LUK239

ISSUE 239 DECEMBER 2019

UK £6.25

Hypersonic rocker Sam Fender’s almighty ascent

Campaigners slam Viagogo-StubHub deal London’s MSG Sphere delayed indefinitely AEG partners with AmEx for BST rebrand Committed to the unsigned and emerging live sector see page 26-27

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CONTENTS I 3

Contents

ISSUE 239

4-13 News

The business of live music

8 Forthcoming Events

Key industry gatherings

14-19 City Limits Highlands and Islands A look at the people and venues behind live music in the city

20-25 Sector Focus Tour Buses

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

26-27 NXT News

Business activity in the unsigned and emerging artiste sector

26-27 NXT Profiles

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

30-33 Production News

14

Developments in technology and show production

34-37 Tour Plans

Artistes, their agents and tour period

38 Backstage Stars

Interviews with the key people who shape the industry

20

26

Publisher & Managing Editor: Stephen Parker

Research & Pictures: Calum Campbell Watson

Circulation Manager: Victoria Brush

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

Administrative Manager: Grace Ramsay

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

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Design: Charles McQuaid

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30

ISSUE 239: December 2019 Published monthly by:

Cover photograph: © Rex 26 Dorset Street, London W1U 8AP, United Kingdom T: 020 7486 7007 F: 020 7486 2002 E: info@live.uk.com W: www.liveuk.com The opinions expressed by contributors to this publication are not always a reflection of the opinions or the policy of the publisher. Information on services or products contained within editorial sections does not imply recommendation by Audience Media Ltd. No responsibility can be accepted for errors or omissions. No part of this publication can be reproduced in any form without the written authority of Audience Media Ltd.

December 2019 • Issue 239 • www.liveuk.com

4 I NEWS

Controversy over Viagogo’s £3.9 billion StubHub buy-out IN A move that took the industry by surprise, controversial resale website Viagogo has bought eBay-owned StubHub for $4.05 billion (£3.91bn).

Viagogo founder and CEO Eric Baker has bought the company he co-founded with Jeff Fluhr when they were still at business school.

Baker left StubHub and moved to the UK to Eric Baker launch Viagogo, before Fluhr sold StubHub to eBay for $310 million in 2007.

“It has long been my wish to unite the two companies,” says Baker. “I am so proud of how StubHub has grown over the years and excited about the possibilities for our shared future.

Buyers will have a wider choice of tickets, and sellers will have a wider network of buyers.”

StubHub president Sukhinder Singh Cassidy says, “Bringing StubHub and Viagogo Claire Turnham together will allow us to drive further expansion and innovation, and create a more competitive

offering for live event fans globally.”

The sale is expected to close by the end of the first quarter of 2020, subject to regulatory approval and customary closing conditions.

In August, the Competition & Markets Authority (CMA) suspended preparations for court action against Viagogo, following contempt of court after its failure to comply with consumer protection laws.

Anti-ticket touting campaigners are shocked at the link-up between the world’s two leading resale operations.

“This feels like a desperate move from both parties,” says Adam Webb, campaign manager of artiste manager-funded FanFair Alliance.

“News of this acquisition should be a major concern for both audiences and music businesses — especially if Viagogo, a company that recently had a court order hanging over its head and is still the

subject of a CMA investigation, use this process as an attempt to detoxify its brand.”

In a FanFair Alliance letter to the

“Viagogo’s desire to dominate the market will likely only lead to more exploitation, rip-offs and misery for music fans.”

Claire Turnham

CMA, Webb urged the governmental watchdog to investigate the merger and its potential implications for UK consumers and the live event industry.

“A merger of the two, would potentially leave a single market-dominant platform – there would be no competition,” writes Webb in the letter.

“This would, we believe, inevitably lead to even higher fees for Adam Webb consumers, and an even greater dominance of search and social media advertising – increasing

the risk of consumers being led needlessly towards inflated tickets in the secondary market, and away from authorised primary ticket agents.

“While there are other smaller less significant B2C secondary platforms operating in the UK (eg. Gigsberg, Vibe Tickets), these are populated by resellers already active on Viagogo and StubHub.” Interviewed on BBC Radio 4’s You and Yours programme, Viagogo MD Cris Miller brushed aside criticism, saying, “There is a lot of misunderstanding about the business. There are a number of different competitions and offerings out there for people to resell their tickets.” ”I have genuine concerns and a foreboding of things to come,” Victim of Viagogo founder and campaign leader Claire Turnham MBE tells LIVE UK. “Like all things Viagogo, the public will end up paying the off-the-scale costs of them buying Stubhub.

“Viagogo’s desire to dominate the market will likely only lead to more exploitation, rip-offs and misery for music fans.”

NEC Group backs area for Edinburgh PLANS FOR an 8,000-capacity area in Edinburgh have been revealed, with Birminghambased NEC Group partnering with leisure and sports consultancy Lothian Leisure Development (LLD).

The companies have secured a 30-acre site in Straiton, outside of Edinburgh, with the development including conference, retail outlets, a cinema and two hotels.

NEC Group operates Birmingham’s Resorts World Arena (cap.

15,685) and Arena Birmingham (15,800).

“We host over 700 events per year in the Birmingham area and have always planned to take our

successful events model to new cities with the backing of our majority shareholder [equity investment firm] Blackstone,” says NEC Group chairman of arenas Phil Mead.

“Edinburgh is well known for its wonderful cultural offering, but remains one of the only European capital cities without an indoor arena and so we’re excited by the thought of being able to bring some big names in entertainment to the region.”

LLD is working to secure funding for the development phase of the project, with hopes to submit a planning application by the end of 2020.

December 2019 • Issue 239 • www.liveuk.com

Edinburgh International Arena

NEWS I 5

Summer Time rebranded and renamed AEG HAS secured a new naming rights partner for its 65,000-capacity summer concert series in London’s Hyde Park, which has resulted in a change of name for the event.

American Express has replaced Barclaycard as the headline sponsor and British Summer Time has been renamed American Express presents BST Hyde Park.

The festival, which was launched in 2013 when AEG took over the contract from Live Nation Entertainment (LNE), will now offer American Express card members exclusive pre-sale access to tickets to all of the shows and a range of on-site benefits.

Among the artistes announced for next year’s event, which takes place during July, are Taylor Swift, Little Mix and Pearl Jam.

“American Express’s ability to not only drive ticket sales through pre-sales, but connect the fan and artiste in unique ways, demonstrates true marketing innovation and is one reason why American Express is so respected in the entertainment space,” says Stew Heathcote, senior vice-president (VP) and MD of AEG Global Partnerships, which negotiated the deal.

Site owner The Royal Parks recently awarded AEG another six-year contract to stage concerts in Hyde Park, prompting rival LNE to file a legal appeal against the decision.

This year’s Barclaycard presents British Summer Time featured artistes such as Celine Dion, Stevie Wonder, Florence + The Machine and Barbra Streisand.

MSG Sphere delayed

THE PLAN by America’s Madison Square Garden Company (MSGC) to build a 21,500-capacity MSG Sphere arena four miles (6.4 kms) from The O2 (21,000) in London is apparently delayed indefinitely.

MSGC, which runs the 18,600-capacity Madison Square Garden in New York, is also constructing an MSG Sphere in Las Vegas, and says that project is on schedule to open in 2021, although aspects are under review.

