.

European d&b promoter Rampage To be held in Finsbury Park in programming one stage and September, Hospitality in the Park Manchester’s Dub Phizix & (HITP) will be a five-stage event Strategy hosting Well Good Do with a capacity of 10,000 people on another. and feature artistes such as Panton adds that the event High Contrast, Metrik and Fred V is already 70 per cent sold with & Grafix. nearly 1,000 tickets sold to people “Our artistes often sell-out the on mainland Europe.

O2 Academy Brixton [cap.

“Most festivals book 4,900], but the next step, bigger acts when they Alexandra Palace [10,400] want to grow, but the is too big a leap,” says core of Hospitality in Hospital Records director The Park will always be Josh Panton. “London our artistes,” he says. has a real lack of venues “The plan is to grow but in the 4,000–10,000 still stage d&b music in capacity range.

Josh Panton five years time.”

“The barbeques were

Summing Up

Interviews with festival founders

Dave King, 46 Former indie-rocker Dave King launched The Vicar’s Picnic with friends as a garden party with bands, when he moved house in 2011. Support from people such as Bluetones frontman Mark Morris and Isle of Wight Festival founder John Giddings has seen the event grow to more than 2,000 visitors this year.

What prepared you for the task?

“As the guitarist in Cash for Cars, I contacted venues to organise our shows and I’m also a professional television photographer and have worked with Robbie Williams, the Kaiser Chiefs and Dolly Parton. In 2009 I organised the two-day I Am Not a Number event in Portmeirion, North Wales, with Northern Soul DJs and unsigned acts. It was a DIY festival with 120 party-goers and continued for two years.

“On moving to Yalding [Kent], my partner Jo and I met Mike and Joanne Davis, also newcomers to the village. They had an overgrown field next to their garden on Vicarage Road and, for a laugh, we built a stage, got some local bands, good cider and a few temporary loos and invited everyone we knew. So The Vicar’s Picnic was born. The village circular warned, ‘It’s nothing to do with the vicar and it certainly isn’t a picnic’.”

What has made the festival a success?

“The first year we made a few pounds for charity, so we decided to do it again.

Local resident [Bluetones frontman] Mark Morris performed an acoustic set and, with local bands, we sold all 400 tickets.

“With 650 people the next year, we outgrew the field and moved to a larger site. Scaling up to a two-day event with camping was a daunting leap. Local volunteers helped, Phil Keeler became project manager while marketing expert Thom Harris and sister Maddy joined the team.

“We noticed [Isle of White Festival founder] John Giddings was following us on Twitter so we emailed him some questions. He very kindly invited us backstage to his event. His advice, as well as not to overspend, was look after the artistes, so they would give their all on stage.”

What have been your highs and lows?

“Getting the organising team right is the first hurdle. We had to learn everything from dealing with agents to getting a portable loo running. The weather was against us and the mud got thicker with every heavy vehicle rolling into our field.

“The fact that tickets didn’t sell out in 25 minutes was another cause for panic, but we held our nerve. The best marketing tool is a successful event and we had 1,700 last year and 2,100 this year. We were inundated with ticket requests just a few days after this year’s festival and we’re optimistic we’ll sell 3,000-plus next year.”

Key suppliers

Production: Fencing & barriers: Bars: Production power: Vendor power:

SRD Group Eve UK Mobile Bars & Beetle Juice UK Power Networks Powermain August 2016 • issue 199 • www.liveuk.com

Wednesday 12 October 2016

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Masters of the Universe (tales from far-away places)

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Fields of Gold?

Backing the BÂŽand

(festival sector)

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Public Image

The Social Network (digital developments)

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The Winning Ticket

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22 I SECTOR FOCUS

Expanding the expe

From a point where live music on TV was limited to the occasional late-night slot, the growing popularity of live music coupled with significant technological and social media developments has opened-up a wealth of potential for live music artistes and events across multiple media. Claire Bicknell reports

L

ive or delayed television broadcast of concerts is nothing new, although it seemed to be of little interest to either broadcasters or public until quite recently.

But the last few years have brought serious and rapid change in terms of how audiences want to watch and listen to live music.

One-off cinema screenings are popular and festival coverage is hitting the red button and being streamed online more than ever and, not surprisingly, brands are also getting in on the action.

August 2016 • Issue 199 • www.liveuk.com

“When you’re working with a big artiste, the Its work includes U2’s Innocence and Experience content can be used in a multitude of ways and show from the AccorHotels Arena (cap.17,000) you have to bear that in mind with the planning,” in Paris and MTV ‘s forthcoming new weekly live music show Wonderland from says Done+Dusted Productions CEO Los Angeles.

Simon Pizey. “With a bigger artiste, you “With U2, our production was out have to work on the basis that the footof London and we did the edit in Los age will go everywhere.”

Angeles. Then we may have a show With offices in London and Los in the US that needs some footage Angeles, Done+Dusted is a global telefrom London. vision production and event staging “A two-hour concert to sit and company producing large-scale live watch on TV is a big ask unless you’re events and worldwide live broadcasts. Simon Pizey

sector focus I 23

erience

VIMN - Prodcution Shot - On Stage Recording

a hardcore fan of the artiste, and we’ll always is capturing content that encourage people to mix up their TV product can be used in a variety with other elements such as interviews and back- of ways, so you don’t limit yourselves later on,” he says. stage footage,” explains Pizey.

Silver Bullet Entertainment clients include “On-demand is very popular BBC Music’s online Festival Pass – a behind-the- and the way forward; people scenes artiste-eye view of the festival experience, don’t necessarily want to BBC 6 Music Live and War Child’s Passport to the have a physical copy of a live Andy Wood music event now.”

BRITS with O2.

“We work mostly with brands and we always want to find an engaging hook to live music con- Crafted content tent so it stands out from the crowd,” says Silver Cheese Film and Video work with clients including Bullet chief operating officer Andy Wood.

