Live UK Issue 229

issue 229 February 2019 UK ÂŁ6.25

He’s a belter

Gerry Cinnamon steps up

AEG-SMG in arenas merger Viagogo could face criminal charges Cardiff venue eyes expansion Committed to the unsigned and emerging live sector see pages 14-15

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contents I 3

Contents

issue 229

4-13 News

22-27 City Limits Aberdeen

The business of live music

8 Forthcoming Events

A look at the people and venues behind live music in the city

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

14-15 NXT Profiles

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

16-21 Special Feature - Troxy A look back on the success of one of London’s most exciting venues

32-37 Sector Focus Multi-venue operators

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

38-41 Tour Plans

22

Artistes, their agents and tour periods

42 Backstage Stars

Interviews with the key people who shape the industry

28 32

16 Publisher & Managing Editor: Stephen Parker

Accounts Manager: Murali Sri Balaskanda

News Editor: Tom Ambrose

Administrative Manager: Toni Spence

Editorial Contributors: Allan Glen, Christopher Barrett, Mike Gartside.

Sales Director: Gareth Ospina Advertising Executives: Tom Brint, Re-subscriptions Manager: Laurie Burgess Research & Pictures: Calum Campbell Watson

Editorial: Tom Ambrose T: 020 7486 7007 E: toma@liveuk.com Advertising: Gareth Ospina, Tom Brint T: 020 7486 7007 E: gareth@liveuk.com E: tomb@liveuk.com Design: Charles McQuaid

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

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ISSUE 229: February 2019 Published monthly by:

Cover photograph: © REX

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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.

February 2019 • Issue 229 • www.liveuk.com

4 I news

AEG and SMG merge to create new venues giant THE VENUES division of multifaceted global giant AEG – AEG Facilities – is merging with international arena and convention centre management company SMG to create the standalone venue management behemoth ASM Global.

The deal will bring the UK’s two largest concert arenas, AEG’s The O2 (cap. 21,000) in London and SMG’s Manchester Arena

The O2

deliver increased value and offer (21,000), together under one roof, enhanced capabilities to with ASM’s shares split municipalities and venue 50/50 between the two owners worldwide, says companies.

Westley.

No financial details of “At the same time, we the merger have been expect that this transacrevealed and ASM will tion will offer employees be based in Los Angeles, at both our corporate where AEG is headquarheadquarters and field tered, and operating a Bob Newman operations tremendous combined 310 venues new opportunities.” across five Newman, who was formerly a continents. regional vice-president at SMG, AEG Facilities adds, “This transaction draws president Bob Newupon the depth of our combined man will be the new talent and resources to create an group’s chairman, organisation that will deliver value with SMG president and long-term success, as well as and CEO Wes Westinnovative services to our clients ley on the board. around the world.”

“We plan to In the UK, AEG also brings The accelerate innovaSSE Arena, Wembley (12,500) in tion by combining London, which it manages, to the our expertise to

Manchester Arena

deal, along with its consultancy agreement with The SSE Hydro (13,000) in Glasgow. SMG’s other venues include the First Direct Arena (13,500) in Leeds and Newcastle’s recently renamed Utilita Arena (11,000), previously known as the Metro Radio Arena.

SMG’s venues have a relatively new contract with Ticketmaster, owned by AEG rival Live Nation Entertainment, while AEG’s venues use its own AXS system.

LIVE UK was unable to obtain any further comment from AEG Facilities or SMG Europe as the magazine went to print.

Collapse of Common People fests takes Bestival team’s debts to more than £6m ECHOING THE vows of angry creditors of the failed Bestival (cap, 40,000) and Camp Bestival (25,000) events (see LIVE UK issue 227), companies owed money by

last month’s collapse of the two Common People (30,000 each) festivals say they will do tougher deals with the festival sector in future.

Common people

February 2019 • Issue 229 • www.liveuk.com

The limited companies running the events, which took place in Oxford and Southampton and were run by the same team as Bestival and Camp Bestival – headed

by Robert Gorham, aka Rob da Bank, and his wife Josie, folded with combined debts of £811,368.

Overall debts across the three companies and four festivals amount to £6,632,202, with the total owed to third parties, after removing inter-company loans, being £6,071,310.

Common People creditors include DJ Grindle (due £23,297), Live Trackway (£14,638) and NuKleen (£16,247).

“This is why we don’t look for festival business that much,” says Chris Beale, director of Pinnacom, which is owed £13,921 and provided networking systems and

cashless infrastructure at both sites.

“The festival industry has always been about goodwill.

Extending credit lines the way suppliers do for festivals would be unacceptable with any other business.”

A supplier, who wished to remain anonymous says, “We lost the entire amount. We want to support small festivals, but it’s made us more cautious we’ll ask for 50 per cent pre-payment in future.”

Another says, “We were helping them out, so the fee was less, but then we weren’t paid at all. That meant all the staff wages and fuel to do the gig came out of our pocket.”

See the full story in sister publication Festival, issue 38.

news I 5

No inquiry into Cambridge Newsbites Live losses, says council THERE WILL be no inquiry into how the failing charitable trust that operates Cambridge Corn Exchange (cap. 1,730) and Cambridge Folk Festival (14,000) builtup a loss of £750,000, says the local authority.

Cambridge Live, established

by Cambridge City Council to operate the venue, festival, Cambridge Live Tickets and various arts projects has had to be bailedout, with local taxpayers left to fund the deficit.

Liberal Democrat councillors had called upon the Labourmajority authority to back a full inquiry into the reasons that led to the crisis.

An amendment, tabled at a scrutiny committee meeting on 17 January, read, “It is important to properly understand what went wrong in Cambridge Live

and in the council’s relationship with it, both as its founding sponsor and major partner and customer.”

However, the council voted against holding an inquiry.

“The decision to take Cambridge Live back under council control was agreed with the Cambridge Live board,” Cambridge City Council chief executive Antoinette Jackson tells LIVE UK. “Our priority now is to ensure Cambridge Live has a solid platform from which to flourish, and to protect the wide-ranging arts and entertainment offering that they provide for the city.

“That is where we need to put our time and resources, and that is why the scrutiny committee that discussed the issue agreed that now was not the right time for a member inquiry.”

A report presented to the committee last June trigged a review of Cambridge Live’s finances and whether they could recover.

The process of transferring services and staff back to the council began in December and a spokesman says he hopes it will be complete by April.

The spokesman also confirmed that the £750,000 figure cannot be considered debt, as two-thirds of it relates to funding set aside and held by the council to review Cambridge Live’s business.

He adds, “That work concluded and both parties agreed that the contracted services should return back to the direct control of the council.

“The council has made an additional allocation of £250,000 to support the transition.”

SOUND CITY is returning to Liverpool, with guest speakers including BBC Introducing’s Huw Stephens and Blur’s Dave Rowntree. The conference launches on 3 May at the British Music Experience, then over the weekend at the city’s Baltic Triangle, where Sound City (cap. 25,000) takes place concurrently. Sessions include Touring the Asian Music Circuit, Women in A&R: How the Game Has Changed, and Brexit: The Realities for the Music Business.

The music festival element is headlined by Loyle Carner, Mabel and Shame.

TOUR TRUCKS should continue to operate as normal on both sides of the channel after Brexit, says the government. There have been concerns that the UK’s split with the European Union (EU) would cause problems for tour trucks and busses after 11pm on 29 March. “My intention is that access for EU hauliers will be equivalent to the access UK hauliers will have to the EU,” says roads minister Jesse Norman. A similar arrangement already covers tour busses and coaches.

A CANADIAN music entrepreneur has stepped in to save HMV from collapse, but 27 of its stores have been closed down. Vinyl records enthusiast Doug Putman, who runs retailer Sunrise Records, says he will keep 100 stores open, saving approximately 1,500 jobs. There here were 27 immediate closures, leading the 455 job losses.

Among those closed were its flagship Oxford Street shop in London. A further 122 warehouse jobs will be lost over the coming weeks.

A year of growth for Cinnamon DESPITE NO record label or PR machine promoting his work, Gerry Cinnamon’s steady rise is showing no sign of abating.

The Glaswegian released the crowd-funded Erratic Cinematic in 2017 and has extensively toured clubs and festivals since.

After selling out his first UK tour last May, which included venues such as London’s Dingwalls (cap.

500) and Nottingham’s Rock City

COVER ARTISTE

Basement (300), he secured a supporting slot on the Courteeners’ nationwide tour.

“Obviously more people are discovering him and the Courteeners tour was a great opportunity for him to play in front of lots of people,” says his agent Andy Cook at Creative Artists Agency.

“I’ve never seen a support act get the kind of reaction he did and he won over masses of new fans.”

As a result, Cinnamon announced another tour beginning in March, and stepping up to venues including Belfast’s Ulster Hall (1,850), the O2 Forum Kentish Town (2,300) in London and Birmingham’s O2 Academy (3,000).

“He’s done it all his own way and he lets his music and shows do the talking,” adds Cook.

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February 2019 • Issue 229 • www.liveuk.com

6 I news

Viagogo faces criminal case over order ‘breaches’ VIAGOGO COULD face “severe” criminal charges over allegedly breaching the court order secured against it by the Competition and Market Authority (CMA) last year.

The order required Viagogo to overhaul its business model and comply with a range of consumer protection legislation by 18 January.

However, the company did not do this, as CMA executive director of enforcement Michael Grenfell told the All Party Parliamentary Group on Ticket Abuse (APPG), at a meeting, held in Parliament on 29 January.

A CMA spokesperson reinforced “We are extremely concerned about it and will take action as Grenfell’s view, saying, “If they do not make the necesquickly as is possible – this sary changes, we will go is extremely serious and back to court to force we are building our case,” them to do so. Severe he told MPs and others penalties are available if present. they are found to be in He said he expected it to take around two weeks contempt of court.” to gather evidence of Anti-touting camthe contoversial resale paigner Adam Webb site’s breaches and that it Adam Webb of FanFair Alliance would be a criminal matter, tells LIVE UK that he with directors facing fines or even believes legal action is now the imprisonment. only option.