The London venue had been set to open in 2022.

MSG submitted a planning application to the London Legacy Development Corporation (LLDC) in March, and were expecting a decision by the end of the year, but that will now run into the New Year.

The application caused dismay among some local residents, with a Stop MSG Sphere Facebook campaign and petition launchedvwhen the news was first announced last year.

APOLOGY

SINCERE APOLOGIES to Ticketmaster, AEG/The O2 and readers for our headline and news item mix-up on page 6 in the last issue of LIVE UK (238).

The correct headline for the news item should have been ‘Ticketmaster eases access for disabled music fans’, not ‘The O2’s golden tickets’, which relates to a news item that was missing from the page. Both news items were correct on the website.

We apologise again to Ticketmaster, AEG/The O2 and our readers for the confusion.

MSG Sphere exterior - artist’s impression

Hypersonic action IT WASN’T long after his first single, 2017’s Playing God, that Sam Fender was being touted as the next big thing for the British indie scene.

With his unique brand of socio-political storytelling, the North Shields-born Fender has since earned a place on the BBC’s Sound of 2018 long-list and the Critics’ Choice Award at this year’s Brits.

His debut album Hypersonic

COVER ARTISTE

Missiles, released in September, went straight to No 1 in the UK’s Official Charts.

Now Fender is taking his songs on the road with a UK tour that kicked off at Manchester’s Academy (cap. 2,600) at the beginning of the month and will take on two dates in his hometown Newcastle, at the O2 Academy (2,000), as well as London’s O2 Academy Brixton (4,920).

“Sam is the real thing and is a completely natural and charismatic performer,” says his agent Paul Wilson at CAA. “The band are super tight and the performances are hugely fun and energetic rock shows, but always with a gritty edge.

“He is one of those rare artists that manages to effortlessly relate to everybody from young Instagram followers to the old Springsteen fans.”

Sam Fender is managed

by Jon Lawrence at Chalk Press Agency.

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www.millenniumstudios.co.uk December 2019 • Issue 239 • www.liveuk.com

6 I NEWS

Highlands’ Ironworks faces threat of closure print.

PROMOTERS IN the Highlands One comment on the site and Islands have told LIVE UK of states: “There is nowhere else in their concerns for the future of Inverness that offers the same the 1,000-capacity Ironworks in capacity, atmosphere, variety, and Inverness, which may be demoloverall experience that the Ironished to make way for a 162-bedworks does.” room hotel.

According to Robert London-based develHicks of Ullapool-based oper Bricks Capital has promoter Beyond Pressubmitted a proposal of ents, which regularly application notice (PAN) hosts shows at the venue, to build a Courtyard by the demise of the IronMarriott-branded hotel, works would be a “big with a retail unit on the loss to the area and a big ground floor. loss to the music industry Under its proposals, the hotel will be sited on Caroline Campbell in the Highlands”.

“We’ve been desperate vacant land near to the for the Highlands to have its own venue, but will also front on to the venue for years, which it has in the street, meaning the Ironworks, Ironworks, so it’s a crying shame which has been open for more that it’s on the cards that it could than 11 years, will have to find be going or could be moving,” he new premises. said.

Several online petitions have Hicks said his greatest concern been started by concerned music was that Inverness would be left fans with one, hosted on change. without a dedicated music venue, org, attracting more than 3,000 with the Ironworks currently signatures as LIVE UK went to

Ironworks

Ironworks

hosting acts such as Lewis Capaldi, Primal Scream, Ocean Colour Scene and Edwyn Collins.

Les Kidger of Inverness-based national promoter LCC Live tells LIVE UK the city even needs a larger venue to accommodate demand.

“It’s important that the live music scene in Inverness has a music venue,” he says, “the city can’t afford to lose the ironworks.”

According to local press reports, the venue’s leaseholder has signed an agreement with the building’s owner accepting notice to vacate if, and when, the hotel project receives planning consent.

LIVE UK understands the building is owned by Aviemorebased property company Upland Developments.

Ironworks owner Caroline Campbell confirms that she met with key business and political figures last month to discuss the search for a new venue, saying, the meeting was a “positive discussion about the future of Ironworks

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and the search for a new venue”.

“The petition that the public have contributed comments to was discussed, taking on board how important the venue is to the people of Inverness and music lovers across the wider Highlands and Islands,” she tells LIVE UK. “It is business as usual for us and details will be released as soon as we know where our new space will be.”

A spokesman for Highlands Council confirmed the planning process was ongoing.

“Whilst a proposal of application notice was submitted to the Council on 29 July 2019, that would have enabled the planning application to be lodged anytime after 15 October 2019. To date no application has been forthcoming and it is entirely for the prospective applicant to determine when, or indeed if, an application will be submitted.”

Artistes playing the venue include Primal Scream, Hayseen Dixie and Elephant Sessions.

NEWS I 7

New London office and YouTube links videos restructure for VMS Live to concert tickets VENUE MANAGEMENT company and clients, we will invest in new systems, promoter VMS Live will open a central a new office, create a new marketLondon office in January as part of its ing department, for which we have appointed two marketeers, and will be refocused business model.

Following the death of founder Steve announcing a new head of finance in the new year.

Forster in April (see LIVE UK “This signals our ambitions issue 231), the company to help our clients grow their went through an executive businesses and expand our restructure which saw Bert portfolio of venues,” he says.

Van Horck appointed CEO The central London office and Forster’s wife Kate join will be headed by Abbie the board in a non-executive Marshall and will house the role. company’s centralised bookNow, the company is creatBert Van Horck ing department, along with ing a new marketing departticketing and marketing. ment to improve customerThe marketing team will be headed focused services and drive ticket sales, along with the opening of a King Cross by newly-appointed Ioana Mosteanu, while Yara Magarino will head ticketoffice.

“We have taken a very close look ing, which includes the company’s Hull at the heart of the company and con- Box Office operation, managed on a sulted with the great team of people daily basis by Mark Hall.

VMS live venues include Eventim working here and fantastic clients to make some well-informed, bold deci- Olympia (cap. 1,960) in Liverpool, the University of East Anglia’s venues and sions,” says Van Horck.

“To align our aims and those of our The Foundry (3,000) in Sheffield.

YOUTUBE HAS partnered with but also will give them a chance See Tickets, Ticketmaster and to discover more intimate Eventbite to help music fans events with breakthrough local discover concerts and buy tick- talent.”

Paul Everett, head of music ets through the video platform. at Eventbrite UK and IrePeople in the UK land, says: “YouTube is a and Ireland watchfantastic addition to our ing videos from growing list of global Official Artists distribution partners.

Channels will now This latest partnership see listings for live represents an incredper formances, ible opportunity for our alongside links to independent organisers the ticketing partRoz Mansfield across the UK and Ireland, ners’ website. enabling them to inte“At YouTube, we are focussed on both making grate their events on our platmusic more accessible to fans form with their Youtube artiste and bringing more revenue to profiles.”

The new feature first launched artistes on the platform,” says Roz Mansfield, YouTube’s artiste with Ticketmaster in the US partnerships manager, UK and and has since expanded with Evenbrite and rolled out across Ireland.

“We hope this new feature Canada, Australia and New Zeahelps connect fans with not land. See Tickets is the newest only the global artists they love, addition to the partnerships.