Take That, Mumford & Sons, Imagine Dragons and “For the 6 Music Live content, we’ll make each The Killers. artiste’s set unique with lighting and props. It’s “Touring shows spend a lot of money on a never just the back of a studio.” presentation – the screens, the dancers, the stagWith War Child’s Passport to the BRITS events, ing, and you’ll even find with rock acts they’ll Silver Bullet helped its client to establish an have something happen, like a big gag, halfway annual week of music which audiences will come through,” says founder Dick Carruthers. back to each year and help it raise awareness “Our job when shooting a big touring show is to of, and funds for, capture all of that, children affected the colour palette by war. The charof the show, the “On-demand is very ity raised a record mood, the big hits popular and the way £564,768 from the and the new songs. event this year.

“Beyond that you forward” “Primarily the War may also get a Steve Long, Floating Earth Child Passport... one-off live show has been through or event where you video-on-demand can really get befor their YouTube channel alongside O2 Academy spoke,” explains Carruthers.

TV, but the content is also now part of a War Child “We worked with Josh Groban last year as he advert for the summer airing on the big screens had a new album out called Stages, with songs at a number of festivals,” explains Wood. from stage musicals. We did a whole production Mobile-truck recording and broadcasting com- at the Los Angeles Theatre which went out on the pany Floating Earth has been operating for 29 PBS station in the US. years with clients including the BBC, Sky, Channel “We worked for months in production directly 4 and production companies such as Reef TV and with Josh, his management and a designer.”

Serpent TV. Carruthers also believes the aim is not to make “The live recording and broadcast market is people feel like they’re actually at the show. buoyant and growing,” says MD Steve Long.

“There’s room for all the different experiences, “Rough and readiness does work, with backstage but our goal is not to make people feel like they’re content, highlights and snippets – it all adds to there – it’s a piece of art and highly crafted. The the audience experience of thinking that they one-off global cinema event we did with Imagine were there.

Dragons was also about a shared experience for “We don’t often know what the end results audiences and there was a lot of international will be of where it will be broadcast – the key social media buzz around it.”

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22/07/2016 15:23 August 2016 • Issue 199 • www.liveuk.com

24 I SECTOR FOCUS “We worked with Mumford & Sons in a stunning open-air amphitheatre setting in South Africa, and that’s a different environment altogether and makes appealing content.”

Whizz bangs

Floating Earth - Mixing Desk and Microphones

Location, location

Producer Jeremy Azis of Azis+Azis works with clients such as Eagle Rock Film Productions, has captured Mumford & Sons in South Africa, Ellie Goulding in Antwerp, Hans Zimmer in Prague and Gregory Porter in Berlin.

“Typically these are for arena live broadcasts and DVDs, especially currently for Christmas releases,” explains Azis. “It’s about capturing the best quality possible – visuals and audio.

“The budgets for big bands and artistes are still there, but not for the smaller bands. Top 50 artistes will always have a market for live broadcasts.”

Azis says location can be a big pull factor for audience demand.

August 2016 • Issue 199 • www.liveuk.com

Wembley Stadium (90,000) and Jools Holland’s Big Band Special for BBC Four at Blackpool’s Empress Ballroom (3,000).

A veteran of live broadcast, Malcolm Gerrie, chief Targeted audience executive at Whizz Kid Productions, says there Ogle Hog is a broadcast and will always be an appetite for big live music tele- event video company work- Brian Despard vision content and increasingly this is through ing across festivals and special events. one-off specials.

“Business has been good over the past year “Look at what Adele did recently with her and since last summer, we have done multiple hour-long BBC Music special,” he says. “With the broadcast jobs, both in live music and TV set up,” congestion of TV channels, digital channels and says MD Chris Saunders. different ways to consume music and informa“Download [80,000] festival is one of our bigtion, broadcasters need to cut through all of the gest broadcast events, using multiple OB [outside noise for people who want to watch their live broadcast] trucks filming for Live Nation TV – music content. commissioned by Sky Arts and VH1.

“The world has changed, with the rise and “This year we worked with Livefi to stream rise of digital and online. If I want to watch The Chase & Status’s performance at Wireless Festival, Who or Bruce Springsteen live, I can find them via Facebook Live, reaching a targeted audience in two clicks and see it immediately,” of hundreds of thousands of people,” says Gerrie. “You have to make your says Saunders, “and I believe this type live music content stand out from of narrowcast is the future of live music the crowd; a big event or special can TV – something that allows an increddo this.” ibly targeted audience to be there, Whizz Kid’s productions include in that moment, from anywhere in U2’s performance at America’s the world.”

92,400-capacity Rosebowl in Pasadena, Will Shapland Mobiles offers mobile George Michael opening the new Malcolm Gerrie recording studios and engineering

sector focus I 25 services to clients such as Blink TV and Eagle Rock.

“The main reason I do music broadcasts is because of the creative element,” says owner Will Shapland, who has 30 years’ experience in the industry. “I’m at a stage in my career where we have a lot of clients and artistes who ring up whenever they have a TV event and then leave it all to me.

“You always need to be aware of who or what you’re broadcasting to, or on – knowing the difference between a 5.1 mix for domestic TV and a 5.1 mix for cinema, for example.”

Digital focus

A leading content and experiential events company, CC-Lab has been established for 20 years with clients including the BBC, Sky, MTV, Channel 4, 4Music, AOL and BT. “We take a creative approach to every live shoot and we plan them meticulously,” says executive producer Justin Rees. “We aim to deliver the highest quality, professional and creative product possible.

“There’s less live music on traditional broadcast television, but brands and digital platforms are increasing their output. Live streaming video is at the Helen Kavanagh forefront of much industry

development talk with new YouTube, Twitter and Facebook, pay-per-view platforms like Periscope content hubs, 360 degree streaming apps, shareand Twitch, and now with able players and unlockable content. It works YouTube and Facebook join- with clients such as NME, Kiss FM and Google.

“Consumer appetite for the live streaming ing the action there’s a new way to engage with millen- of performances is huge and still growing as internet capabilities continue to improve,” says nial audiences.”

Deaf Ear Productions commercial director Helen Kavanagh.