“Viagogo passed a strict deadline to comply with a court order and overhaul their business,” he says. “True to form, we have seen little evidence of change.

“In fact, our concerns with how this website operates have only intensified and it is now vital that the CMA act quickly and decisively to enforce the law. Viagogo has run out of road.”

Meanwhile, Viagogo has issued a statement saying the company believes it is compliant with the CMA’s court order.

Energy boost for Newcastle

WORK TO renovate parts of Bristol’s Colston Hall (cap. 1,932) has begun as part of a £48.8 million improvement programme.

The 1950s concert hall will reopen in 2020 under a new name, following a local campaign against its association with Bristol-born slave trader and philanthropist Edward Colston.

The historic venue, built in 1867, has been stripped of heritage items, such as its organ and lighting, which will be protected during the works.

“It’s quite incredible to reach this pivotal point in our project to create a world-class music venue in Bristol,” says Louise Mitchell, chief executive of Bristol Music Trust, which runs the venue.

NEWCASTLE’S 11,000-capacity Metro Radio Arena has been renamed the Utilita Arena, following the signing of a sponsorship deal with energy brand Utilita.

The Metro Radio deal began in 2004, prior to which it had been known as the Telewest Arena and Newcastle Arena.

“With successful partnership expansion and business progression this is a fantastic

advancement for the north-east,” says the arena’s general manager Ailsa Oliver.

Utilita head of brand marketing Nic Rhodes adds, “We know just how important this venue is to the north-east, so to have our name above the door is an absolute honour.”

Upcoming performances at the venue include Westlife, Rod Stewart, Kiss, Little Mix and Olly Murs.

Newsbites JESS GLYNNE, The Script and Hollywood Vampires were among acts to be honoured for their live performances in the SSE Live Awards, organised by energy company and venue sponsor SSE. Fans voted Glynne the Best Solo Artist to perform at The SSE Hydro (cap. 13,000) in Glasgow during 2018, while Shreya Ghoshal picked up the same award for The SSE Arena, Wembley (12,500) in London. The Script won Best Group for the Glasgow venue, while Hollywood Vampires’ performance at Wembley saw them take the same gong.

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news I 7

New 3,000-capacity venue for London PledgeMusic

WEST LONDON’S newest live music venue is to music events and club nights.

Thompson believes that, while some of its setting its sights on attracting concert-goers successful model will be transferred west, for more than just the act on the night.

Exhibition will not be seen as an Created by a partnership extension of Printworks. between Broadwick Venues, a divi“I think it will position itself differsion of multi-festival organiser ently, but what is similar is the abilBradwick Live, is working in partity to hold a variety of events, seven nership with Westfield London on days a week,” he says. the development, which is set to No events are confirmed at this open towards the end of the year. stage, but Thompson says there Named after its proximity to the “should be no problems booking site of the 1908 Franco-British Exhiacts” with Broadwick’s agent and bition, it will be based at the Grade Bradley Thompson promoter connections.

II-listed Dimco East building, which is currently “just a shell”, according to Broadwick Venues MD Bradley Thompson.

“It is going to be 10 months of intensive work to get the place up and running, including adding a mezzanine floor” he tells LIVE UK. “But we believe, once complete, the proximity to Westfield [in Shepherd’s Bush] and our plans will really make it stand out.

“It won’t just solely be a music venue, although obviously that’s a big part of it. There will be so much flexibility in terms of moving the stage and altering capacities.”

Broadwick Venues opened east London’s Printworks (cap. 6,000) in Canada Water in Exhibition 2017 (see LIVE UK issue 203), which plays host

suspends campaigns CROWD-FUNDING platform PledgeMusic has suspended its campaigns after admitting falling behind in payments to projects undertaken by artistes, who had raised concerns.

The suspension of all music crowd-funding campaigns had been in place for almost a week, as LIVE UK went to print.

Prior to the suspension, the Musicians’ Union had advised members to use other platforms “until such time as this situation has been resolved”.

A statement from the company says, “The situation that PledgeMusic has found itself in is unacceptable and to all of the artistes, managers, labels and fans who have put their trust in us, we are deeply sorry,” says the statement.

“All of us at the company are working around the clock to address everybody’s concerns and are hopeful of reaching a positive resolution soon.”

On a more ominous note, it says, “We are in discussions with several interested parties about a potential partnership with or acquisition of PledgeMusic. These conversations, if successful, would lead to a transaction which would allow us to meet all of our outstanding obligations.”

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February 2019 • Issue 229 • www.liveuk.com

8 I news

Forthcoming events

Henry’s returns to Birmingham

London www.tpiawards.com

AFTER A break of some 50 years, the name of Henry’s Blueshouse is returning to the Birmingham live music scene.

Established at The Crown Hotel in 1968 by Jim Simpson, the veteran agent and festival organiser is re-establishing his blues club at 200-capacity The Bulls Head next month.

The original club, branded “the first progressive music venue outside of London”

by Melody Maker magazine, hosted early shows by acts such as Status Quo, Jethro Tull, Thin Lizzy, Robert Plant and Judas Priest during its brief run.

“Henry’s Blueshouse was Jim Simpson

feb 26-27

Eat to the Beat celebrates 35 years

Feb 20 BRIT Awards London www.brits.co.uk

Feb 25 TPi Awards

Event Production Show

London www.eventproductionshow.co.uk

march 5 ILMC Production Meeting (IPM) London www.ilmc.com/ipm

MaRch 6-8 ILMC

London www.ilmc.com

April 1-13 Widedays

Edinburgh www.wideways.com

May 9 Music Week Awards London www.futureevents.uk

February 2019 • Issue 229 • www.liveuk.com

LIVE ENTERTAINMENT catering specialist Eat to the Beat is celebrating 35 years in business.

The Buckinghamshire-based company was founded by Tony Laurenson in 1984 and is now the cornerstone of his Global Infusion Group, started by working with artistes such as Iron Maiden and Joe Jackson.

Since then the company has grown to work across live music, festivals, TV and film, opening an office in the US along the way. Long-term clients include Coldplay, for whom it has provided tour ca- Tony Laurenson

monumental in Birmingham during the late 1960s,” says Simpson. “At one point, it gave us an almost weekly appearance from [Birmingham band] Black Sabbath.

“I went on to manage Sabbath through their Black Sabbath and Paranoid albums period, and 50 years later the excitement still hasn’t gone.”

Simpson’s partner in the venture is Davenports Brewery.

“People still talk, broadcast and write about those halcyon days, so when I first saw the room at The Bulls Head, I was overwhelmed by the obvious.

This has to be home to today’s Henry’s Blueshouse.”

tering for 17 years.

“I think that reaching 35 years in business is a huge milestone for any company, to know that we’ve achieved it by delivering amazing food and service levels to some of the world’s largest artistes and production teams, is pretty humbling really, says Laurenson.

“Relationships are everything in our industry and our longevity and success is testament to our wonderful team and crew both onsite and back in the office.”

Newsbites CHARITY HELP Musicians UK (HMUK) is working with the British Tinnitus Association to investigate whether there is a prevalence of the ear complaint tinnitus among musicians and others working in the live music industry. “This research partnership will allow us to study the impact of tinnitus on professional musicians and those working with them at live events,” says HMUK head of health and welfare Joe Hastings.

Special Feature From silver screen to music icon - Troxy See pages 16-21

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10 I news

Liverpool arena rebrand complete LIVERPOOL’S ECHO Arena has undergone its rebrand and is now the M&S Bank Arena, after securing a naming deal with M&S Bank.

The new partnership replaces the 11,000-capacity venue’s deal with the Liverpool Echo newspaper, but with the newspaper continuing as a key business partner.

“Last year we celebrated the arena’s 10th birthday and the next decade is going to be equally

significant as we develop the programme, working closely with M&S Bank, a major brand that shares our ambitions for establishing the venue on a truly national and international scale,” says Bob Prattey, CEO of arena owner The ACC Liverpool Group.

M&S Bank CEO Sue Fox adds, “We’re incredibly proud to be the official naming partner of Liverpool’s top venue for music, sport, comedy

M&S Bank Arena

and family entertainment and it’s a really proud moment for us to see the rebrand complete across the entire venue.”

Artistes playing the venue include Boyzone, Tears For Fears, Brit Floyd, George Ezra, Bryan Adams, The Vamps and Rita Ora.

M&S Bank Arena

Former Sheffield Arena manager dies Business as usual for THE FORMER general manager of the FlyDSA Arena (cap. 13,500), Sheffield, Rob O’Shea has died following a year-long battle with cancer.

He took over the role at the venue, then known as Sheffield Arena, in 2006 and helped to make it one of the world’s top 10 most visited arenas.

Among the most memorable concerts he put on were hometown boys Arctic Monkeys’ first arena show in Rob O’Shea 2009 and Pulp’s last concert in 2012.

O’Shea was also behind the creation of the smaller, 3,500-capacity theatre-style venue within the arena, called The Steel Hall.

“Rob was a brilliant venue manager and colleague,” says Dominic Stokes, head of SIVLive,

which operates the arena. “He was also a true maverick and innovator.

“Above all, he was my friend who I had the privilege to know and work with over the past 22 years. He touched so many lives in so many ways and will be missed by so many people.”

Previously he worked for theatre chain Apollo Leisure and in venue management at Manchester Apollo (3,500).

In July 2017, O’Shea left his position at the FlyDSA Arena to concentrate on promotions with Manifesto Events, a company he started in 2012 with Stuart Basford.

His funeral was held in Sheffield on 8 February, with O’Shea survived by wife Lisa and children Milo and Martha.

Sector Focus Clubs See pages 32-37

Goebbels and team

VETERAN INSURANCE broker Martin Goebbels and his team now operate from Miller Insurance Services in London, having all moved from broking giant Integro.

Goebbels departed Integro last year, but was required to spend three months on gardening leave.

His team of Holly Leary, Pamela Choat and Rose Burgess have all now joined him at Miller.

“Their knowledge of the music industry and insurance market will enable us to hit all the right notes with our offering to parties in the entertainment sector,” says James Hands, head of Miller’s accident and health business division.