Live

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Visit vmslive.org December 2019 • Issue 239 • www.liveuk.com

8 I NEWS

FORTHCOMING EVENTS FEB 18 BRIT Awards London www.brits.co.uk

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

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

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

Man who transformed the live industry dies THE US financier who transformed the live music Barry Clayman Concerts for a combined sum of around £158 million, and Midland Concert industry in Europe and America in the Promoters for a figure believed to be about late-1990s, setting the foundations £18m. Agent/promoters ITB and Solo also joined of what became Live Nation the conglomerate a year or so later.

Entertainment, died on 26 November Accomplishing his three-year roll-up, which aged 71. included the leading promoters in several Having performed a roll-up of US European countries, Sillerman sold his SFX radio stations, which he sold at a Entertainment to radio stations and billboards handsome profit, Robert FX Sillerman giant Clear Channel Communications for $4.4bn, saw the potential to do the same with making himself a reported $250m profit. the fragmented live entertainment Robert FX Sillerman No other individual has done anything as sector.

Raising more than $2 billion, he set about buying transformative in the business of live music and, promoters and venues across the States and then although his creation then lost value at an alarming stepped over to Europe, where he acquired UK rate, with Live Nation eventually spun off with around theatres chain Apollo Leisure Group and promoter $400m of debt, there was no return to the old ways.

YTL applies for consent to build Bristol Arena BRISTOL’S NEW arena came a step closer last month when Malaysian developer YTL put in a planning application to Bristol and South Gloucestershire authorities for a 17,080-capacity venue in Filton, to the north of the city.

The project is the surviving proposal of three separate initiatives for the city, whose population of 500,000 people makes it is one of the UK’s last major conurbations without a 5,000-plus capacity venue.

The new arena was given a clear run by the city’s

APR 23-25 Wide Days – Scotland’s Music Convention Edinburgh www.widedays.com YTL Arena Bristol - artist’s impression

December 2019 • Issue 239 • www.liveuk.com

mayor Marvin Rees, who cancelled the previous 12,000 capacity Arena Island project in the city centre.

The YTL Arena will repurpose the 28,000 square metre floor space of the site’s Brabazon hangars in a project expected to create 500 jobs and inject £1.5 billion into the local economy in the next 25 years.

Although critics in Bristol Council took aim at transport links to the new site, YTL Arena Complex plans a new train station at the site, and the company’s managing director Andrew Billingham insists the project will be completed with 100 per cent private funds.

“A recent survey [of local people] showed 96.4 per cent in full support [of the YTL Arena], and 99.9 per cent just wanting an arena in Bristol to be proud of,” says Billingham. “We’ll create an entertainment destination for the South West of England that puts Bristol on the world stage.”

If the project receives planning permission, YTL expects to open the arena in early 2023.

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10 I NEWS

OVG to consult again on new Manchester arena OAK VIEW Group (OVG), the arena must deliver a range of training US company formed in 2015 by and job opportunities for local resiformer AEG CEO Tim Leiweke and dents, especially for young people. former chairman of Live Nation “We also know that sustainable Entertainment and artiste manager transport and venue management Irving Azoff, is launching a second plans that minimise any impact to round of consultation on proposals the community on event days are key for a potential new arena in priorities,” he says.

Manchester.

“During this next stage The company is hoping of consultations, we will to build a 20,000-capacprovide an update on ity arena in the Eithad work underway to address Campus, the site of community priorities and Manchester City football we look forward to further club’s Eithad Stadium (cap. feedback and inputs from 63,000) in Eastlands, which East Manchester residents would rival the existing and businesses.”

Mark Donnelly Manchester Arena (21,000).

As part of feasibility “A world-class arena has to work for studies, OVG held four consultation the community so continual dialogue events in October to share initial to understand priorities and concerns ideas and understand community is a vital part of our feasibility pro- priorities. cess,” says OVG International chief This second consultation proces operating officer Mark Donnelly. will run from 28 November and 16 “A clear objective is that a new December in the local area.

Meanwhile, John Sharkey, executive vice-president of operations at ASM Global, which manages Manchester Arena, believes the city is unable to sustain two major arenas (see LIVE UK issue 233).

“We are extremely surprised that the council has even considered this direction,” he told LIVE UK in June.

“We are absolutely not scared of

competition and are happy to support other developments that are going on in Manchester, where there is a gap in the market.

“We just don’t see how there is a market for another 20,000-capacity arena in the city.”

Artistes playing Manchester Arena include Harry Styles, Jonas Brothers and Billie Eilish.

Manchester OVG arena proposal sketch

Energy boost for Electric Brixton THE MANAGEMENT team behind London’s 1,700-capacity Electric Brixton are using the completion

Electric Brixton - new look

of its substantial refurbishment as a lever to drive more live music to the venue.

The interior has been made more open plan and the removal of a wall has improved sightlines and a new bar has been added.

The front-of-house sound and slighting systems has also

received an upgrade.

“This was about improving the quality and the reach of the systems, but at the same time, making it easier for touring engineers, so we now have more scope in the main room for [lighting] designers,” says Electric Brixton production manager Tom Cull.

“The buildings around us have been subject to multi-million refurbs and we thought the time was right to update the Electric

outside too. Our LED treatment means it really glow at night.”

The venue is owned by the Electric Group, which also owns and operates SWX (1,100) in Bristol, and is a joint venture between cofounders Dominic Madden, CEO, and Jake Lewis of the Lewis Family, which own retail chain River Island among other business interests.

Upcoming shows at the venue include Razorlight, The Japanese House and Ari Lennox.

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December 2019 • Issue 239 • www.liveuk.com

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NEWS I 11

The O2’s golden tickets AEG’S FLAGSHIP arena The O2 (cap. 21,000) has sold its 25,000,000th ticket after a run of sellout concerts from Ariana Grande, Travis Scott and Muse.

Since opening in 2007 the venue has hosted more than 2,000 performances and now averages over 200 events a year, including music, sport and comedy.

“To reach the 25 million ticket milestone is a huge

achievement and we’re so grateful to have hosted so many artistes for the first time this year,” says the venue’s vice-president of programming Emma Bownes.

Highlights of 2019 include a seven-show residency by Drake in April, a record-breaking attendance for Metallica in October with 22,211 fans watching and The Vamps’ fifth consecutive year of playing the venue.

Forestry Live’s perfect double

FORESTRY LIVE programming and production manager Dave Barrow of DB Event Services is hailing next year’s double bill of Will Young and James Morrison as “the perfect match”.

The Forestry Live concerts, presented by Forestry England, are intended to attract more people to forests and promote sustainability, with profits used to maintain the woodlands.

“Both James and Will have played Dave Barrow the forests before and liked the vibe very much, so when the idea came up again, I naturally pursued it,” Barrow tells LIVE UK. “Forestry England does so much to

protect and sustain our forests and I knew both artistes were big supporters when they played, so it’s a great match.”

Young and Morrison will perform at sites such as Westonbirt Arboretum in Gloucestershire, Bedgebury Pinetum in Kent and Suffolk’s Thetford Forest in June.

Tickets cost £49.50.

Since launching in 2002, the series has grown to six sites drawing an overall audience of around 130,000. Artistes who have performed include Ed Sheeran, Sam Smith.