Janelle Mason “The area in which artistes now look to generate offers mobile recording services and has captured live recordings of concerts much of their revenue is concert ticket sales, but they obviously have a limit in terms of capacity, from artistes such as Avalonia and Pee Wee Ellis.

“Being mobile offers the client their preferred but live video streaming opens up potential digital revenue streams choice of recordsuch as pay-pering location from view, advertising concert venue to “Brands and digital revenue or brand a place of their sponsorship deals. choosing,” explains platforms are increasing “Previously excludirector and technitheir live music output” sive events such cal manager Brian Justin Rees, CC-Lab as VIP intimate Despard. gigs are being “Audiences want streamed.

You the best possible experience from the broadcast and it’s impera- can get a front row seat whilst sitting at home on tive to keep in mind the object of the recording your laptop.”

– to try and capture as much of the event’s atmosphere as possible, short of being present at the Direct to cinemas event.”

CinemaLive specialise in what it calls event cinStreaming Tank is a video production and live ema, distributing live and recorded content to streaming agency, which offers services rang- over 70 countries. ing from streaming to social channels such as As well as shows for Elton John and André

August 2016 • Issue 199 • www.liveuk.com

26 I SECTOR FOCUS coverage of the show that gives the audience a different experience.”

VintageTV - Assembly Rms Islington (Rick Wakeman)

Rieu, it works with opera, theatre, musicals and comedy events.

“Music concerts in cinemas are becoming more accepted and desired by music lovers,” says co-director and executive producer Janelle Mason. “Event cinema is really in its infancy with the music industry with so much potential on the horizon.

“Our highlights include making box office history in many territories around the world with André Rieu’s annual Maastricht Concert, taking a healthy £1.13m in the UK in one night in 2015.

This year’s two screenings generated over £1.4m in box office gross and we were third at the box office behind The BFG and Star Trek Beyond. It’s a good example of a unique sold-out event that’s not available on the tour circuit, so perfect for a worldwide cinema events,” she says.

“We’ve also just announced André Rieu: Christmas, which is in cinemas in November.”

Mason says the appeal for audiences in the cinema environment is that they want to feel like they are there.

“The cinema experience with its big screen, superior sound and comfortable Ali Thompson seating offers multi-camera

Immersion with VR

For the past 18 months, Melody VR has been capturing live music content from Television Viacom International Media Networks (VIMN) nearly 400 artistes includowns multimedia entertainment brands includ- ing Kygo, Rudimental, Jason Derulo, Skepta and The Who, ing MTV, Channel 5 and VH1.

“MTV is a champion of music and live music for its VR music experience events are part of the fabric of our brand, with app due to launch by the Anthony Matchell programming such as MTV Brand New and MTV end of this year.

It will be available to download across all Crashes Plymouth,” says Ali Thompson, VIMN current VR hardware and on iOS and Android head of events, UK and international.

“We are the most watched music TV provider devices, says the company.

“Melody VR will offer users the chance to expeand hosting and filming such events presents the opportunity for our viewers to see some of rience live music content like never before,” says the best acts in their element, loud and large CEO Anthony Matchell. “From the stage, from on the live stage, be it on TV, online or via our the pit, or from the front of the crowd, it will feel like you’re there at social channels. the event.”

“There’s constant Melody VR’s conexperimenting tent is all ultra taking place to “Top 50 artistes high get multiple camwill always have a market realworldresolution, content era angles from for live broadcasts” and not animated people in the CGI. It uses fixedcrowds, including Jeremy Azis, Azis + Azis point camera locagiant branded baltions and then loons with cameras allows the user to installed, and the likes of pyro and special FX on stage is certainly more prevalent in move between those points in real-time.

“VR is at a pivotal point and it will get even betdialing up the sensory enjoyment on the ground ter. We think everyone will have a headset in their and via the TX.” David Pick is founder and CEO of Vintage home,” says Matchell.

Once upon a time, not too long ago, the music Entertainment, which broadcasts Vintage TV on Sky 369, Freeview 86, Virgin 343, Freesat 505 industry considered itself lucky if there was one and BT-TalkTalk 86. Its live music broadcasts late-night TV programme featuring live music.

However, the public’s increased interest in live include Live With..., Live At … and The Vintage music, the BBC’s Late with Jools and extensive TV Sessions.

“These formats are in a studio or venue with Glastonbury coverage, the launch of Vintage TV and improvement in digital technola live audience or a filmed session,” ogy have put live show broadcast back explains Pick. “For the last 12 months, at the forefront of music entertainLive At … has come regularly from The ment across multiple media outlets.

Water Rats [200] in London’s King’s As any veteran of the music industry Cross, with tickets sold for the events.” will attest, nothing helps an artiste’s Vintage handles all filming and postcareer than being seen looking and production in-house and Pick says, sounding good on screen, even a “We’re very open to working with sponsmall one. sors and brands, and with new venues.” David Pick

Join Us...

Vintage TV is one of the UK’s most prolific producers of live music performances. We’re always on the lookout for brand sponsors, venue collaborators, kit hire, camera operators and editors.

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Contact us at: hello@vintage.tv

August 2016 • Issue 199 • www.liveuk.com

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Production news Newsbites VETERAN lighting specialist David Keighley has joined Danish luminaire manufacturer SGM as executive vicepresident. The former lighting designer and production manager with Deep Purple, Keighley subsequently became MD of Birmingham-based LSD and MD/CEO of the company that acquired it, PRG Europe, working with artistes such as U2, the late David Bowie and Paul McCartney.

Based in the UK but with a global brief, Keighley says his role with SGM will be to “Introduce old friends and new to SGM’s innovative range of LED lighting fixtures”.

FOLLOWING ITS takeover of Glasgow’s EFX Audio last year, Liverpool-based Adlib has made two appointments to its Scottish office. Barclay Dakers joins as business development manager while Craig Hamilton becomes operations manager. Dakers, who previously worked with Martin Professional and Edinburgh University, aims to build Adlib’s brand in Scotland, while Hamilton will help run the company’s new Glasgow warehouse. Adlib clients include James and Florence & The Machine.