A pioneer of live entertainment insurance, Goebbels has over 40 years’ experience as a specialist broker working with artistes, promoters, agents and events.

+44 1293 558080 fly@premieraviation.com

Over 130 music tours Quite simply, our experience counts February 2019 • Issue 229 • www.liveuk.com

news I 11

Expansion for Cardiff landmark Artistes to grace MANAGEMENT AT Cardiff venue Clwb Ifor Bach (cap. 460) has set out plans to almost double the venue’s capacity by expanding into a neighbouring building.

The move comes after the local council stepped in to acquire the derelict adjacent site, amid rumours that it might be developed into apartments, with the inherent risk of noise complaints from new residents.

“It is something we’ve always wanted to do as the building next door has been derelict for some time, but haven’t been in a position until now to explore the possibility,” Clwb Ifor Bach CEO Guto Brychan tells LIVE UK. “The catalyst came as the current leaseholder of the adjacent property submitted a planning application to build flats on the premises.”

Brychan says that, following the closure of other independent venues in Cardiff, including Buffalo Bar (see LIVE UK issue 228), the ‘Save Womanby Street’ campaign led to the deal with the council.

He says, “The building itself has been empty since the early 80s but over the last 10-15 years it has become increasingly derelict – it has no roof or floors and will need

to be demolished before we can start on the re-development.”

Brychan adds, “There is a big appetite in the city for this to happen but the feasibility study is only the very beginning of the journey.“ Council leader Councillor Huw Thomas says, “Clwb Ifor Bach began its life as home to the Welsh language in Cardiff and is now a thriving venue where many Welsh musicians and bands start their career.”

Artistes playing the venue, which opened in 1983, include Sean McGowan, Dance With The Dead, Megan Davies, The Futureheads, A Certain Ratio and Pigs Pigs Pigs Pigs Pigs Pigs Pigs.

Clwb Lfor Bach, exterior

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

the ILMC stage

IN A break from tradition, next month’s International Live Music Conference (ILMC) will feature two established artistes facing professionals from the other side of the fence.

Dua Lipa will give a keynote speech to the Futures Forum part of the event, while The Who’s frontman Roger Daltry will take the chair for the Ed Bicknell interview.

The event, which takes place between 5 and 8 March at London’s Royal Garden Hotel in Kensington, will include panels such as Ticketing: Selling out is losing out, The Venue’s Venue and Partnerships.

Among Futures Forum sessions, aimed at live industry under-30s, will be Meet The New Bosses, which features speakers United Talent Agency’s Olly Ward, Kilimanjiro Live’s Karma Bertelsen and Mike Jones from The MJR Group.

“Futures Forum is a day for all ILMC delegates, but by additionally Greg Parmley inviting 200 younger professionals along for the day, we want to build a platform that promotes and encourages that next generation of industry leaders,” says ILMC head Greg Parmley.

More than 1,000 delegates are expected to attend from over 50 countries.

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February 2019 • Issue 229 • www.liveuk.com

12 I news

Church takes live music to The Edge Awareness initiative for WIGAN’S NEWEST live music venue manager Annette Burton. “Those conmay have had a slow and steady start, certs received really good feedback from promoters, artistes and but plans are afoot to increase punters. activity in the live music “It is possible for us to put sector. on anything between 12 and As part of a church that 18 shows, spread out over still holds services, The Edge the year, and although we (cap. 1,000) may be an unconhave other commitments, we ventional music venue but can be very flexible with the has a modern interior and space, in terms of capacity. infrastructure.

“We had about 900 people “We deliberately ensured Annette Burton here to see The Stylistics in we had a bit of a slow start, with just five live music events through- October and that was really the first time out the year,” says The Edge’s commercial we were able to test our capabilities for such a big audience,” says Burton.

Shows booked this year include The Edwin Starr Band, Jasper Carrott and a variety of tribute acts.

“We have to remember that, first and foremost, this is a church building,” Burton adds.

“Whatever your reason for visiting The Edge is, we just want to make sure people leave with a positive impression of the The Edge Wigan, interior venue.”

EXPERTS IN YOUR FIELDS Part of the SARM Group

February 2019 • Issue 229 • www.liveuk.com

artistes’ mental health CHARITY HELP Musicians UK (HMUK) has teamed up with Independent Venue Week (IVW) organiser Sybil Bell to help inform venues and promoters about the mental health issues faced by some artistes.

Entitled Live Music, Help Musicians, the initiative was launched during IVW, earlier this month “With the continued growth of venues who have Sybil Bell joined the IVW family all around the country, being able to work with HMUK and our venue partners means, collectively, we can start to have a real and meaningful impact for artistes and those around them at the

For all your Backline, Riser and Production needs, contact:

venues.” Says Bell.

HMUK head of health and welfare Joe Hastings adds, “Help Musicians wants a world where performers thrive, and the foundation of many musicians’ emergence into the industry is through the grassroots music venue circuit.”

In support of the initiative, HMUK is providing each IVW participating venue nationwide with backstage “healthy venue packs”, containing ACS quality hearing protection and health and hearing safety information.

More than 200 venues took part in IVW, along with artistes such as The Specials, Public Service Broadcasting, Tim Burgess and a Leftfield DJ set.

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

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

Beautiful Days for lucky three Hard Rock calling in Glasgow STUDIO 54 Exeter has teamed-up come festival bands.

“Take opportunities like with festival Beautiful Days this to build a fanbase and (cap. 17,500) to give three become a hard ticket band.” unsigned acts the chance to Acts confirmed for the perform at the event, which event, which takes place is organised by DMF Music. between 16 and 18 August, Those who win the opinclude Ziggy Marley, The portunity to perform at the Stranglers, Sleaford Mods festival, which has helped and its co-founders, Levellaunch the live careers of Dave Farrow lers. acts such as Frank Turner, Jack Savoretti and Ben Howard, the winners will receive at free day of recording and mixing at Studio 54.

“We have had more than 1,000 applicants already,” DMF Music director Dave Farrow tells LIVE UK. “The studio has the unenviable task of whittling it down to 30 or so, before I pick the three who will fill the slots.

“It is a great chance for somebody.

Playing festivals is an important part of anyone’s development, but it is just Beautiful Days as important that bands don’t just be-

Managing Talent

EMERGING ACTS have been will give local acts a chance to invited to take part in a global win an all-expenses paid trip Battle of the Bands contest, to the US to perform at Hard hosted at the 200-capacity Rock Café in New York, $15,000 (£11,700) and performance Hard Rock Café in Glasgow.

It will offer aspiring Scottish time in front of top music inartistes the opportunity, as dustry executives.

Dentzer adds, “Hard Rock Glasgow becomes one of six cities around the globe to host Café love connecting with the music of the city and this Bata regional event.

“Glasgow is a musical city tle of the Bands competition with incredible talent and a is a great way to deepen our great buzz around all the amaz- relationship with the music of ing live venues that the city Glasgow.” has to offer,” says Heidi Dentzer, European sales manager for Hard Rock International.

“We have had some brilliant entries already and are accepting entrants until 19 February.”

The competition Hard Rock Café Glasgow ©Alice Hadden

Other emerging acts to watch: Klein, Covco, Coby Sey

Koyejo Oloko, 28

Greatest lesson learned: “Never write anyone off when it comes to performing, and trust your gut.”

KO_OL, London E: koyejo.oloko@gmail.com Your artiste roster: Moses Boyd, TTY, LA Timpa Favourite venues for seeing and/or showcasing new artistes: Corsica Studios, DIY Space, Windmill Brixton, St Pancras Old Church, all in London.

How important is it for artistes to play live: “It’s important for an artist to be able to bring their songs to life, it helps to build confidence as well as being able to test out songs and ideas, to see your fans face-to-face and connect with them. It can become a massive part of the business too, if you’re doing it right.”

Worst live experience: “It was a venue sound engineer getting fired on the spot – he was the worst, and the decision was the best. I’ve also experienced a disastrous gig, missed flight and no audience.”

Lenka Chubuklieva

Current live music projects: Moses Boyd Exodus at Brixton Academy, supporting Kamasi Wahington. Deji Okeze in Italy, TTY announcing UK shows soon.

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TT000689 - Live UK Mag Advert_64x198mm_AW.indd February 2019 • Issue 229 • www.liveuk.com

1

29/01/2019 17:31

NXT news I 15

in association with

Stage Break

Mini-fests offer spots to local acts A SERIES of 500-capacity festivals across Dorset and Hampshire are offering local emerging acts a chance to perform.

RR Promotions’ events include Alice’s Wicked Tea Party, Dark Holler and Wonky Donk, which all take place in the Purbecks, while Lymington Stomp is staged in Hampshire.

“We are always looking for local talent to take part in the festivals – of course,

we want people to have a nice time, but we also want to give musicians a chance of exposure,” says RR’s marketing manager Nicole Riley.

“Every festival is different so there are no real criteria, we even bring across bands from abroad to play.”

In addition, RR runs a monthly acoustic session at Shapwick Church (100 ) in Blandford Forum to help raise funds for its refurbishment.

Roll-up for The Great Escape “It has grown so much since our first ANY ESTABLISHED band or singer will one back in 2006,” general likely have performed at The manager Lyndsey Boggis tells Great Escape showcase festiLIVE UK. “We work with around val Brighton, at least once 100 partners and that can inCelebrating its 14th year of volve anybody from promoters giving unsigned or untapped and agents to record labels. talent the opportunity to “We have just announced play to industry figures and our first 100 acts, which are public alike, this year’s event compiled from tip-offs, as well incorporates 60 venues with Lyndsey Boggis as visiting lots of countries to capacities ranging from 60 at The Prince Albert to the Brighton Dome find global talent – one example in Pongo from Portugal, who I’m very excited (cap. 1,800). about.

This year’s event takes place between 8 and 11 May, with acts confirmed including AJ Tracey, Kara Marni and Lewis Capaldi.

Boggis adds, “There are so many great acts coming through all the time. I’m looking forward to AJ Tracey, that will be very exciting, as well as Zuzu, from Liverpool, who just supported Courteeners, Brighton Dome alongside Gerry Cinnamon.”