Massive Attack, Simply Red, Keane, Foals, Jess Glynne and Clean Bandit.

In memory of agent Chris Meredith A MEMORIAL concert was held for ATC Live agent Chris Meredith, who died in September aged 37, after battling depression.

The event took place at London’s O2 Academy Islington (cap. 800) on 1 December in support of mental health charities CALM (Campaign Against Living

Miserably) and Mind, and featured performances from Shame, Sleeper, IDER and Whenyoung.

ATC Live broke the news in September with a statement that read, “We are deeply saddened by the sudden passing of our colleague and friend Chris Meredith.

“Our enduring memories of

Chris will always be ones of laughter, joy and his love of his friends, family and artistes. He had touched the lives of many people and will be remembered with great fondness.”

Meredith worked with artistes such as The Mavericks, Estrons, Lucy Spraggan and LUCIA, as

wellas Sleeper, who he brought back to touring after a break of after 20 years.

He also acted as festival director for Neverworld (5,000) festival in Kent and previously did stints as a booking assistant at ITB, Coda Agency and Nozstock: The Hidden Valley Festival (5,000).

December 2019 • Issue 239 • www.liveuk.com

12 I NEWS

Swansea Arena work begins Bristol Sounds adds full day CONSTRUCTION HAS begun on the 3,500-capacity Swansea Arena, which is due to open its doors in 2021 and will be operated by the UK’s largest theatre group, ATG. The waterside concert hall will be funded by Swansea Council and marks the first phase of its £135 million regeneration of Swansea Central, which also comprises shops, restaurants and two multi-storey car parks providing 960 spaces.

ATG operates more than 50 venues

across Britain, the US and Germany including the Empire (2,369) in Liverpool, Oxford’s New Theatre (1,711) and Victoria Hall (1,635) in Stoke, with its ATG Tickets processing over 11 million tickets a year.

“ATG’s success has come from close collaboration with top talent combined with an understanding of the local and regional markets,” says the company’s content development director Katy Arnander.

Swansea council also owns and operates the Grand Theatre (1,010) and the Brangwyn Hall (1,070 seated/1,200 standing).

Other ATG venues include Edinburgh’s Playhouse (3,035), Folkestone’s Leas Cliff Hall (1,500), Glasgow’s Theatre Royal (1,505), Manchester’s Opera House (1,875) and Katy Arnander and Claire Dixon at the Sunderland Empire Swansea Arena construction site (1,955).

December 2019 • Issue 239 • www.liveuk.com

THE FIVE-evening concert series Bristol Sounds (cap. 5,000), held at Lloyds Amphitheatre on the city’s dockside on 24-28 June, is expanding to stage a full day of live music on the Saturday.

Beautiful Day Out, headlined by the Levellers and Reef is presented as a city-based version of the Leveller’s own August festival Beautiful Days (cap.

17,000) in Devon.

The other four days are headlined by Noel Gallagher’s High Flying Birds, Supergrass, Jack Savoretti and Paul Heaton & Jacqui Abbott, with a second full day on Sunday not Conal Dodds yet ruled out.

“We have two elements of expansion around Bristol Sounds,” says Conal Dodds of the event’s promoter Crosstown Concerts.

“Extending the hours and days, but

also, more interestingly, audience growth. The concerts attract a varied crowd each night – last year Tom Misch attracted 5,000 18 to 23-yearolds, while Bloc Party brought in the indie audience and Elbow the more mature visitors.

“We work to keep each year different, which separates us from a festival proper. It gives us the flexibility to be nimble.”

Scaling up to a full day of music, he says, “Was an obvious thing to do. We have the site ready to go and there are no offices operating nearby at the weekend. There is a lot of competition for artistes in the summer, but this year a lot of them are using the event as a warm-up for Glastonbury [24-28 June].”

Tickets to Bristol Sounds range from £33 to £61.60.

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Registered Office: 71 Fenchurch Street, London, EC3M 4BS. Registered Company No. 2957627 England.

Highlands and Islands

14 I CITY LIMITS

Enchanting and dramatic landscapes, enthusiastic audiences, especially warm hospitality – the Highlands and Islands have them all. The only potential obstacle is their location. But there are rewards for those artistes who make the effort to venture there, as Allan Glen reports.

O

perating in an area covering the size of a small European country and up to 800 miles from London, one would think promoters and venue operators in the Highlands and Islands have their work cut out attracting artistes.

In practice, however, what awaits those acts who continue northwards from a date in the central locations of Glasgow or Edinburgh, can often be the highlight of any UK tour, with some of the most breathtaking scenery in Europe and beyond – and a welcome to match.

But that’s not all it has to offer, local promoters can shift tickets.

Inverness-based independent promot-

December 2019 • Issue 239 • www.liveuk.com

er LCC Live has sold nearly 50,000 tickets for live music shows in the Highlands and Islands alone in the past year.

“We’re just getting ready for next year’s shows, and getting things announced,” says LCC Live’s Les Kidger. “Our year runs from November to November, so we’re now looking at what we’re going to do for 2020.

“The past 12 months was really busy in Inverness, with Noel Gallagher at outdoor venue Bught Park [cap.13,000] and Kaiser Chiefs and Madness at the Northern Meeting Park [5,000].

“We have also brought something new to the area with The Big Top [5,500], also in Bught Park, which featured Celtic rock

band Skipinnish on the Friday, and The Proclaimers on Saturday.”

As a green space owned by the Highland Council, Bught Park is the biggest outdoor venue in the Highlands, with Kidger and his team having already promoted acts such as Olly Murs and Bryan Adams there.

“The market up here is really good at the moment,” he says. “With all the different shows and events we did in Inverness and the Highlands this year, we did just shy of 50,000 tickets. So when you think that Inverness itself has a population of 60,000, I think that shows it’s quite buoyant.

“As such we’re finding quite a lot of

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

LCC Live Events

other promoters coming in, but as it’s our home patch, we know the market, we know how to sell tickets further afield.

It’s not just about the people who live in Inverness, it’s about the people who live in the vast area of the Highlands and Is-

lands, and it’s about bringing those people down to Inverness.

“For next year we’ve already got another Skipinnish gig coming up in The Big Top, and we’ve just announced a McFly show in The Big Top as well at Bught

LIMITS I 15

Park in July 2020.”

As well as the major outdoor events, LCC Live promotes at the Inverness Leisure Centre (1,850), the largest indoor venue in the Highlands and Islands, and another council-owned venue. As Kidger explains, LCC Live has a contract to allow them to promote a certain number of shows throughout the year.

“We’ve just announced Deacon Blue there for next October,” he says, adding other artistes to have performed there include The Beach Boys, Texas, The Proclaimers and Peter Andre.

“It’s a matter of converting it from a leisure centre into an indoor venue, and in that respect it works very well. It’s ideal for artistes who want to come into Inverness on a touring schedule, so artistes such as Deacon Blue, Wet Wet Wet. The nearest venue in the area is about 1,000 capacity, so it’s a big jump up.

Also working as an independent promoter is Robert Hicks of Beyond Presents, which has forthcoming shows

by Scouting for Girls in the Ironworks (1,000) in Inverness and Tom Walker in Strathpeffer Pavilion (200).

“It’s really vibrant up here just now,” says Hicks. “The music scene is constantly evolving and not only are there many tours in the region, but also a large number of one-off events throughout the year.”