EVENT PERSONNEL company Showforce supplied 16 crew and plant operators to the 7,000-capacity Henley Festival, headlined by Elton John and Elvis Costello and known for requiring its audience to wear black tie. As well as erecting pedestrian barriers, installing metal trackway and assisting the stage build, the crew had to dismantle and pack away the delicate, mirror-festooned Spiegeltent. “The Showforce crew went above and beyond what was required,” says Henley’s production manager John Harris.

Capital results for capital shows THE AUDIO provider at Barclaycard Presents British Summer Time in London’s Hyde Park, Capital Sound, says it had to keep sound levels within agreed limits both inside the 65,000-capacity event and outside, as winds buffeted the crowds and carried sound off site.

The company says a “significant” digital upgrade this year for performances including Massive Attack, Take That and Stevie Wonder helped it meet the requirements of promoter AEG Live and sound consultant Vanguardia.

Capital provided its Martin Audio MLA systems for the event’s three main stages, the main Great Oak Stage, the second Barclaycard Stage and Sony PlayStation stage, as well as systems for three other stages,

installing the new beta version of Martin Audio’s DISPLAY optimisation software on the Great Oak, plus its new Dante digital network.

According to Capital Sound project manager Robin Conway, the new software and network allowed them to improve the MLA’s “noise floor”, Alabama Shakes performing at British Summer Time the level of sound the system one MLD Downfill per side, with must not exceed when combined 12 MLA and one MLD Downfill for with environmental sound sources the sidehangs. such as traffic or the audience.

The sub array consisted of 21 MLX As a result, says Martin Audio in a broadside heart-shaped array, R&D director Jason Baird, the level with a further 11 enclosures back achieved met the requirements, “Despite swirling winds blowing in the facing. The main nine delay towers comprised seven MLA and a single direction of the measurement points”.

MLD Downfill, supported by 12 For the main stage, the PA MLX subs. comprised two hangs of 16 MLA and

Touring rig maintains consistent Heart beat ALTHOUGH US band Heart regularly uses in-house production on tour, working with different equipment at each venue, it had the “luxury” of a single rig at all venues on its UK tour when it employed lighting specialist HSL. The band’s lighting designer Gabrielle Scheff worked with the Blackburn-based company to design a show at London’s Royal Albert Hall (cap. 5,300), with expanded production to accommodate a one-off performance with the Royal Philharmonic Orchestra, plus cameras for a DVD shoot.

A slimmed down version of this rig was then installed for the band’s

August 2016 • issue 199 • www.liveuk.com

shows at Manchester’s O2 Apollo (3,500), Glasgow Royal Concert Hall (2,500) and Birmingham’s Symphony Hall (2,250).

“The key to my design is always to create some sort of consistency,” says Scheff. “However this frequently changes to take into account the needs of very different venues, so my world is an ever fluid environment.”

The rig comprised two overhead trusses, central and rear, each loaded with Martin Mac Viper Profiles, MAC Aura LED washes and MAC 2K XB Washes. More Vipers upstage provided through-the-band and aerial effects. Also on the trusses

Heart at the Royal Albert Hall

were ACLs and Jarag 5x5 blinders.

Instead of a front truss, the band were lit with Robert Juliat Cyrano follow spots.

“I miss the days of the massive Par Can rigs,” says Scheff. “But these different moving luminaires achieve more intensity and punch and help me re-imagine that classic physical style.”

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Production news I 31

Bank backs Bristol series Barn hangs loose with Mirrad

Utopium supplies Bristol Summer Series

AS WELL as lighting the stage, Bristol-based production company Utopium created an “architectural spectacle” for the 5,000-capacity Summer Series on Bristol’s Harbourside amphitheatre, using the frontage of the overlooking Lloyds Bank building as a backdrop.

The four days of concerts promoted by Metropolis Music and headlined by Catfish & The Bottlemen, Sigur Rós, The Last Shadow Puppets and James Bay, combined an onstage trussing system, fixtures and lighting for

the bank’s neo classical pillars, all supplied by Utopium.

“Summer Series is an opportunity to put new products to great use, enabling us to offer increased creativity, with reduced weight loading and power consumption,” says Utopium’s Jon Newman.

For the main stage flown rig, Utopium’s truss, suspended by 12 of its new double-braked hoists, held a range of lighting including SGM Q-7 RGBW LED Wash, four Lite Molefays, Chauvet 419z LED Moving Washes and Martin Mac Quantum LED Moving Profiles, with Avolites Pearl Expert Control.

All floor packages were supplied by the bands. Behind the audience, the Lloyds Amphitheatre pillars were lit using 20 Chauvet Colorado 1 Quad IPs and four SGM P-2 Floods.

THE LOW weight bearing ability of a new cattle shelter housing the main stage at Barn on the Farm required an “inventive” solution for mounting the lights.

The 2,000-capacity, sevenyear-old event headlined by Oh Wonder and Jack Garrett, has provided a showcase to artistes including Ed Sheeran, Ben Howard and Hozier early in their careers.

Colour Sound lighting system at Barn on the Farm The shelter, with its and Matt Keene want to ensure their circular roof and restricted audiences and performers benefit height, saw lighting rental company from the best production.”

Colour Sound Experiment work with Fixtures included 28 ProLights design specialist Mirrad to devise a Diamond 7 LED washes, eight Robe lighting system which hung lights MMX Spots, eight Robe CycFX 8s, over the front and around the sides of 10 Sunstrips and ETC Source Four the stage. key lights. Thompson ran the rig “Colour Sound provided a generous amount of kit for the available budget,” on an Avolites Sapphire console and accommodated the “specials” says Mirrad’s Jamie Thompson. packages of guest lighting directors. “[Festival organisers] Josh Sanger

Lost Village ups production for Fatboy WITH PERFORMERS including Fatboy Slim and Grandmaster Flash, Lost Village Festival (cap. 5,000) required a significant increase in production values, according to Nick Buckley of Manchester’s dbn Lighting.

The company provided the Lincolnshire event with lights for the main stage and four other performance spaces, plus site-wide scenic and environmental illumination.