West End Centre

West End Centre Queens Road, Aldershot, Hampshire.

GU11 3JD Bookings: Barney Jeavons T: 020 7561 0815 Barney Jeavons

E: info@nambucca.co.uk

W: barney.jeavons@hampshireculturaltrust.org.uk Capacity: 200, plus 130 for acoustic acts PA/lights: Yes Dressing rooms: One Booking policy: Up to seven nights a week, from metal to folk Best unsigned/emerging acts currently playing the venue: Bellevue Days, ARK, Holy Moly and the Crackers, Drug Store Romeos, Parachute For Gordo, El Moono, Annabel Allum, Thom Ashworth, Hollow Hands.

The best advice you can give the manager of unsigned/ emerging artistes: “Look after your artiste. Sounds obvious but far too few do.”

Better known acts who’ve played the venue: Stone Roses, Blur, Biffy Clyro, The 1975, PJ Harvey, Foals, Frank Turner, Nadine Shah, Mallory Knox, Black Peaks.

WATFORD

/WatfordColosseum

@WFordColosseum

CAPACITIES Standing Gigs

2,429

Fully Seated

1,268

Club & Party Nights

1,200

PREVIOUS PERFORMERS INCLUDE

Paul Weller, One Direction, Russell Brand, Professor Green, Sarah Millican,

watfordcolosseum.co.uk |

Jools Holland, Elton John and many MORE

CONTACT Jo Ditch Venue Director by calling 01923 474100

February 2019 • Issue 229 • www.liveuk.com

16 I SPECIAL FEATURE

From silver screen to music icon

New Order at Troxy

From cinema to opera house and then bingo, east London’s Troxy took a circuitous route to becoming a unique contemporary music landmark, chosen for shows in the capital by Robbie Williams, New Order and Morrissey. Christopher Barrett reports

O Myles Wynne-Pedder

ver the years, all 85 of them, east London’s now 3,050-capacity Troxy has hosted countless landmark appearances, ranging from Vera Lynn, Clarke Gable and Gracie Fields to a diverse array of contemporary acts such as New Order, Kano, Morrissey, Robbie Williams and Biffy Clyro.

Respecting its heritage while also being very much focussed on the future, the venue’s operators, led by general manager Tom Sutton-Roberts, have trodden a fine line to ensure it balances the best of the old and new.

For example, not only is Troxy home to Europe’s largest Wurlitzer pipe organ but last year it became the first UK venue to install a state-of-the-art JBL VTX-A12 linearray PA system.

The Grade II-listed, artdeco

February 2019 • Issue 229 • www.liveuk.com

building, located on on Commercial Road in Stepney, is steeped in history.

Built on the site of a former brewery at a cost of £250,000 (equivalent to £14 million today), the Troxy’s then capacity of 3,520 made it the biggest cinema in the country, when it opened in 1933.

The first film screened was King Kong, and the Troxy remained a cinema until 1960, when it closed with a showing of The Siege of Sydney Street.

The late 1960s saw the building occupied by the Royal Opera House, which used an extended stage, the exact same size as the Royal Opera House stage in Covent Garden, to conduct rehearsals.

In 1991 the building began to host less sophisticated activity after Top Rank converted it in to a bingo hall.

In 2005 Ashburn Estates, Troxy’s current owner, acquired the building and set

about transforming it into a live performance space. On the 29 November 2008, its doors re-opened with a concert by Nick Cave & the Bad Seeds.

Creative opportunities

Troxy offers two standard concert formats – an all-downstairs standing 3,050 configuration or 1,895 fully seated, with various options in between.

“We understand not every production is the same and actively encourage promoters to think outside the box and do something different,” says Troxy business development manager Simon Eaton.

“At the end of the day we want to make the events the most memorable they can be for customers. There is very little we say no to here, providing our licence allows it.”

Eaton says the fact the venue is

SPECIAL FEATURE I 17

The Flaming Lips at Troxy

Tom Baker

independently owned enables its management to negotiate on a deal-by-deal bases and find ways to ensure it is a financially attractive option for artistes and promoters.

“Being independent means we can do deals that other venue operators cannot, which works to our advantage. We broker individual deals, on things like merchandise, so they can make more money,” he says.

He has also found artistes appreciate the fact the building is not overtly associated with major brands.

“It is one of the few remaining fully independent venues left in the capital that hasn’t been swallowed-up under

the O2 umbrella or become plastered in branding,” he says.

Other advantages of being independent, according to Eaton, is that the venue’s management has the pouring rights for the bars, and so can react to beverage trends and demands.

“We can carry out guerilla marketing, bring in brands for individual events, we can do whatever we like because the final decisions rest with us,” he says. “We want to be different, many venues these days are very similar to each other but we don’t want to be an identikit venue.

“When you come to a show at the Troxy it is always an experience — it is much more than just coming to a gig.”

Rob Waller at Soundcrash has been promoting shows at the Troxy for half a dozen years, they include Flying Lotus, Bonobo, Roots Manuva and Mos Def. “Troxy is a pretty unique venue, with a great sense of history, so people love playing there,” he says. “Fans also seem to love being there, it always feels like a party as well as a gig, there’s always lots of energy in the room — it’s an exciting place to play.”

Eliminating touts

Troxy underwent two landmark changes last year – a partnership with digital ticketing service DICE and the installation of the high-end sound system.

Launched in 2014, mobile app

Congratulations Troxy on 85 years of amazing events

working alongside Troxy providing special effects and pyrotechnics www.forcefx.co.uk | 01444 487 500 | info@forcefx.co.uk February 2019 • Issue 229 • www.liveuk.com

18 I SPECIAL FEATURE

Biffy Clyro at Troxy

DICE enables tickets to be securely stored on a purchaser’s phone, from which they can be prevented from being transferred. The app makes unauthorised ticket resale impossible.

DICE was chosen as the venue’s primary ticketing provider in an attempt to prevent touts reselling tickets at inflated priced on the secondary market.

“The change has officially made us the world’s

biggest mobile-first venue, which is quite an accolade,” says Eaton. “DICE is completely tout proof, which is the main reason we wanted to go with it.

“So often we used to see people turn-up at shows with tickets they had purchased on the secondary market, often they were fake or duplicated. Now we have zero issues like that.”

DICE chief revenue officer Russ Tannen says

the December show by K-Pop act B.A.P. at the Troxy was a great example of the robustness of the company’s anti-tout technology.

“There was huge demand, but there were no tickets on the secondary market,” he says.

The venue’s other first last year was the installation of to install a JBL sound system and Eaton says he is delighted with the result.

“We’re very excited about how it’s changed our sound quality,” he says. “We have had great feedback from artistes and the idea was to make it a lot easier for them to come here,” he says.

“It is a cutting-edge, plug-in-and-play PA, so there is no need for acts to bring anything with them. It is a monster of a system, the music in the venue has never sounded so good.”

Among acts to have played the venue in recent months are Fever Ray, Black Coffee, Belle & Sebastian, Thee Oh Sees, Animal Collective, The Dresden Dolls, Beach House and Rick Ross.

Paul Hutton, of Crosstown Concerts, has been promoting shows at the venue for the past decade, with acts including Nick Cave, Patti Smith, Babyshambles and Kano.

“Troxy is a really good venue and really well maintained, and the production facilities have been improved a lot since we starting using it,” he says.

“Bands can earn well out of a show at Troxy and so are eager to play there. It is well established on the ladder after the O2 Shepherds Bush Empire

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SPECIAL FEATURE I 19

Interior of Troxy facing the stage

[2,000] and O2 Forum Kentish Town [2,350], from there it is either the Roundhouse [3,000] or the Troxy.”

Closer than you think

While the Roundhouse is almost directly opposite a tube station, Troxy has no such luxury.

But Hutton says the venue’s proximity to the Docklands Light Railway (DLR) station at

Limehouse means it is easily reachable for savvy music fans.

“The transport situation used to be a challenge,” admits Eaton. “Our mantra used to be ‘Troxy is not as far away as you think’, but these days east London is growing remarkably quickly and we are not as far from the centre of London as The O2 or Alexandra Palace.

“We are a three minute walk from Limehouse

DLR, a six minute walk from Shadwell DLR and a 10 minute walk from Aldgate East tube station, which is only three minutes on the tube from Bank.”

With roads on either side of the venue and load-in achieved via a quiet back street, Eaton says Troxy is also easily accessible for production teams.

“We have a good relationship with the local council and can shut down the roads if needed, as there are not too many local residents,” he says. “We have a load-in bay at the back with a flat floor so you can load straight in and on to the stage.”

Backstage facilities include seven dressing rooms, two shower rooms, a catering block and production offices.

Since 2014, Troxy has regularly hosted Sink The Pink, one of the biggest LGBTQ club nights.

Among the acts to perform there have been Jessie Ware, Melanie C, Rosin Murphy and Lily Allen.

The club is run by East Creative, whose cofounder Jamie Tagg says Troxy’s large stage and easy road access means it is perfect for big sets.

“Our events are very production heavy and Troxy is built for that,” he says. “The venue’s team is brilliant, they understand the stress of putting on big events so make everything as easy as possible.”

Eaton says Troxy is often used by artistes

Intelligence Intelligent led security solutions crime reduction for live live events at events

February 2019 • Issue 229 • www.liveuk.com

20 I SPECIAL FEATURE

Troxy, exterior

Jamie Tagg

Simon Eaton

Paul Hutton

who want to play multiple, more intimate, London shows rather than a single night at a larger venue such as Hammersmith’s Eventim Apollo (5,300) or the O2 Brixton Academy (4,921). He gives Beach House and Belle & Sebastian as recent examples.

“All those venues are brilliant and renowned, but at Troxy we try and offer the band and the fans something different, something a lot more memorable.”

Promoter Tom Baker of Eat Your Own Ears has used Troxy on many occasions, with acts including Animal Collective, The Horrors, Beach House, Fever Ray and Anna Calvi.

“It is a hidden gem that is arguably in the middle of nowhere, but a lot of people live in East London, it is not hard to get to, and there are some great pubs and restaurants nearby,” he says.