As a dedicated live music venue, the Ironworks is facing an uncertain future (see news story on page 6), but for now it’s business as usual, as Ironworks owner Caroline Campbell explains, “Inverness and the wider Highlands and Islands has a year round demand for live music and entertainment, from local bands through to national touring acts and we are delighted to be part of the entertainment infrastructure 365 days a year,” she says.

We will help revolutionize your business.

December 2019 • Issue 239 • www.liveuk.com

16 I CITY LIMITS

Caroline Maclennan

SOUL

Acts playing the venue include Lewis Capaldi, Lucy Spraggan, Tide Lines (all Beyond promotions), Feeder, Airbourne, Idlewild, Enter Shikari (all DF Concerts), Ocean Colour Scene, Primal Scream (both Regular Music), Daniel Sloss (Live Nation Entertaiment), Edwyn Collins (PCL Presents), 2manydjs, Mall Grab, Ho-Ro, Ben Nicky, Red Hot Chilli Pipers, Calum MacKenzie Jones and Rhythmnreel (all in-house).

As for one-off events, one of the most successful is the Hebridean Celtic Festival (4,000), known locally as HebCelt.

“There are some great events placed across the islands and an increasing live scene in Inverness with new festivals and big outdoor events through the summer,” says HebCelt director Caroline MacLennan. Recent headliners have included The Proclaimers, The Waterboys, Van Morrison, Deacon Blue, The Fratellis and Imelda May. With more than 40 live artistes performing at the festival each year, HebCelt will celebrate its 25th anniversary next year and remains a key date in the region’s live music calendar. Shows are held across three stages in Castle Green in front of Lews Castle.

“Our event has a unique reputation

ROCK

BLUES

December 2019 • Issue 239 • www.liveuk.com

Mareel

within the industry and we all appreciate that those incredibly hard-working individuals who make this festival happen are volunteers,” she adds. “Couple that with a beautiful island setting, a fantastic, warm welcome and a refreshing can-do attitude which truly makes this an event that artistes love and love to come back to.

“The main festivals in the region do very well, but I’ve got to say it’s a chal-

SKA

lenge maintaining an island event with the increased costs we inevitably incur.

Public funding is very important to the mix in the overall budget for our event and the cuts to this inevitably put increased pressure on the Trust which manages HebCelt.”

Island hopping

Three venues that offer a location unlike

COUNTRY

FOLK

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

Hebridean Celtic Festival

any other are An Tobar (60) on the Isle of Mull, Mareel (600) on the Shetland Islands, and An Lanntair (250) on Stornoway.

Artistes visiting to the latter include Luke Jackson, The Tumbling Souls, John Goldie and the High Plains, Phil Cunningham and Aly Bain, and Kris Dever.

“There are so many factors that affect how a gig sells on an island, with good

weather being one of the factors that can affect us the most, as people tend to take advantage of the opportunities to get sailing, surfing or just visiting the beach,” says Alex MacDonald, head of performing arts and cultural projects at the venue. “I also think our environment has a massive influence on acts both coming to the islands and wanting to return.”

While Mareel’s programme manager

LIMITS I 17

Tim Matthew points out that ticket sales are lower than in previous years, he goes on to say that, as the UK’s most northerly arts centre, the venue continues to attract artistes from across the world.

Artistes playing the venue include Aly Bain, Ale Moller, Bruce Molsky, John Goldie, Little Mix Magic Missy Malone, Timberlina, Amber Topaz and Odessa (all in-house promotions).

“In Mareel we have approximately 100 live shows a year, including music, dance and theatre, plus a full cinema programme, a film festival, literature festival, traditional music summer school and festival,” says Matthew. “In addition to this, we have approximately 200 classes/ workshops.”

As for the market in the Highlands and Islands in general, Matthew says there are signs of growth.

“It seems very healthy up here, there are constantly acts on tour,” he adds.

“The website tourbook.live seems to be a helpful conduit for assisting touring acts.

Whereas some years ago there might have been a lack of touring acts, now the audience is spoilt for choice.”

With up to 50 live gigs a year, An Tobar in Tobermory works across a range of genres, including jazz, folk, indie

600 capacity Auditorium Record live from anywhere in the venue

Located in the Shetland Islands and opened in 2012, Mareel is Shetland’s dedicated Performance, Cinema and Creative Industries centre, boasting a flexible auditorium suitable for any kind concert from classical to rock, as well as the most spectacular views available from any dressing room in the UK! With our expert staff, intimate versatile spaces and spectacular island location, Mareel is the ideal venue to connect with your audience, test out new material or kick off a tour.

LIVE PERFORMANCE LIVE BROADCAST LIVE RECORDING

WWW.MAREEL.ORG • 01595 743 843 • ADMIN@SHETLANDARTS.ORG December 2019 • Issue 239 • www.liveuk.com

18 I CITY LIMITS

Assembly Rooms

Ryan Cook

Gordon Maclean

and classical, and was nominated as Venue of the Year for the fourth time at the Scots Trad Awards, also known as the Folk Oscars.

Recent visitors to the venue include The Local Honeys, Broken Chanter, Mull Historical Society, Sian, Burt MacDonald, Cat Loud, Lizabbet Russo, John Goldie, Jack Badcock and Aidan O’Rourke (all in-house).

The venue’s Gordon MacLean is another who says the market in the area remains robust, although he does issue a caveat.

“The Highlands and islands music scene is incredibly healthy these days with great new artistes appearing every year,” he says. “Maybe I could wish for a few more quality venues, but it’s always difficult outside the cities to maintain an audience.”

Expansion mode

Les Kidger

One independent promoter who is looking to increase the number of shows he promotes, following a quieter period, is Rypeco’s Ryan Cook, who

December 2019 • Issue 239 • www.liveuk.com

Ironworks

owns the Blackstairs Lounge (100) in Wick, and also promotes at The Assembly Rooms (650) in the town.

Standout gigs for Cook, who promotes around 10 shows a year, have been The Cuban Brothers and KT Tunstall in Blackstairs.

“We only sold around half the tickets for The Cuban Brothers, an act that plays to thousands on a regular basis, which was majorly disappointing, but they gave us an amazing show and were true professionals. A seriously underrated act,” he says.

“Another one was a little over two years ago, but it was the KT Tunstall incident with the stolen tambourine.

There was a big furore about it going missing as KT had it since day one.

I put the Facebook feelers out and received a phone call at 8am the following morning, from an extremely hung-over female to say she had it. We arranged a taxi and it was dropped off to KT at her hotel.”

Also adding to the buzz is the recent success of several local artistes.

“At the moment we have a few local acts doing well, from Neon Waltz, who have nationwide success these days, to Open Plan and Forgetting The Future.”

Other acts playing the Blackstairs include Miracle Glass Company, Liimo, Tamzene, Carousel (all co-promotions with Robert Harper, tenant of the venue), Declan Welsh and the Decadent West, Calum Beattie (co-promotions with Beyond), Open Plan, Forgetting The Future and Colin Macleod (copromotions with DF Concerts), while Cook is also promoting shows by Abbamania and Neon Waltz in The Assembly Rooms.

Ticket sales remain good, he adds, bringing us back to those big LLC shows mentioned earlier.