Buckley says he fitted the main stage, housed in a dome-like structure, with a lighting and video production designed to emphasise the “elegant” roof system.

He installed trussing, included two V-shapes either side of stage and a three-quarter circle truss, which curved around the stage area and projected above the audience. He also extended the stage out sideways by using three horizontal strips of dbn’s 12.5 mm Eastar LED.

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Buckley explains that careful positioning of the panels allowed the curve of the temporary venue to be replicated by the screens, leaving no gaps in the pixels.

“The design took into account specific requests from Fatboy Slim’s production and lighting designer, who was extremely accommodating,” says Buckley. “The lighting and visuals rig stayed for the rest of the weekend, so all performers benefited from it.”

Lost Village Festival main stage

Moving lights included 20 Clay Paky Sharpies, 20 CP a.leda K10s fitted with B-Eye lenses, 12 CP Alpha Spot 575s and 18 Martin Atomic strobes.

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July 2016 • issue 199 • www.liveuk.com

32 I city limits

Manchester

Manchester Arena

With an impressive run of outdoor stadium shows this summer and increased activity at all other levels, Manchester is arguably the most important and vibrant market for live music outside London. Allan Glen reports on a city where investment and innovation work side by side

I Matt Woolliscroft

Daniel Schofield

t’s perhaps fair to say that there’s been a buzz about Manchester this year.

As well as promoters and venue operators reporting a rise in the number of events at club, theatre and arena level, in the summer Lancashire County Cricket Club (cap. 55,000) hosted SJM Concerts-promoted shows with Rihanna and Beyoncé, with tickets priced from £55 and £70 respectively.

Manchester-based SJM also had AC/DC (tickets at £65), and local icons The Stone Roses (£59) at the 57,000-capacity Etihad Stadium.

In a sign of the market’s strength the Stone Roses, who are managed by SJM founder Simon Moran, sold a total of 228,000 tickets across their four-night run.

“Stadiums always require more work, but we’re well equipped as a company to do that,” says SJM promoter Matt Woolliscroft, who adds that the impact of shows at the Etihad goes way beyond the city’s boundaries.

“We were very conscious of how important the Stone Roses concerts were for Manchester as they bring a huge number of people from across the country, and indeed the world, to the city.

“It has a very tangible impact and there was a great atmosphere during the run, something we are very proud of – we were

August 2016 • Issue 199 • www.liveuk.com

confident of being able to do three shows and were delighted we made it to four.”

Taking the tally of concerts at the stadium to eight this year was Bruce Springsteen (Live Nation Entertainment (LNE), £75,) and two nights with Coldplay (£65), a co-promotion between SJM and Metropolis Music.

The stadium’s head of operations Daniel Schofield hopes even more concerts can be held at the Etihad.

“Our window for staging shows varies with the football season and we are looking to host more shows, year on year, to cement our reputation as the best stadium venue in the North of England,” he says.

“As the Etihad campus develops we are also looking at different performance spaces around the estate with a view to expanding our concert offering.”

Back at SJM, other shows include Adele and Muse at the 17,000-capacity Manchester Arena, Catfish and The Bottlemen at Castlefield Bowl (8,000), James Bay at the O2 Apollo (3,500), Blossoms in Manchester Academy (2,525) and Rat Boy at The Ruby Lounge (375).

As for the future, Woolliscroft says there are positive signs.

“Ticket sales have been very good this year, bolstered by a lot

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

Etihad Stadium - Coldplay

of very successful outdoor shows,” he says. “Also the addition of the Albert Hall [2,000] as a mid-sized venue a couple of years ago has definitely stimulated that part of the market.

“The effect of the referendum vote remains to be seen, though.

It’s hard to gauge at this point how ticket sales for autumn and beyond will fair.”

limits I 33

Albert Hall

Atmospheric energy

As general manager of the Manchester Arena, James Allen says its unique selling point can be summed up in one word, atmosphere.

“Acts love the buzz they get from playing here,” he says. “When you get 16,000-plus passionate music fans inside a relatively tight arena space, the energy inside the building is electric.”

Last summer, as part of the venue’s 20th anniversary celebrations, the auditorium seating Streets ahead was replaced, with an extra 345 seats This is a view echoed by Danny Betesh “Work with the best and added to the standard concert layout of Kennedy Street Enterprises (KSE), due to a design change. a Manchester stalwart for more than you’ll get the best” “We’ve also upgraded and relaunched 40 years.

Ade Dovey our hospitality offering,” adds Allen.

While he notes that 2015 and this year “This summer we start rolling works on have been “exceptionally busy” for the company, he adds there is uncertainty in the market caused by upgrading our dressing rooms.”

Other acts playing the venue include ELO (£50), Busted recent political events.

“Going forward it is difficult to predict in view of the possible (£37.50) – both LNE promotions, Lionel Richie (Marshall Arts, changing political and economic climate, none of us have a £40), Morrissey (SJM, £35), The Who (AEG Live, £60), Simply Red (Kilimanjaro Live, £45) and The Cure (3A Entertainment, £25). crystal ball,” he says.

“We need the recent fall in the pound against the dollar to be rectified as clearly it is going to make it harder and more expensive Concert landmarks with shows involving American acts. In our case, probably 50 per Also hosting an eclectic range of artistes is the LNE-owned O2 cent of our shows involve American headliners or artistes.”

Apollo, where shows have included Hozier, Massive Attack, Jess KSE promotions feature Mike and The Mechanics and 10cc in Glynne, The 1975, Paul Heaton and Jacqui Abbott, Years & Years The Bridgewater Hall (2,350) and Gladys Knight in the O2 Apollo, (all SJM), UB40 (Kilimanjaro) and Brian Wilson (DHP Family). with James Taylor, Spandau Ballet, Mark Knopfler and Take That Forthcoming concerts feature Paul Simon (ITB), Van Morrison (a co-promotion with SJM) in Manchester Arena.

(KSE) Tom Odell, Jake Bugg (both SJM) and Jack Garratt (LNE).