“We did two nights of Beach House there. They didn’t want to do Brixton Academy and we could have done two Roundhouse shows, but they wanted to do something a bit more unusual and off the beaten track.

“It was the same with The Horrors, they wanted a venue with a uniqueness about it and Troxy has a real charm. The band knew their fans would make the effort to go to a venue that is different and special.”

Sink The Pink at Troxy

What others say Russ Tannen, chief revenue officer, DICE “The diversity of events at Troxy is amazing. You’ve got massive hip-hop acts such as Rick Ross and The Game, breaking K-Pop band B.A.P. and some wild nights from the team at Sink The Pink. There really is something for everyone, and in such a unique art deco space. We love it.”

Reg Walker, operations director, The Iridium Consultancy “We have been providing security at Troxy for the last three years. It is an incredibly important venue for us to have on our portfolio, and a truly amazing space to work in. There really is no other venue like it.”

Kevin Thorborn, director, Mojo Barriers “We have been working with the team at Troxy since it reopened. It’s a lovely environment to work in and the team are great to work with. They work their socks off, the amount and variety of events they host is amazing.”

Nathan Stone, creative director, The MJR Group “I first tried using Troxy as a one-off for a stand-up show that didn’t need a West End theatre. The first show sold-out within a day and we added a further two nights. We have built a great working relationship with Simon and the team.”

Haydn Cruickshank, MD, Colour Sound Experiment “We have worked with Troxy as a lighting, video and rigging supplier for about 10 years. We have really enjoyed being able to help them realise their incoming productions’ dreams, no matter how unrealistic.”

James Baxter, director Force FX “We’ve done all sorts of events at Troxy, from boxing and bands to corporate nights. I honestly can’t think of another venue in London that offers the same quality, atmosphere and flexibility of space. It’s a unique venue that everyone should be proud of and it more than deserves it’s continued success.”

We will help revolutionize your business.

February 2019 • Issue 229 • www.liveuk.com

22 I city limits

Aberdeen

A new £333 million arena looks set to considerably reinvigorate live music in the city and across Scotland, while venues at all levels are buzzing with emerging local acts and touring artistes.

Allan Glen talks to the promoters and venue operators who are making the granite city rock.

I

Ross Calder

t may be more than 500 miles from London and a near three-hour drive from Glasgow and Edinburgh, but Aberdeen continues to defy geographical limitations when it comes to attracting touring acts.

From producing early 80s indie hopefuls The Jasmine Minks to international artistes such as Annie Lennox and Emeli Sandé – not forgetting giving a helping hand to emerging acts such as Vanspeep, Angry Man Car Park, The Capollos and Black Tiles – the city has earned its place as an important destination for acts at all levels.

“There is a healthy appetite for live music here,” says Steven Milne, cultural programme manager at Aberdeen Performing Arts (APA), which runs The Lemon Tree (cap. 550/166) and The Music Hall (1,500).

“Our venues and others in the city do

February 2019 • Issue 229 • www.liveuk.com

a cracking job of convincing bands and artistes to make the journey to Aberdeen.

“People consider us to be off the beaten track, which is true to some extent, but there is a switched-on audience here who will heartily support touring acts.”

This is a view backed up by Ross Calder, entertainment manager at The Tunnels (300) and Café Drummond (300).

“While being quite far north can be a negative, we can turn that around and give touring bands a great experience playing to a crowd that is outwith the usual central belt of Glasgow and Edinburgh,” says Calder, who also runs Aberdeen Gig Promotions (AGP).

But first the big news in Aberdeen is undoubtedly the opening later this year of The Event Complex Aberdeen (TECA), a £333 million, 12,500-capacity arena, which is due to replace the Aberdeen Exhibition

and Conference Centre (AECC, 8,500).

“The new venue will allow the North East to experience new content in worldclass facilities, while the increased capacity means that we can attract bigger acts and productions to the arena,” says AECC and TECA head of entertainment Louise Stewart.

“The location is perfect for tours to kick-off at the top of the UK with production days and rehearsals, and then move down the country. Also, the customer experience from start to finish will be on a different level, while the VIP experience ranges from private hospitality suites to a high-end restaurant and a VIP lounge with beautiful views of the main piazza.”

The AECC is set to close in July, with the new arena opening in September,.

“The current venue is now 34 years old and in the good old days it attracted some

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

limits I 23

(£35, AEG Presents).

“AECC has been a great venue and we will cherish the memories,” says Stewart.

“However, we very much look forward to welcoming more fans and acts to the new venue from September.”

As for the market across the city, Stewart says there is a vibrant musical community.

“There’s definitely something for everyone in Aberdeen,” she adds. “From cosy little pubs, clubs, historic halls, theatre and the arena no matter what your taste is, you’ll find something to enjoy. The compact city centre has a really good vibe, coupled with a large student population, which creates a strong demand for entertainment content.”

Fruitful endeavours

TECA Arena

of the best live touring acts in the business, with visits from Bob Dylan, James Brown, Shirley Bassey, Tom Jones, Take That, AC/DC, Blondie, Pink, Muse, Duran Duran and Oasis to name just a few,,” says Stewart.

Among the acts playing the venue these days are Rod Stewart, promoted by Cuffe and Taylor, with tickets from £55, Little Mix

(£42.50), Olly Murs (£39.50), Gary Barlow (£35), The X-Factor Live Tour (£23.50) – all SJM Concerts-promoted – Kasabian (£45), Biffy Clyro (£38.50) – both DF Concerts; Iron Maiden (£52, Live Nation Entertainment); Stereophonics (£44.50), The Proclaimers (£32.50) – both Regular Music, Peter Gabriel (£45, Kilimanjaro Live), Elton John (£40, Marshal Arts) and The Vamps

With its two venues, APA is also integral to live music in the city.

The Lemon Tree has a licence to be open seven days a week, and also operates as a box office six days a week, while The Music Hall reopened in December last year, with thousands of people attending the opening weekend.

On average, The Lemon Tree hosts around three to five events a week in the peak season, with a quieter summer period and winter, says Steven Milne, APA Cultural Programme Manager.

“The two spaces within The Lemon Tree, The Studio and Lounge, both do very different things, and we often have shows in both spaces running concurrently,” he adds.

“We always want to improve and keep doing what we do well so inside the space we have been making small changes to its interior and its backstage facilities.

“This is mainly thanks to a group of staff within the company who have been working collectively across departments to gauge what we can do to improve the space for both visiting artistes as

EVENTS IN ARE

Louise Stewart

SCOTLAND CHANGING February 2019 • Issue 229 • www.liveuk.com

24 I city limits

Steven Milne

well as the customers.”

In addition to the quality of the PA and room’s atmosphere, Milne believes the support visiting acts get from the audiences in Aberdeen is one of the main reasons artistes return to the venue.

“It’s a nice city with plenty to offer acts and the crowds who attend are often very avid fans of the artistes and make them feel welcome,” he adds.

Acts playing the venue include From The Jam, Stiff Little Fingers, Blue Rose Code, Midge Ure, Kathryn Joseph, Cancer Bats, The Orb (all Synergy Concerts), Beans on Toast, We Were Promised Jetpacks, Emily Smith, Paul Draper, Fatherson, The Snuts (all DF Concerts), Aidan Moffat and Tidelines (Beyond Promotions).

Although recently closed for a £7m refurbishment, The Music Hall is now fully operational, recently hosting Texas – an in-house promotion.

“I think both ourselves and the public are delighted to have the venue back as it’s a building that means a lot to the local people,” says Milne. “Similarly, the response from agents, promoters and bookers has been overwhelmingly positive.

“The venue’s absence has been clearly

The The Welly, Music exterior Hall, interior

missed when plotting Scottish tours so we expect to see a massive increase in touring bands coming back to the city to play the Music Hall.

Hopefully that means more activity in the city centre and more people coming spending money within local businesses, while perhaps also the next generation will be inspired by seeing their favourite acts in the venue, to form their own acts, too.”

With its seven-days-a-week licence, in peak periods the venue has a show every night.

“The summer is quieter due to festivals and holidays, but the autumn more than makes up for it,” he says.

Artistes playing the venue include KT Tunstall, Embrace (both DF), Papa Roach (Triple G), The DMA’s (PCL Presents), Collabro and Peter Andre (SJM).

The Tivoli is now a significant public attraction located in the heart of historic Aberdeen, with good transport links, and adjacent to the Union Square retail centre.

529 seats over 3 levels, the Stalls, Dress Circle and Upper Circle.

The Tivoli Theatre 34 – 48 Guild Street | Aberdeen AB11 6NB TEL: 01224 592755 EMAIL: info@thetivolitheatre.com February 2019 • Issue 229 • www.liveuk.com

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

The Tivoli Theatre, interior

Light at the end

Over at the Tunnels and Drummonds, business remains healthy with the former hosting 120 shows a year, and the latter approximately 150 per year.

“Both venues are well-equipped for great live shows, while as a venue we aim to treat the bands well, give them a new and big crowd to play to and hopefully that will encourage them to come back,” says Ross Calder.

Acts playing The Tunnels include Slaves, As It Is, Ruts DC (all DF), The Ninth Wave, Retro Video Club, Catholic Action, Malcolm Middleton, Estrons, Vukovi, Elephant Sessions, Holy Moly & The Crackers (all AGP), The Howl and The Hum, October Drift, Declan Welsh & The Decadent West, Neon Waltz, Luke Sitah-Singh and Slow Readers Club (all Beyond).

As for the general state of the market, Calder says the city remains vibrant, with

limits I 25

lots to offer artistes at every stage of their career, as well as producing a community that inspires emerging acts.

“I genuinely feel that it’s a very positive time for Aberdeen,” he adds. “We are seeing bands visiting us up here far more frequently now, whether that be on early tours for newer bands or the more established artistes,” he adds.

This is borne out through experience, too. “Personally I’ve seen a huge difference in turn-outs for newer bands, which can only encourage them to keep coming back.

“In the past I think we had maybe lacked enough quality coming through in Aberdeen, but I feel there’s a really good bunch of exciting new acts coming through at the minute. Hopefully they will continue to develop, which in turn will inspire more bands to get out there.”