“Sales recently have been very buoyant - not totally sure why,” muses LCC Live’s Les Kidger. “But there have been so many large shows on around Scotland these past few years, I think it has opened-up the idea of going to a gig to a lot more people in the region.”

C

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Y

CM

MY

CY

CMY

K

lcc LCC Live Event Services are one of the leading idependent event and concert promoters across Scotland and the rest of the UK.

www.lcclive.co.uk TEL

01463 243251

EMAIL

enquiries@lcclive.co.uk

Promoting and booking at Inverness’ largest indoor venue, Inverness Leisure Centre: 1850 capacity

City Parks -Stirling Castle

Big Top Tent

Live in Somerset - Taunton

Inverness Leisure

20 I SECTOR FOCUS

Travelling in style With more acts touring, doing multiple festival appearances across Europe and needing their production crews to get into venues early, renting high-quality tour buses isn’t a luxury anymore, it’s essential to keeping the show on the road.

Claire Bicknell reports

A Garry Lewis

s the touring business has grown and matured across the UK and Europe, with more shows in a wider range of countries, keeping both artistes and crews comfortable and rested between performances has become essential.

Whether it’s a large, luxurious bus or a splitter, clients are looking for comfort, reliability and cost-efficiency, and when a driver is required, ‘the same one we had last time’ is often the request.

Beat The Street (BTS) has been supplying tour buses to the live music industry for 32 years, working with

December 2019 • Issue 239 • www.liveuk.com

clients including Lady Gaga, Adele, Coldplay, Madonna, Clean Bandit, Bruno Mars, Neil Diamond and Iron Maiden.

“We’ve had a number of big tours out this year – Cher recently with 10 buses, and P!nk during the summer with 13 buses of various capacities,” says transport manager Garry Lewis. “We do carry clients from all spectrums of the music world – from Hans Zimmer to Tory Lanez.”

With 70 vehicles in its fleet, the main offer is double-deck Setras, but BTS also hold single and Superhigh deck Van Hools, with various sleeping capacities from six-berth star busses to 16-berth

crew buses.

“Our UK/European fleet is continuously being upgraded, with new Euro 6 buses coming online every few weeks and new buses ordered throughout the next year,” says Lewis.

“We’ve also expanded into the US and have a new office and coach yard in Nashville. We’re building 20, 16 and 14-berth double-deck Van Hools and four single-deck Prevosts – all brand new, with the first ones rolling out on tour in January,” he says.

BTS’s UK-based Tim Fortnam King, along with two technicians from its Austrian headquarters, moved to

SECTOR FOCUS I 21 pressured with more touring bands than buses, so it becomes very difficult,” adds Lewis.

“We’ve had situations in the past couple of summers where bussing has not made sense for bands doing festivals in all corners of Europe, and we’ve chartered planes for them. It’s been interesting to do and its part of our learning curve, but I don’t think we’ll be going into the charter business any time soon.”

Working with high profile clients who need total reliability, an ordinary coach driver won’t do.

“All drivers have to be very flexible and adapt to changing circumstances, and they must have a full understanding of the map of Europe without relying on the sat nav, as you never know when it might stop working,” says Lewis.

“They also need to be able to work in a pressured situation, for instance, when the artiste is looking over your shoulder asking if we’re there yet, or looking at Google Maps and telling you you’re going the wrong way.

“The best drivers will be able to answer questions in a calm and knowledgeable way, then the artiste becomes comfortable with the driver and requests him or her for the next tour. I probably get requests for certain drivers every week.”

Changes on the road

Beat the Street

Nashville last August to “put the BTS stamp on the build, design and quality”, states Lewis.

The company is busy all year around, with a huge demand for buses at all

times.

“Historically the touring industry used to go through peaks and troughs throughout the year, but now it’s busy all year long, June and July are particularly

Phoenix Bussing has been supplying sleeper buses for the music industry since 1988, growing from its original four converted buses – built by its founding members in a garage in the middle of the New Forest – to a fleet of 36 purpose-built Setra double-deckers. Clients include Muse, Kylie Minogue, Michael Bublé and The Killers.

“Our superb, modern fleet of doubledeckers are all 45ft [14m] in length

from TransporTaTion for The Music and filM indusTries

Happy New Year 2020 Tel: 0141 954 4641 • Mob: 07737 929381 • eMail: info@bandrunner.coM • Web: WWW.bandrunner.coM December 2019 • Issue 239 • www.liveuk.com

22 I SECTOR FOCUS and the interiors are built and maintained by our own team of highly skilled carpenters, electricians, mechanics, upholsterers and body shop staff,” says office manager Andy Gray.

“We operate artiste buses, 14 and 16-berths, with bedrooms and en-suite shower/toilet. Some bunks can be dropped in height to make condo bunks with extra headroom.”

Reacting with speed to last-minute changes or challenging circumstances is an essential skill.

“Schedule changes happen for various reasons – illness, weather etc – and we have to react quickly as it could have a knock-on effect to drivers’ hours, and whether they can do the next journey single driven, or if it needs a second driver,” explains Gray.

“Sometimes we need to find a driver at very short notice and fly them to the location of the bus to keep the tour rolling. Luckily we have a big pool of drivers throughout Europe that we can call on at times like this.”

“We have one client who requires his vehicle to be cleaned with only natural, non-chemical products” Tarrant Anderson

Andy Gray

Tarrant Anderson

Phoenix Bussing drivers have many years of on-the-road experience and are “well versed in the requirements of the touring industry,” says Gray.

“Comfort, safety and privacy are the big things that clients want from their tour bus arrangements. Also, a good smooth driver who is sociable and able to fit in with the touring party, with a clean bus and nice comfy beds.

“We often get drivers requested back by either production or tour managers, it’s fantastic they are wanted again, again; it shows they’ve done a great job and fitted in well.”

Summer, from mid-May to July, is its busiest period, with demand exceptionally high.

“We could have another 20 buses and it still wouldn’t be enough, with all of the acts touring over festival season,” says Gray.

The unknowns of Brexit are also on the horizon and it is having an impact and causing worry across the industry.

“It’s all guess work at the moment, as not even the government knows what’s going to happen. There are sectors of the industry pushing and lobbying to try and protect our industry, which is good,”

December 2019 • Issue 239 • www.liveuk.com

Vans for Bands - star bedroom

states Gray.

“All we can do is be as prepared as we can be for whatever happens and have things in place and then react accordingly.”

The company has just finished building bus nine out of 10 of the new model Setra S531DT and will be taking an order for another 10 to start in April 2020.

“Each bus comes as an empty shell from the factory, and our team build it in eight weeks ready to go on the road.

Then the next one then arrives, and the process starts again,” explains Gray.

Chemical reaction

In peration since 2006 and starting life as a splitter van hire company, Vans For Bands (VFB) has the largest fleet of splitter vans in Europe, as well as a smaller fleet of 10 to 16-berth premium nightliners.

It transports around 10,000 artistes and music industry professionals across both fleets each year, with clients including Sam Fender, Blossoms, Elbow, Giggs and Frank Turner.

The company has spent around £2 million on fleet replacements and upgrades over the past year alone.

“Starbuses are becoming more and

Phoenix Bussing’s artist bus

more popular and for this reason most of our coaches can now be configured in multiple formats, with up to two double bedrooms or multiple lounges being common,” says company director Tarrant Anderson.