Danny Betesh

James Allen

August 2016 • Issue 199 • www.liveuk.com

34 I city limits Benson (both KSE), Adam Ant (3A Entertainment), Bonnie Raitt and Josh Groban (both LNE).

Forthcoming concerts feature Roy Harper, Elaine Page, ABC (all SJM), Beth Hart (DHP) and The Gloaming (in-house).

According to chief executive Andrew Bolt, there are a number of reasons why artistes and promoters are continually attracted to the venue.

“These include, but are not limited to, excellent acoustics and highly professional technical support,” he says.

© Melanie Smith

Ritz cracker

O2 Ritz Manchester

Phil Rogers

It is another venue that has recently undergone refurbishment, which included changes to the green room and the toilet blocks, while Wi-Fi is now available across the building.

According to O2 Apollo general manager Phil Rogers, music is an integral part of the venue’s live entertainment programme.

“We probably have around 105 shows a year, of which at least 80 are live music shows,” he says.

The Bridgewater Hall has an enviable reputation within the touring circuit, as can be seen by the artistes playing there, which include Seal, Beverley Knight (both SJM), Kenny G, George

Now that the Academy Music Group (AMG) owns and operates The Ritz (1,500) – acquired by AMG after parent company LNE bought MAMA & Company and rebranded the O2 Ritz Manchester (see LIVE UK, issue 187), a programme of investment is planned for the venue over the next 12 months.

“Already we’ve seen an upgrade to the main room lighting rig and full floor covering replacement,” says general manager Sian Hayward.

Acts playing the venue include Jamie Lawson (DHP), Nelly, The Enemy (both promoted by AMG’s in-house team Academy Events), GoGo Penguin (Band On The Wall), Terrorvision (Kilimanjaro) and Foxes (SJM).

An eye on competition

As VMS Live runs the four venues at the University of Manchester Students’ Union – Manchester Academy, Academy 2 (900), Academy Club (620) and Academy 3 (450), VMS operations director Richard Maides says that he is watching with interest for any changes in the market following AMG’s takeover of The Ritz.

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August 2016 • Issue 199 • www.liveuk.com

manchesteracademy.net 27/07/2016 14:26

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

limits I 35

“It will be interesting to see how the balance of venue programming changes following these investments,” he says.

“We have certainly become more reliant on producing our own shows and events to ensure we look to protect our market share in the city and that will continue, to protect the future of our venues.”

“I’m happy standing at the back of the hall watching something that I don’t understand, please a lot of people that do” Jay Taylor

The venues’ in-house promoting division, Manchester Academy Presents (MAP) – headed up by VMS Live commercial director Carl Bathgate, is responsible for producing in excess of 100 shows a year across the venues.

In the last year there have been in-house sell-outs in the Academy for Gary Numan, Garbage, Peter Hook and The Light and Soul II Soul.

Others currently playing the venue include Hollywood Undead (LNE), Daughtry, KYGO and Troye Sivan (all SJM), with Television (Metropolis) and The Virginmarys (Kilimanjaro) performing in Academy 2.

Growth anticipated

As perhaps is expected in a city home to more than 100,000 students, there is a wide range of spaces for live music at club level, including The Ruby Lounge, The Deaf Institute (260) and

The Deaf Institute

Gorilla (550), the latter two run by multi-venue operator Trof, which also runs the Albert Hall.

While 2016 was a record-breaking year for the number of events across Trof’s three venues – 85 in the Albert Hall, 146 in Gorilla and 198 in The Deaf Institute - the company’s live programming manager Ade Dovey says he expects the number of events to increase by eight per cent next year.

Acts currently playing the Albert Hall include Beck (SJM) and Goat (Trof Presents), with Car Seat Head Rest (DHP) in The Deaf Institute. Those performing in Gorilla include The Julie Ruin

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August 2016 • Issue 199 • www.liveuk.com

36 I city limits Club attractions

Club promoters are also reporting that such vibrancy at this level is encouraging more people from neighbouring areas to travel into Manchester to watch live music.

“As the city has developed, so have the visitor numbers and we are definitely seeing this within our stats as more people are coming in from across the North West and beyond,” says Band On The Wall chief executive Gavin Sharp.

Billed as “a venue for musicians who know their music”, Band On The Wall hosts around 170 in-house-promoted shows a year, and approximately 70 from outside promoters. Those currently playing the venue include Moon Hooch, Edward II, Sticky Fingers, LJT Bookham, Magma and Graham Parker & Brinsley Schwarz (all in-house).

“Musicians generally know the heritage of their particular area of music and most likely we have played host to some of their heroes at some point in the past, which generally helps to put us on their must-play venue bucket list,” says Sharp.

The Lowry Complex - The Lyric

and Cate Le Bon (both Trof Presents).

“We work with some seriously great promoters,” says Dovey.

“That’s paramount to us. Work with the best and you’ll get the best.”

Showcase stars Steve Cowton

Wesley Jones

Also working with an eclectic range of promoters and acts is booker of The Ruby Lounge, Jay Taylor, who also runs promotions company Classic Slum.

“We tend to be quite choosy, though not stylistically so,” says Taylor. “I’m quite happy standing at the back of the hall watching something that I don’t understand please a lot of people that do understand it.”

Acts playing the venue include DMA’s, Cabbage (both SJMpromoted), Pere Ebu, Curtis Eller’s American Circus, Bob Log III and Tav Falco’s Panther Burns (all Classic Slum).

Also at club level is Night and Day Café (250), Band On The Wall (340) and The Quays Theatre (450), the latter at Salford’s The Lowry complex, home to The Lyric (1,700) and The Studio (140).

“We’ve upgraded the PA in The Quays Theatre so we can now provide in-house sound for most touring shows,” says head of theatre operations Steve Cowton.

“As for acts, we tend to attract the type of artiste looking for an older crowd who perhaps appreciate easy parking and a nice bar and restaurant.”

Among artistes performing in The Lyric are Nathan Carter (KSE), The Hollies (self-promoted), Level 42, Rick Astley (both SJM) and Jason Donovan (3A), with Noah Stewart in The Quays Theatre (KSE).