As for AGP, Calder says the company is promotes around 40 shows a year in the city.

“I think it’s actually doing pretty well at the moment,” he says. “I’ve found that more bands want to come to play for us and, in turn, there seems to be more people coming out to see them.

February 2019 • Issue 229 • www.liveuk.com

26 I city limits

“Last year was a very positive one for us, with crowds up by quite a bit. There seems to be a community feel about things again.”

As Aberdeen’s oldest theatre, The Tivoli occupies a special place in the city, hosting everything from cover bands, such as Just Beatles (self-promotion) and The King IS Back (MLM Concerts), to Ralph McTell (Leola Music). It also plays host to returning punk heroes such as Richard Jobson of The Skids (AGMP).

“The auditorium is set over three levels – stalls, dress circle and upper circle – offering an intimate atmosphere and excellent acoustics,” says sales and marketing manager Christina Camillo. “We provide friendly staff, an in-house technician and full marketing support and advice.”

“We have a small but dedicated team that makes performers and promoters feel welcome and comfortable,” she adds.

The theatre has also recently been upgraded. “In the last year we have improved all our dressing rooms, while infloor heating has been installed. Also, we have improved our green room, making it more comfortable for performers, added

Christina Camillo

His Majesty’s Theatre

dressing room toilets and are continuing to upgrade our technical equipment.”

Independents day

Also looking forward to a busy secondhalf of the year is Mike Tyers of Interesting Music Promotions, whose acts at The Tunnels include A Mote of Dust, while he has also promoted Kathryn Joseph several times at the venue, together with acts such as Sacred Paws, The Lovely Eggs and Katie Elies.

“A Mote of Dust returns for his third solo outing with us,” says Tyers. “This will be the last time and his farewell tour has four German dates, Aberdeen and finally Glasgow, so it’s an honour for IMP to be hosting him again. His live solo shows are completely sublime and the stuff of legend.”

“For now, we are working on other quality shows in Aberdeen, so summer/ autumn 2019 will be exciting with a wide genre of eclectic music.”

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ABERDEEN’S NEW STORY IS BEING WRITTEN AND OUR EXCITING VENUE IS AT THE HEART OF IT. Aberdeen’s new £333 million state of the art venue, The Event Complex Aberdeen (TECA), opens this summer.

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I 29

Production news Newsbites GLOBAL ENTERTAINMENT technology manufacturer Harman Professional Solutions has appointed Exertis as its new distributor in the UK. Exertis will now supply Harman products including AKG, JBL Professional and Martin

by Harman, used by artistes including Cliff Richard and Foo Fighters. “We are confident that with Exertis’ vision and high level of expertise, we can significantly enhance our market reach,” says Harman’s Richard Hutchinson.

THE PROLIGHT Concepts Group (PCG) has expanded its eLumen8 MP Fresnel range with two new fixtures, the MP 120 WW and the MP 15 DTW, the first which produces a manually adjustable soft-edged beam, the second promising a “dim-to-warm” technology emulating a traditional amber halogen lamp. “The new fixtures feature robust all-metal chasis and provide a superb output and whisper-quiet operation,” says PCG MD Andrew Jeffery. PCG clients have include The Time Frequency and Watchet Live (cap 4,000).

ELECTRO-VOICE has launched a new UHF wireless microphone system, the RE3, capable of handling a “wide range” of performance applications.

Sets contain a receiver with antennas, universal power supply rack mount kit, transmitter, batteries and an input device. The range also contains accessories to help create multi-channel systems and promises simple, fast wireless operation. Artistes using Electro-Voice products include Paloma Faith and Dallas Smith.

K1 uplift for Ezra at Wembley WITH VENUES ranging from small clubs to concert halls and arenas, George Ezra needed an audio system that delivered clarity, while also being easily scalable, says PA

Adlib at work with George Ezra

systems engineer James Coghlan of Adlib.

The Liverpool-based company worked with Stylus Productions and Ezra’s front-of-house (FOH) engineer Mike Timm to supply an L-Acoustics K2 system for dates including Glasgow’s Barrowland (cap.

2,100), Liverpool’s Mountford Hall (2,300) and The SSE Arena, Wembley (12,500) in London.

“The L-Acoustics K2 was Mike’s choice of PA,” says Coghlan. “It was the ideal speaker to deliver the sound, attitude and clarity

that he wanted in the various different venues.”

The standard PA configuration, the main hangs were K2 supported with L-Acoustics’ KARA side arrays.

At Wembley, Adlib used L-Acoustics K1 arrays - 12 per side with four KARA downfills - as the main hangs, while the touring K2 was used for the sides.

“L-Acoustics provided a rich, warm sound for the range and dynamics of Ezra’s vocals and the diversity of the performance,” says Coghlan.

MLA keeps peace with Worlds COMPETING WITH a three-tonne Martian fighting machine firing real flames, the sound system for War of the Worlds’ 40th anniversary tour had to deliver clearly audible narration to every seat in the house, as well as multiple music audio challenges, says Simon Honywill, frontof-house (FOH) engineer.

The production, featuring Newton Faulkner in one role, backed by a 36-piece orchestra and nine-piece band, and played venues including The O2 (cap. 21,000) in London, Newcastle’s newly-renamed Utilita Arena (11,000, formerly called Metro Radio Arena) and the Motorpoint Arena (10,000) in Nottingham.

Honywill selected an MLA system by manufacturer Martin Audio for the shows, provided by rental company

RG Jones. “I couldn’t do this show with any other PA,” he says. “One of the crucial elements is the narration: if the intelligibility is compromised, people complain, as it’s an iconic part of the production. On top of that MLA just sounds awesome.”

In some arenas the glazed frontages of VIP boxes generates unwanted sound reflection.

“For tunately, we can mitigate it by using the Hard Avoid setting [in the Martin Audio Display software],” says War of the Worlds

Honywill. “In Nottingham Arena, for instance, it enabled us to focus the acoustic energy effectively and reduce unwanted reflections for a large portion of the audience. It’s an absolutely invaluable technology.”

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February 2019 • Issue 229 • www.liveuk.com

30 I

Production news

V for You versatility Mavericks behind Jubilee tour

Colour Sound at work with You Me At Six

PERFORMING TWO different sets on their latest tour, You Me at Six asked designers Jamie Thompson and Dave Cohen to create something epic, memorable and cost effective.

The show had to alternate between a set comprising the band’s debut LP, Take Off Your Colours, now 10 years old, and one made up of its latest LP VI plus previous four other albums – 38 songs in total, each requiring its own look and style.

Using the Roman numerals VI (six) as a visual starting point, they asked West London-based Colour Sound Experiment to populate a set comprising V shapes.

Working with Thompson’s production company MIRRAD, the designers conceived multi-layered V-shaped risers fronted with LED video panels, in front of four tall video screens in portrait format, at venues including Birmingham’s O2 Academy (3,000), Manchester’s Victoria Warehouse (4,200), and London’s O2 Academy Brixton (4,900). Colour Sound’s BT-20 LED screen was selected for these main screens, while the riser fronts were clad in BT-12.

“They are an energetic band, so we wanted to offer them lots of layers and levels to jump and run around on during the performance,” says Thompson.

Three trusses formed the basis of the overhead lighting rig – front, back and mid for the largest configurations of the design – plus two diagonal runs of trussing used to fly the four portrait video screens. Fixtures included 20 Robe Pointes, ProLights Diamond 7 LED washes, Robe BMFL Spots, primarily for key lighting, and Robe LEDWash 600s for additional and supporting washes. SGM P7s doubled as strobes and LED floods.

“Jamie and Dave needed to make the kit go as far as possible to ensure the band could get their two distinctive but equally good-looking shows,” says Colour Sound’s Haydn Cruikshank.

lighting rigging video structures

finelinelighting.com February 2019 • Issue 229 • www.liveuk.com

TOM ODELL made just one request of his lighting designer Joe Beardsmore - that he incorporate a red drape backdrop into the design.

By using a double-sided drape, cream on the other side, he was able to respect Odell’s request while varying the look of the Jubilee Road tour visiting venues including London’s Eventim Apollo (cap. 4,050), Newcastle’s City Hall (2,150) and The Telegraph Building (1,200) in Belfast.

“Using rotating double-sided drapes and kabuki drop let me have the plush red backdrop Tom wants, plus a clean canvas for other songs,” says Beardsmore. He deployed a range of Maverick and Ovation fixtures by manufacturer CHAUVET Professional anchored by 12 Maverick MK2 Spot, six Maverick MK3 Wash and eight Maverick MK2 Wash fixtures, along with six Ovation E-910FC and

six Ovation E-930VW ellipsoidals.

The MK3 Wash and MK2 Spot fixtures in the rig were rigged on three pre-rig truss structures with four spots on top and two washes below them. At the start of the show, the structures were hidden behind the red drapery. About two-thirds of the way through the performance, the red drape kabuki dropped, revealing the fixtures and a white cyclorama to create a “striking” theatrical moment. From then on, the Mavericks provided backlighting and uplighting.

“I was impressed with the great zoom range and brightness from the MK2 Wash, especially given that it is a small discreet fixture,” says Beardsmore. “We barely use them above 30 per cent intensity, but it’s great to have more output available on a fader when needed.”

Years and Years flow seamlessly SYNTH-BASED duo Years and Years required a flexible video package capable of upscaling from theatres to arenas as they toured their Palo Santo LP, according to Jay Mobbs-Beal of Universal Pixels.

Working with production design business Cassius Creative, the company produced and supplied both the screens and image magnification (IMAG) element of the show.

“The upstage screen is standard and quick to build in touring frames,” says Mobbs-Beal. “Incorporated into the set, it stayed there for the duration of the tour. We achieved this thanks to the pre-tour planning with the vendor, All Access Staging and Productions.”

He supplied a ROE CB5 screen and bespoke Leyard CLM 6mm LED stage panels, for shows at the O2 Apollo Manchester (cap. 3,500) and Arena Birmingham

(15,800), while the system was increased to 195 square metres of CB5 for The O2 (21,000) in London.