“Our business has three parts – the vehicles, the drivers and our service offering, and they are all equally important,” he says. “Touring is an activity with a huge number of moving parts and anyone working in the industry needs to be able to deliver a high degree of flexibility in order to meet clients’ needs.

“We have one client who requires his vehicle to be cleaned with only natural, non-chemical products before and during the course of his tours. We remove any chemical products from the vehicle while he is onboard.”

Anderson agrees that Brexit is affecting the sector.

“This has been a really strong year for the touring industry, the only downside has been the continuing spectre of Brexit which has led a significant number of overseas artistes to start using companies based on the continent to mitigate the risk of being caught out by the ramifications of a no-deal scenario.

“We have the reputation to keep

GOING THAT EXTRA MILE ...

24 I SECTOR FOCUS

Beat the Street

Scott Fury

our vehicles booked out, but I’m aware some in the industry have found it more difficult. Brexit has put the brakes on the touring industry infrastructure in the UK, and the sooner it is resolved the better,” says Anderson. “The other major issue all transport companies are grappling with are tightening emissions regulations across Europe which are curtailing the usable life of coaches.”

Drivers, as with other companies in the sector, are one of the biggest assets for VFB. “Artistes often have preferred drivers who they request and who they have been working with for years. Drivers have to be skilled at driving PSV vehicles safely but driving a sleeper coach is also a skill in itself.

“Our drivers need to be friendly and know when to give our clients space and when to be on hand to lend assistance.

They also need to have a high degree of self-discipline and bus pride, to keep their vehicle in tip-top condition at all times.”

December 2019 • Issue 239 • www.liveuk.com

Star drives

Bandrunner works with clients including Ms. Lauryn Hill, Snow Patrol, and UB40 featuring Ali Campbell, and has over 30 splitter vans and access to buses as needed.

“We could have another 20 buses and it still wouldn’t be enough with all of the acts touring over festival season” Russ Tannen

“Safety is the main priority for clients, followed by discretion - of what is said in the vehicle will not go any further,” says owner Scott Fury. “You need to know when to shut up, and it’s also the old Victorian values of speak when you’re spoken to. Conversation flows as you build rapport with clients and they become comfortable with you.

“We’ve taken on a couple of drivers including Brian McGee, the original drummer of Simple Minds. He’s an excellent professional driver and we’re really happy to have him onboard.”

Fury also highlights low emission zones as a challenging area for the sector.

“We recently had a really quick booking to France and had no time to apply for a permit, which believe it or not, is sent out in the post. So we had no option but to wait outside of the zone in Paris and the artiste travelled in by metro. You can’t just drive in and pay the money - if you get fined, you get fined a lot.

“Fortunately we were able to get in after 8pm to d the pickl-up. Obviously we explained the reasons and the artiste understood, as it was a lasy-minute booking.”

What the vehicles look like is also obviously important too “The fleet is always being renewed,” states Fury. “It’s a continual process, with hundreds and thousands spent every year in upgrading the vehicles. It has to look nice as you pull up to a venue.”

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26 I

in association with

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

Dead Wax brought to life in Digbeth A NEW 650-capacity venue focusing on emerging artistes and DJs has opened in Birmingham’s creative quarter of Digbeth.

Opened by Brighton’s Laine Pub Co, Dead Wax Digbeth comprises a main bar area (cap. 100) and two live music spaces – upstairs (120) and Duck Bath yard (230).

The venue opened on 28 November with three days of events showcasing local acts and DJs such as Swampmeat Family Band, Brain Food and Violet.

“It’s an incredibly challenging time for venues and bars in the city and across the UK, so we’re doubly thrilled to be bringing Dead Wax Digbeth to life, with a

team that has worked very hard to create a very special offering,” says manager and former Sunflower Lounge boss Ben Drummond.

“We’re hugely grateful to all of the local creatives who’ve helped us put together a full and exciting launch weekend programme and we look forward to contributing to the city’s cultural fabric, live music offering over the coming months and years.”

Among the artistes booked to play at the venue are Wu-Lu, Broken Hands, Marthagunn.

The venue will also be home to a collection of 4000 records and will operate an “all vinyl, all the time” music policy.

Managing Talent Matthias Siefert Bizarre Management, London

E: matthias@bizarremanagement.com Your artiste roster: Emerging Manchester artist MNRØ, plus a couple of others that I’m not at liberty to talk about right now.

Favourite venues for seeing and/or showcasing new artistes: Lexington and Café Oto in London, Castle Hotel and Soup Kitchen in Manchester, Lido in Berlin and Moods in Zurich.

How important is it for artistes to play live: It’s arguably the most important part of an artiste’s career. Performing live builds confidence not just in music but in the artiste’s own mind. I’m still amazed by how frequently tracks that were in danger of being “overlooked” in the studio somehow take on a whole new meaning in a live setting.

Dead Wax Digbeth © Lyle Bignon

Other emerging acts to watch: Black Sea Dahu.

Greatest lesson learned: Always have a backup plan for pretty much everything. Even then, things can still go wrong.

Worst live experience: A London-based artist of mine was booked to play a high-profile festival in China. Due to an engine fault on the plane, she and her two musicians missed their connecting flight from Zurich to Beijing. This resulted in the band arriving on site three hours late and performing on the main stage in front of 20,000 people who didn’t take kindly to seeing their Chinese superstar’s headline slot delayed by a British upstart.

Current live music projects: All my artistes are currently in the studio writing or recording, so no live music projects until 2020.

Matthias Siefert

I S L I N G T ON ’ S N E W L AT E N I G H T M U S I C P U B T h e n ewly ref u r b i s h ed p u b i s a co s y m eet i n g s p o t fo r l o ca l s , g i g -g oe r s a nd musos alike, offering a strong selection of drinks, one of the only late licenses in the a r e a a n d a n e x c i t i n g c a l e n d a r o f D J n i g h t s , r e g u l a r m u s i c q u i z z e s a n d c o m e d y.

Upstair s you’ ll find our historic music venue with an exciting schedule of the best u p co m i n g b a n d s a n d f u n , f ree l a t e n i g h t p a r t i es.

I N F O & C ON TAC T: Opening Hours: Mon-Thurs 5pm-2am / Fri & Sat 5pm-4am Capacity: 50 + 150 Hire contact: info@thegrace.london

December 2019 • Issue 239 • www.liveuk.com

NXT NEWS I 27

in association with

Arts Council grant for Paper Dress LONDON VENUE Paper Dress Vintage (PDV) is the latest recipient of funding from Arts Council England’s £1.5 million ring-fenced fund for grassroots venues.

The vintage boutique and 100-capacity bar, which newly opened in 2015, has been awarded £36,000 to invest into a new D&B PA, a lighting rig and facilities.

“Grassroots music venues have been crying out for this type of investment for years and we’re very grateful that Arts Council England recognised the cultural importance of these venues and created a fund specifically to address those needs,” says founder Steve Dix. “At Paper Dress Vintage we’re very lucky to be surrounded by so many creative people in Hackney, not to mention all the emerging artistes who travel from all over the world to play on our little

stage.”

Though the exact amount awarded to PDV has not been revealed, The Supporting Grassroots Live Music Fund is open for bids between £1,000 and £40,000.