Grassroots thriving

According to Night and Day booker Gareth Butterworth, the grassroots scene in the city is as strong as it has been for many years.

“Even in the so-called quieter summer months there’s always something going on,” he says.

Hosting around 260 shows a year, acts playing the venue include Deap Vally, Clare Maguire (both SJM), Future of the Left (DHP), Margaret Glaspy (Kilimanjaro), Purson and Drowners (both in-house).

One promoter who regularly uses venues at club and theatre level is Wesley Jones of Now Wave, which puts on around 150 shows a year.

Launched more than a decade ago, the company promoted some of the first Manchester performances for acts such as The xx, James Blake and SBTRKT. Current Now Wave shows feature Parquet Courts, Whitney, Tom Misch and Wooden Ships in Gorilla, Spring King in Band On the Wall, Kevin Morby in The Deaf Institute, King Gizzard and the Lizard Wizard in the O2 Ritz and Grimes in the Academy.

In summing up the market, Jones says the variety of promoters and venues is the city’s biggest strength.

“As well as SJM, the dominant big player, there is also a sizeable number of independent promoters and venue owners who are willing to use their imagination to deliver memorable shows,” he says.

“On the whole, Manchester is incredibly forward-thinking and willing to embrace the new and exciting.”

For the business people behind contemporary live music

12 October 2016

www.liveuksummit.com

quarter page Summit.indd 1

August 2016 • Issue 199 • www.liveuk.com

24/03/2016 15:54

PROUD TO MANAGE & OPERATE MANCHESTER’S BRIDGEWATER HALL & MANCHESTER ARENA

bridgewater-hall.co.uk

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

Period

Contact

Details

Alesha Dixon

Amanda Rheaume

American Aquarium

Attraction

B Angie B

Beardyman

Bettye Lavette

Billy Ocean

Carrie Rodriguez

CC Smugglers

Chick Corea

Dagny

Danni Nicholls & Robert Vincent

Feb-Apr Paul Fitzgerald & Chris Ibbs T 020 8846 3000 CAA Paul.fitzgerald@caa.com

Jan Bob Paterson T 01359 230 357

BPA Live bp@bpa-live.com

Feb Bob Paterson T 01359 230 357

BPA Live bp@bpa-live.com

Feb Paul Fitzgerald & Chris Ibbs T 020 8846 3000 CAA Paul.fitzgerald@caa.com

Nov-Dec Steve Galeazzi T 01942 321 435

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

Nov Serena Parsons T 020 7400 4500

Primary Talent serena@primarytalent.com

Mar Gunter Schroder T +1 617 254 0007

The Kurland Agency gunter@thekurlandagency.com

Nov Sarah Casey T 020 8741 4453

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

Nov Bob Paterson T 01359 230 357

BPA Live bp@bpa-live.com

Nov Sarah Casey T 020 8741 4453

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

Apr-May, Gunter Schroder T +1 617 254 0007 Jul, Nov The Kurland Agency gunter@thekurlandagency.com

Nov Sarah Casey T 020 8741 4453

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

Nov Bob Paterson T 01359 230 357

BPA Live bp@bpa-live.com

LiveUk_TradeAd.indd 1

Dennis Ellsworth

Dub Pistols

Eliza Carthy & Wayward Band

Ella Henderson

Fleur East

Graham Bonnet Band

Period

Contact

Details

Jan-Feb Bob Paterson T 01359 230 357

BPA Live bp@bpa-live.com

Mar Serena Parsons T 020 7400 4500

Primary Talent International serena@primarytalent.com

Nov-Dec David Flower T 020 7359 9232

SASA Music rab@sasa.demon.co.uk

Nov Paul Fitzgerald & Chris Ibbs T 020 8846 3000 CAA Paul.fitzgerald@caa.com

Jan-Apr Paul Fitzgerald & Chris Ibbs T 020 8846 3000 CAA Paul.fitzgerald@caa.com

Nov-Dec Alan Cottam T 01254 668 471

Alan Cottam Agency alan@alancottamagency.co.uk

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August 2016 • issue 199 • www.liveuk.com

Artistes

Gonzalez feat.

Nov-Dec Steve Galeazzi T 01942 321 435 Lenny Zakatek

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

Ian McCulloch Apr-May Jack Gray T 0151 284 7524

Satellite Agency admin@satelliteagnecy.co.uk

Jack Broadbent Nov, Mar, Gunter Schroder T +1 617 254 0007

May-Jun The Kurland Agency gunter@thekurlandagency.com

James Arthur Feb-Apr Paul Fitzgerald & Chris Ibbs T 020 8846 3000

CAA Paul.fitzgerald@caa.com

Jo Harman Duo Nov Mike Hellier T 01209 860067

Movinmusic mike@movinmusic.co.uk

Jools Holland and May-Jun Nick Peel T 020 7935 9222 His Rhythm & Blues Orchestra Miracle Artists nick@miracle-artists.com

CC Smugglers

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a guide to artistes, tours & agents tour plans I 41 Artistes