“The CLM6 is hi-res, bright and significantly lighter than any comparable product currently available,” he says. “Additionally it now benefits from Colorlight processing.

The result is a big improvement in picture quality.”

Universal Pixel’s IMAG system comprised Barco UDX 30k projectors, two Hitachi 1200E cameras, three Agile ARC 360 PTZ cameras and three UP Block Mini Cams.

Universal Pixels ran Disguise Solo media servers.

Cassius Creative’s Chris Swain says, “Communication in the pre-production period was a key factor, allowing the work flow between Universal Pixels and ourselves to be seamless. Addressing the obstacles at that stage meant the show was easy.”

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32 I SECTOR FOCUS

Stairways to he

Oslo, London

As that global gathering of promoters, venue operators and agent – the International Live Music Conference, reconvenes in London next month, many of the country’s multi-venue operators will be present, espousing the artiste development benefits offered by their respective networks. Allan Glen reports

I Graham Walters

f anyone needed proof of the health of the live music sector, from grassroots upwards through clubs to the 2,000-capacity level, then the success of multi-venue operators would be a good example.

Several networks serve the country and most have stand-alone promoting divisions too, which helps to drive more business through, often picking up the acts that established national promoters haven’t secured.

While Live Nation Entertainmentowned Academy Music Group (AMG) is clearly the largest with 19 venues, DHP Family, The MJR Group, VMS Live and Mission Mars have impressive portfolios.

Using IDLES as an example, one industry figure sums up the important role multi-venue operators play.

“It was a joy to watch them begin

February 2019 • Issue 229 • www.liveuk.com

their journey at a small, intimate show in Bodega [cap. 220] in Nottingham, break ground in London at The Garage [600], then be part of their crescendo of the year - a sold-out show at Rock City [2,450], back in Nottingham” says Michele Phillips, area manager of DHP Family, which owns all three venues.

It is that infrastructure and the constant exchange of information between staff and programmers, which often create opportunities for growth in other towns or cities. Otherwise, the agent would have to tackle each one individually, although that still happens alongside.

AMG’s estate includes its flagship O2 Academy Brixton (4,921) in London, Manchester’s O2 Victoria Warehouse (3,500) and O2 Academy venues in Birmingham (3,009), Glasgow (2,550) and Newcastle (2,000), with most having

at least one smaller room for emerging artistes.

“We have a very strong track record of supporting many artistes throughout their careers, particularly due to the fact we also have a network of smaller rooms within our larger sites, so many artistes have played our smaller stages before they return to play our main rooms,” says AMG chief operations officer Graham Walters.

He cites Blossoms, Pale Waves, Arctic Monkeys, Foals, Bastille, Two Door Cinema Club, Wombats, Biffy Clyro and Rag’n’bone Man. Also helped along the way has been the new breed and trend of UK rap acts such as AJ Tracey, Dave, Lotto Boyz, Mist and Stormzy, who all played smaller O2 rooms in London or Birmingham before moving onto larger AMG venues.

SECTOR FOCUS I 33

eaven

Rock City, Nottingham

The Garage, London

“We pride ourselves on quality of service, standard of production, marketing and PR support,” says Walters. “The ticketing and in-house services we offer makes us unique, as does our year-round multimillion-pound investment programme into our venues.

“We’ve invested in new PA systems in London, Bristol, Newcastle and Glasgow in the last year, alone with additional lighting upgrades across the venue estate.”

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Talent spotting is a concept very much ingrained within the culture of AMG, with venue managers and local promoters always on the lookout for the next big thing. Walters says the tell-tale signs of a potentially successful act emerge today from various sources.

“You can usually tell from the industry buzz around an artiste as well as the fan reaction,” says Walters. “Also, a lot of it you see from the ability of these artistes

to sell-out smaller rooms very quickly, of course.”

Often the largest mid-range venue in a city, including in key markets such as London, Birmingham and Manchester, AMG has a particularly important role to play in the development of emerging acts.

According to Walters, music has never been more varied as it is right now, so the scene, musical styles and trends evolve so much faster than they used to.

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February 2019 • Issue 229 • www.liveuk.com

34 I SECTOR FOCUS

Albert Hall, Manchester

“That’s partly down to streaming, digital services and social media and for that reason we’re also now seeing bands progressing from our smaller stages to our much larger venues far more quickly than they would have, say, 10-20 years ago,” he adds.

“These artistes, who may only have their debut album, or sometimes even no album at all behind them, often have a confident team around them to market them, so with our support they can progress to bigger stages and venues, especially after the festival season.”

Rock city roll-out

Founded on the success of Nottingham’s longestablished Rock City, DHP Family has built a multi-venue portfolio alongside being a national promoter and multi-festival organiser, with the divisions helping each other and feeding artistes through.

DHP venues include London’s The Borderline (275), Oslo (500), The Garage (600) and Thousand Island (150), Bristol’s Thekla (400), and Nottingham’s Stealth (220), Rescue Rooms (450) and The Bodega.

“A current theme that all our venues have experienced over the last couple of years is that our customers expect more than a disco ball, warm beer and sticky floors,” she says. “Last year we continued to add to our extensive product ranges, including alcohol/gluten-free drinks in our bars.

“We also actively work with our technical suppliers to make sure we are ahead of the curve for both live and club experience.”

For Adam Popple, general manager of The Garage, recent highlights include a show by Jack White.

“He was doing a run of three small venues in different locations around the world and chose to do his UK show at The Garage, in front of a packed-out crowd,” says Popple.

February 2019 • Issue 229 • www.liveuk.com

Flexible programmes

Overall, The MJR Group’s five venues have held more than 800 shows, selling in excess of 400,000 tickets.

They comprise The Assembly (1,000) in Leamington Spa, The Mill (1,200) in Birmingham, Cardiff’s Tramshed (1,200) and The Globe (350) and Plug (1,100, 400) in Sheffield.

“The Mill and Digbeth Arena sit opposite Birmingham’s cultural quarter, with The Mill offering two rooms to move between, while it has exposed beams, brick walls, concrete floors and an appropriately unfinished feel,” says MJR’s Areti Tziorta. “The Assembly, on the other hand, has a classically inspired dance hall with a contemporary feel.

“It’s been a great year for us at The Assembly, as well as record-breaking ticket sales across

The Deaf Institute, Manchester

our live music events,” says Tziorta, adding that DMA’s’ sold-out show at the venue was “incredible”.

The company also runs Digbeth Arena (2,500) in partnership with Custard Factory.

“We launched Digbeth Arena with our Skyline Series this summer, which was a big highlight for us, particularly the Brian Wilson show. The response from the city has been tremendous.”

In Cardiff, with more than 250 shows last year, The Globe has experienced its best year yet, says MJR promotions director Mike Jones.

“Live music traditionally accounted for about 99 per cent of trade in The Globe, now I’d say it is more like a 90, five and five split, between live, clubs and other forms of entertainment, such as spoken word or film events,” he says.

“Spreading that programming out a bit has allowed us to increase quality and actually reduce ticket prices on some of the core live business, too.”

Highlights for Jones over the year include Globe shows by Fickle Friends, The Cuban Brothers and Pussy Riot.

Glasgow stalwarts

Up in Glasgow, multi-club operators also perform an important A&R role, with Holdfast Entertainment-owned The Garage (700) hosting shows by emerging acts such as Coldplay and Muse in 2000.

“The Garage plays a massive part in helping artistes take the next step,” explains Andy Clark, head of marketing at Holdfast, which also runs Cathouse (350) in the city.

Another recent visitor was country band Dan & Shay, who can fill stadiums in their native US. “They played here last month as they try to break the UK,” says Clark, who adds that attracting international artistes is “massive from a marketing perspective”.

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“Word of mouth is the best type of PR so if international touring bands spread that word for us, it’s half the battle when getting people to book our venue in the future.”

Growth path plan

Steve Forster

Michele Philips

Ade Dovey

For Steve Forster, managing director of VMS Live, adapting to different market conditions is paramount for operators of multiple venues.

“We work in a variety of locations around the UK and I have always been of the opinion that there has never been a one-size-fits-all policy when it comes to venues, and subjective choices need to be made as to suitability,” he says. “In that sense what works or is appropriate in one territory for a specific artist does not in another.

“An artiste may well be worth 1,250 in one territory and work in another at say 800. In that sense a mid-range venue is probably anything from around 800 to 1,500. This is reflected in our venue estate and partner estate and the artistes that come through our doors.”

Among venues VMS Live operates are Exeter’s Lemon Grove (800), the Asylum (1,000) in Hull and the William Aston Hall (1,200) in Wrexham.

“Some of our venues are very flexible due to their configuration, the Olympia

February 2019 • Issue 229 • www.liveuk.com

in Liverpool and The LCR at the University of Norwich being prime examples, and host a wide variety of event types.

“Norwich is an interesting example of a territory where we haveThe Waterfront, a 700-capacity space, as well as The LCR, which is up to 1,500. In some ways we are competing against ourselves, but ideally you want to see artistes return to your venues as part of their growth path.”

Stepping stones

Also reporting good return business is Mission Mars, whose venues include The Deaf Institute (240), Gorilla (550) and the Albert Hall (1,900), all in Manchester.

“Being a venue operator can be tricky in the development of the next step for bands,” says head of programming Ade Dovey. “We’re fortunate to maintain a journey for some artistes as we have three venues that act as stepping stones up the ladder of commercial success.

“We love to see bands start at The Deaf Institute, and often they come back and sell out Gorilla. Then over time, they will plan a special concert in the Albert Hall.”

Helping bands along the way is something Dovey and his team believe is often reward enough in itself.

“While I would like to take credit for artiste careers I just do not think that would be fair and correct,” he says.

“However we certainly have helped develop options and platforms for local and regional bands, as well as independent labels and promoters to sell tickets, market their events, promote some great nights and mad parties.

“You certainly have to take risks and do-or-die attitude at times in the development stages.

Attracting international is, as Dovey points out, helped by the city’s musical legacy.