Period

King Pleasure & The Biscuit Boys

Lady Sings The Blues

LAW Holt

Lee ‘Scratch’ Perry

Lisa Mills

Lydia Ainsworth

Military Wives

Molly Hatchet

Nazareth

Nathaniel Rateliff & The Night Sweats

Roberto Fonseca

Ruby Turner

Skerryvore

Nov-Dec Tim Jennings T 0121 454 7020

Big Bear Music tim@bigbearmusic.com

Nov-Dec Tim Jennings T 0121 454 7020

Big Bear Music tim@bigbearmusic.com

Nov Serena Parsons T 020 7400 4500

Primary Talent serena@primarytalent.com

Mar Serena Parsons T 020 7400 4500

Primary Talent International serena@primarytalent.com

Nov Mike Hellier 01209 860067 Movinmusic mike@movinmusic.co.uk

Nov-Dec Clemence Renault T 020 7580 7773

ATC Live clemence@atc-live.com

Nov Paul Fitzgerald & Chris Ibbs T 020 8846 3000 CAA Paul.fitzgerald@caa.com

Nov Steve Galeazzi T 01942 321 435

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

Feb Alan Cottam T 01254 668 471

Alan Cottam Agency alan@alancottamagency.co.uk

Nov Paul Wilson johnpaul.wilson@caa.com

CAA T 0208 846 3000

Nov-Dec David Flower T 020 7359 9232

SASA Music rab@sasa.demon.co.uk

Jan-Feb Nick Peel T 020 7935 9222

Miracle Artists nick@miracle-artists.com

Nov Chris Wade T 01377 217 662

Adastra Music adastra@adastra-music.co.uk

Ella Henderson

Contact

Details

Fleur East Artistes Sweet

10cc

The Dunwells

The Original Juke Box Heroes

The Turnpike Troubadours

Theo Crocker

Tipitina

Tom Russell

Tony Christie

UFO

Whitney

Period

Contact

Details

Dec Nigel Kerr T 020 8399 3474

ABS Agency absagency@me.com

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

Nov-Dec Sarah Casey T 020 87414 453

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

Nov-Dec Steve Galeazzi T 01942 321 435

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

Jan-Feb Bob Paterson T 01359 230 357

BPA Live bp@bpa-live.com

Nov-Dec Tom Gold T 001 617 969 0810

Concerted Efforts tom@concertedefforts.com

Nov-Dec Tim Jennings T 0121 454 7020

Big Bear Music tim@bigbearmusic.com

Jan Bob Paterson T 01359 230 357

BPA Live bp@bpa-live.com

Nov-Dec Ashley Yeates T 0121 323 2200

Yeates Entertainment ashley@brianyeates.co.uk

Nov Nick Peel T 020 7935 9222

Miracle Artists nick@miracle-artists.com

Nov Will Church T 020 7580 7773

ATC Live will@atc-live.com

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.

August 2016 • issue 199 • www.liveuk.com

42 I backstage stars Backstage

Stars Profile

Adam Brooks Having started out in student radio, Adam Brooks worked for a series of record labels, progressing to work on album campaigns for artistes such as Brian Eno, Maximo Park and Grizzly Bear. He now runs marketing at Ents24 dealing with ticket agents, promoters, management and event organisers for one of the UK’s busiest ticketing websites.

What are your first live music memories?

“I started pretty young, going to see mostly terrible pop shows in the South West when I was at primary school, but the first proper gigs were rock and indie bands, primarily at the bigger venues in Devon. I remember seeing OK Computer-era Radiohead at Plymouth Pavilions and Soulwax, Muse and A and Symposium at Torquay Leisure Centre.

“For me personally, Exeter Cavern had a huge impact while I was at college nearby in the late‘90s/early-’00s. The owners brought a huge raft of US hardcore and DIY bands over that kids in the South West would never have got to see.

“I saw Rival Schools, OXES and others either in the Cavern or at Cavern-inspired shows, but also bands such as Coldplay, Muse and Hundred Reasons playing to a hundred or so people.”

How did you get into the music business?

“I studied communication at Cardiff Uni, but spent most of my time at their student radio station Xpress Radio, which then led to a sort-of internship scouting for Island records and work experience at Radio 1, back when Zane Lowe and Huw Stephens were just starting there.

“I remember the football going into extra time one night and John Peel asking us if we’d extend the show so he could watch it to the end. Student radio was how I got tipped-off about Warner Music’s Graduate Scheme which became my first proper job in music.

“I’ve been working solely in live for the past couple of years, but prior to that I was at labels

April 2016 August 2016 • Issue • Issue 195199 • www.liveuk.com • www.liveuk.com

LIVE UK intervie ws key people who help shape our industry

– Atlantic Records, Warp Records and Modular, initially doing marketing, but later taking on live music projects and working on Modular’s own international festival. Headliners included Haim, Tame Impala, James Blake, Mark Ronson, James Murphy and Erol Alkan crowd.”

How has your career developed?

“At Atlantic I was responsible for launching an in-house street team, co-ordinating fans of the alternative/rock side of the roster at shows around the country, often for bands I’d grown up listening to - Billy Talent, Biffy Clyro, Death Cab for Cutie etc.

“After a few years I started looking after artiste and album campaigns and moved to Warp. I stayed there for six years and worked on 163 records including the likes of Grizzly Bear, Battles, Boards of Canada, Hudson Mohawke, Flying Lotus, Maxïmo Park and Brian Eno. “Following that I moved to Modular to run their European office. They’d just released the second Tame Impala album and had a great pedigree, having worked with The Avalanches and Cut Copy, as well as having great enthusiasm for live too, programming events, club nights and festivals around the world.

“After this I headed to Bristol, which happily coincided with a move to Ents24.”

What have been your greatest highs and lows?

“I once worked on a project between Oxfam, Damon Albarn, a host of UK producers and musicians from the Democratic Republic of

Congo. One of the highlights was due to be a live performance at Rough Trade East, but it was scuppered at the last minute by visa issues, which was heartbreaking.

“There were a couple of breakthrough years at Warp where some resolutely alternative artistes broke into some decidedly mainstream places.

Boards of Canada entered the Top 10 with an instrumental record, no live shows and one interview, while Flying Lotus cracked the Top 40 for the first time and became recognised as one of the most influential musicians of recent years.

“Grizzly Bear moved from playing tiny rooms and getting their gear stolen in Europe, to selling out the Barbican for a show with the London Philharmonic Orchestra. It was a privilege and pleasure to be a part of those projects.”

How do you wind down?

“One of the advantages of my wife Becks and I living in Bristol is its proximity to Devon and Cornwall, where I lived as a kid, and I love camping and wild swimming when time and weather allow.

“I DJ as part of the collective Last Resort, playing pop-punk and emo in sweaty basements and festivals, and I’m one of the hosts of Alan Partridge podcast Monkey Tennis - essentially me and three idiots dissecting the show an episode at a time.

“I’ve never been to Mexico or Oregon which I hope to remedy soon, and I’d like to be able to claim the title of very good cook, although I’m not close yet … and do more with words.”

THE LEGEND

CONTINUES

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