“Manchester is so rich with music history that for international touring artistes, it’s a rite of passage to head to the city and be part of the fabric of the live music scene,” he adds. “Our venues are booked up 50/50 with national and international artistes and DJs. “However it’s vital we’re booking international bands as the influence from far away scenes gets routed in the local music here and can change up a few things.”

Multi-club operators at at the frontline of the industry and Dovey believes they have an important role to play in talent spotting.

“Most bands and DJs we work with have management, booking agent and a release or two with them. We are fortunate to be part of a band’s journey in Manchester and occasionally are lucky to work with arena level bands in our lower capacity venues for hype underplays.”

In summing up, Holdfast’s Andy Clark says the ability to be flexible is what makes multi-club operators such an attractive proposition to promoters.

“We can accommodate bands just starting out, bands on the way up and superstars from abroad trying to break the UK market, “ he says. “We can even host superstars who can sell out [arenas], but want to play an intimate gig.”

a guide to artistes, tours & agents tour plans I 39 Artistes

Period

Contact details

Alice Jemima Sep Zac Peters, DMF Music

T 01392 437 744 zac@dmfmusic.co.uk Alma Jun-Sep Alex Bruford, ATC Live

T 020 7580 7773

alex@atc-live.com Afro-Cuban Jun-Jul David Flower, Sasa Music All Stars T 07798 743466 rab@sasa.demon.co.uk Billy Ocean Jun-Sep Becky Drouet,

The Leighton-Pope Organisation

T 0208 741 4453

becky@l-po.com Boomtown Jun-Sep Alan Cottam, Alan Cottam Agency Rats with Bob T 01254 668471 Geldof alan@alancottamagency.co.uk Collabro Jun-Nov Heulwen Keyte,

United Talent Agency

T 020 7278 3331 Heulwen.Keyte@unitedtalent.com Captain Sensible

Jun-Aug Jeff Aug, Maximum Booking

T +49 177 642 4221

info@maximumbooking.com

Emily Capell

Sep

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

Gong Jun-Aug Ryan Balch, The Leighton-Pope

Organisation

T 020 8741 4453

ryan@l-po.com

King’s X

Artistes

Period

Contact details

Artistes

Period

Contact details

Hannah Jun-Oct Chris Wade, Strada Music Sanders & T 01377 217662 Ben Savage info@stradamusic.com

King’s X Aug-Sep Nick Peel, Miracle Artists

T 020 7935 9222 nick@miracle-artists.com

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

Kokoroko Jun-Dec Clementine Bunel,Coda Agency

T 020 7017 2500

clementine.bunel@codaagency.com

Julian Jacklin Jun-Sep Alex Bruford, ATC Live

T 020 7580 7773 alex@atc-live.com King Kong Oct Company

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

Lisa Ekdhal Jun-Aug Pauk Charles, Asgard T 020 7387 5090

pc@asgard-uk.com Mary Nov James Duffy Coughlan Hurricane Promotions

T 07779 063947

bookings@hurricanepromotions.co.uk Manfred Jun-Aug Alec Leslie, ALE Consolidated Mann’s Earth T 01829 730488 Band alecconsol@aol.com Marlon Jun-Sep Alex Bruford, ATC Live Williams T 020 7580 7773 alex@atc-live.com McNally Jun Alan Cottam, Alan Cottam Agency Waters Band T 01254 668471 alan@alancottamagency.co.uk Moon Hooch Jun-Sep Alan Cottam, Alan Cottam Agency

T 01254 668471 alan@alancottamagency.co.uk Musical Jun-Sep Serena Catapano, Youth Cat Music Management

T 07871 075 072 serena@catmusicmgt.com

Kokoroko

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

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February 2019 • Issue 229 • www.liveuk.com

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

Period

Contact details

Artistes

Period

Contact details

Nakhane Jun-Dec Clementine Bunel,Coda Agency

T 020 7017 2500

clementine.bunel@codaagency.com

Skerryvore Jun-Aug Chris Wade, Strada Music

T 01377217662 info@stradamusic.com

Nazareth Jun-Sep Alan Cottam, Alan Cottam Agency

T 01254 668471 alan@alancottamagency.co.uk

Shakin’ Jun Rebecca Drouet, The LeightonStevens Pope Organisation

T 020 8741 4453 becky@l-po.com

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

Jun-Jul David Fowler, Sasa Music

T 07798 743466 rab@sasa.demon.co.uk

Ruby Turner Sep-Oct Nick Peel, Miracle Artists

T 020 7935 9222 nick@miracle-artists.com Saint Sister Jun-Sep Alex Bruford, ATC Live

T 020 7580 7773 alex@atc-live.com Sass Jun Hilde Spille, Paperclip Agency Jordan T +31 24 323 9322

hilde@paperclip.agency Sam Kelly & Jun -Sep Chris Wade, Strada Music Ruth Notman T 01377217662 info@stradamusic.com Saz’iso

Jun-Jul David Flower, Sasa Music

T 07798 743466 rab@sasa.demon.co.uk

Shame Jun Alex Bruford, ATC Live

T 020 7580 7773 alex@atc-live.com Spratleys Jun-Aug Japs

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

So Solid Jun-Sep Albert Samuel, AMS Talent Crew T 020 3005 9170 Albert@missioncontrol.net Sweet Jun Nigel Kerr, ABS Agency

T 020 8399 3474 alex@atc-live.com System 7 Jun-Jul Dan Silver, Value Added Talent

T 0207 704 9720 absagency@mac.com The Coal Jun-Sep Chris Wade, Strada Music Porters T 01377217662 info@stradamusic.com

Nakhane

Artistes

Period

Contact details

The Salts Jun Graham Steel, Graham Steel

Music Company

T 07985 359654 grahamsteel@virginmedia.com Tinariwen Jun-Jul David Fowler, Sasa Music

T 07798 743466 rab@sasa.demon.co.uk The Jun Ryan Balch, The LeightonMariachis Pope Organisation

T 020 8741 4453 ryan@l-po.com The Jun-Sep Alex Bruford, ATC Live Sheepdogs T 020 7580 7773 alex@atc-live.com Tipitina Jun Tim Jennings, Big Bear Music

T 0121 454 7020 tim@bigbearmusic.com Toploader Jun Mark Lundquist,

Mark MLM Concerts

T 07971401510 Mark@marklundquist.com 10cc

Le Vent du Nord © Stephane-Najman

Jun-Aug Steve Parker, Miracle Artists

T 020 7935 9222 steve@miracle-artists.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.

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February 2019 • Issue 229 • www.liveuk.com

42 I backstage stars Backstage

Stars Profile

Clementine Bunel Travelling in Africa and working as a tour manager for a couple of years, as well as climbing Mount Kilimanjaro, gave Clementine Bunel the right kind of foundations for her future role as an agent. After a spell booking on her own and almost three years at ATC Live, she moved to Coda Agency, where she has been for a year, representing artistes such as Stromae – who headlined London’s Eventim Apollo (cap. 5,500) last year, Parcels, Songhoy Blues, Kokoroko and Nakhane.

What are your first live music memories?

“It was seeing Brenda Fassie perform in Pretoria, South Africa, in 2001. I didn’t fully realise who she was or what she represented postapartheid, but when I saw the audience going crazy for her, I felt truly humbled to share this moment with thousands of people.

“I grew up in Africa for the first 17 years of my life and my mum used to hang out with a lot of artistes from the local scene in Bamako, so I was around music all the time.

“Then I went to France to study history and I used to go back to Mali to visit my parents during the university holidays.”

How did you get into the music industry?

“It’s my mum’s fault really. One of her friends came home for a coffee and said they were looking for a tour manager. She asked what a tour manager did and then thought this was something I could do during the summer holidays to make a bit of cash.

“A couple months later, there I was on the road with a band for eight weeks doing something I had never done before. My first tour finished, I got offered another one and it ended-up lasting two years, touring the world with Toumani Diabate and Orchestra Baobab.

“But I soon became frustrated with being a tour manager and I was quite keen to jump to the other side of the industry, and be part of the teams that help shape an artiste’s development.”

“I wanted to be an agent. One of my big February 2019 • Issue 229 • www.liveuk.com

LIVE UK intervie ws key people who help shape our industry

frustrations then was how, what was called world music back then, was so fashionable and yet African artistes playing the more mainstream festivals would get the early afternoon slots that no other bands wanted.

“I thought that, if represented artistes from Africa or anywhere else in the world, I would make it my mission to broaden their reach and make a point that, if an African or other act that does not sing in English can sell 1,500–3,000 tickets in London, then they were worthy of getting those high-profile festivals slots.”

How did your career develop?

“When I first started as an agent in 2008, I worked for a small boutique agency, it didn’t work out. When I left, quite a few artistes decided to come with me and so I started my own agency in the [January 2010], while I was figuring things out.

“What started as a temporary thing became a four-year adventure during which I signed Bobby Womack, Stromae and Benjamin Clementine, who I met while he was virtually homeless in Paris and who went on to win the Mercury Prize.

“Then, after almost three years at ATC Live, I moved to Coda Agency about a year ago.”

What were your greatest low and high points?

“On the low side, I lost an artiste at the end of 2017, someone I played a big part in

developing and it stung me to realise that you must never forget that our industry is volatile, that agents are the first ones to go a lot of the time. You have to remember this is a job. We get attached to our artistes and we are part of their success, but this can all end suddenly and you have to bounce back amd move on.

“A special high point was seeing Songhoy Blues, a band that was founded in a country [Mali] where, at the time music was banned, grow to sell-out the Roundhouse in London. I thought this was the best act of resistance ever.

“I’ve only been at Coda one year and I learn things everyday. I see myself joining as me doing my Master in live music, and get the best out of the agents that work here – the wisdom of Rob Challice, the passion of Natasha Bent, the smartness of Alex Hardee and the boldness of Tom Schroeder. Be a badass agent basically.”

How do you unwind?

“I have a down to earth partner who works in construction and doesn’t let me bring any of my b******t home, which is quite refreshing.

“My French self loves cooking and eating and I am into my fitness. You’d think the two don’t really combine, but they do.

“I climbed Kilimanjaro in 2012 and would love to go to Patagonia, but I think someone will have to confiscate my phone before that can happen.”

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