Venues can bid for sound and/or lighting, infrastructure (such as disabled access, backstage facilities) and a broad heading of resilience, with the provision that the money will be spent in full by 31 March 2020.

Music Venues Trust is providing venues with guidance for applications.

The Macbeth in Hoxton was the first venue to receive a grant, winning £15,000 to support and develop the venue’s cultural programme.

Among the artistes that have performed at PDV are Fat White Family, Public Service Broadcasting andThe Noisettes.

Stage Break

Bedford Esquires

Bedford Esquires Esquires, 60a Bromham Rd, Bedford, MK402QG Bookings: Gareth Barber T: 01234 631524 E: Gareth@thepadpresents.com

Gareth Barber

W: www.bedfordesquires.co.uk Capacity: 500+ over 3 rooms, 300 main stage, 170 room 2, 80 bar PA/lights: Yes Dressing rooms: 1 per stage Booking policy: Emerging artists, Indie, Post Punk, Rock, Hip Hop Best unsigned/emerging acts currently playing the venue: Warmduscher, Squid, Sorry, Dry Cleaning, BC Camplight, John, Sara, Sarpa Salpa, Alfie Templeman.

The best advice you can give the manager of unsigned/ emerging artistes: “Always put your music links in emails, nothing more frustrating than bands and managers sending through vague emails asking bookers to ‘check them out’. Oh, and if your artist gets big, always sending them to Esquires!”

• • ANDY C ST BOCELLI E V A R E Better known acts who’ve played the venue: R A D H N S E •A ALT-J Kate CLAY JAMGeorge ARSupergrass, OW • Muse, E• B L Wolf Alice, Royal Blood, Tempest, ID • E T S L K IM L T C U L A K L L S•A H • BFerdinand, ND OF S The Libertines, CHAINEzra, • BAMetronomy, Idles, Coldplay, RING ME SABBATFranz • ALICE IN OSSO • B.B. KING • BJORK • BLACK ILSON • B R W E N P O IA R O R B many more! AGE THE ELTom Grennan, Capital AQ The Murder Paper Dress Vintage EW •and SHElbow, LL ING ALICE C BRAND N Y VALENTINE • C IE BOE • E • AXWE ETH ORTON • BIG F • C L E N A N VID • IE • O D E Z T U IS • A • BOY RISSET CRAIG DA RAST FOR M KER • B IT O O • E S B O L T M A L T O O IS E U • B N B N N T O R A • IN N B I• • AL ONE IZZEE EY BA NJAM ARGE BON JOV AL GREY SURE • D GZY MAL DEINE • COURTN NKEYS • ARD • BE LE CLUB • N • BUDGIE • BU • DISCLO EYOND • CTIC MO EN HOW C O B R B S ACKERY Y C A G • & L • IC • E B E IN L B S V IT A H T IL Y T D O C M T B FREEMA N • EM BOMBA RCHITE PRETTY AN BAN X • BAS H E A • X D Y L T • U R JO C JA B E U IR CHINE T • L N • D IR S N B O S F E E • CADE + THE MA BAGE HVRCH NT • ELT PARTY • N ADAM S • DIIV E • BASEM C A A U C C • H Y W N O IO R Y E L IP O B R R L IR B IL L R L • O • E E E N A • FL UGH • GAR F•D BEAR UCK B ORS • BARRY M TBOY SLIM SION ORCHESTRA ING THRO POWER • BROWN CHRONIXX • CH DEERHOO • EAST 17 • EDIT A D • F E K E • L P IC B EN • T O • R R LIPA DEE D • FU ANK GRE DY’S D ANCHE ISH SEA TATUS • GUETTA • ER CLARKE • DUA R A FRIEN HAEL • HAIM • H HASE & S FAT FRED VI • BRIT ID O C • • JAKE V F JO • E A Y L N U D IT A IL O R H • O P M B E HE • JACK W GE MIC ESS • FA S • FUN • R L E B • CARIB DAVID GILMOUR S • DR JOHN COO E O H I -Z E AIG D IT Y G U R A F F JA A • • E C NGL • K OM • ING • DEAD AND RA • LETT PHANT • EVERYTH RATEFUL Z FERDIN PALACE.C ND THE LICKS • JU IZZLE • ANNY VE N BROCO • DON G N A G D R A • • IN R D R F H N IR A T • A E A Y X B R B R A Y EVE .ALE RNE TTE HAL CURVED SPIE • DO • GRIZZL L • WWW ST • JULIE D ZEPPELIN • LET FRANK TU E JONES TERNAL • MARI ZY GILLE INTERPO DAS PRIE E DE SIX • E ALS • FOUR TET • C • L H BAND • Y JU A O S T • R T • IS R E CAL • DIZ G M P E A P E E E • N T R • E S ’S O A I T T Y O N C T R S S F ER N L A O S D S • S L A A N IK Y E R M IR U H JO A M M S P D CH ITH • CD SO • INS • FLU LIST • NFRED • ENTER JORJA SM LACUNA COIL • L A FRIEND E MICHAEL • GOO IDLES • INCUBUS FT. NOVE Y ZER • MA Z • E R A Z C E L O K O F N R R • A L A JO L A D L A R A • FUNE AKER • ORBIT OPER C S • MUM ESS • M H • • GEORG R O S N BROWN E S C S D A T E N E O• L A N A B V B U IA H M E M W IE K • • C O H Y JO • RNER BUT T MUDD Y • PLA • GAZ CO COCK • HOT CHIP MIE XX • JAY-Z • KIRSTY MACCOLL LOYLE CA I • MORRISSEY • IE NOTHING IXIES • PJ HARVE • N • S N E N JA T • B O A E • N R H H M T P • O YS • P HERBIE OGWA IGAN STPRO AN JAY S OF LE • JAMIE O D O M M G B L N O R • P IN R • W O Y K E O • T • N O S • D H T S R • S A S R E LIGH GRA • LO EEDS • PET S DYN • JAMES B ASABIAN • KEAN • RAZOR HE BAD S ER GABRIEL E • SUPER EMICAL S • LOGIC • MINGU NE MAN FS • K CAVE & T G • SUED T LE HAVA O H ONOMY E K B E R IN C P ’ T T IC N E S • E N N N H E M D T G • Z IA Y A • SER CHIE • E L E K DOLL OKERS NES • R • SQUE ALLICA INK FLO GHER • R T S P O M A E E S O T L • S V Y M L JAM • TH IN R A G A E • E A L W L G S H F E H IN L T LIAM E ROLL ETH • N • THE C AUL WE EAT LOA RORS • RILLEX • H T R S P T K R M A • Y S • • Z O E • S • K E A E H N A S E N K E E IV E B E IC C S H • R U •T CCA E RO E BLA • METALL US • NEW ORDER RKWAY D PULP • Q THE HIGH • THE MA SH ARK • TH THE STON ISCO • PA • PORTISHEAD • EV NTHEM • • THE LUMINEERS THE SMA KEPTA • RS • THE A S • A T • E S H B S IT Y 2 O L IG JETS • NA • PANIC! AT THE D S R L E IG S E H R D E A H T U O T H G IN • T R IG • E N 5 S P • S H 7 Y E E • T 9 S E K E 1 TH N LIPS • E LUC G STON N DRUG OSBOUR TAL • SAD TER • THE FLAMING NG BLONDES • TH E ROLLIN RC E WAR O E H H O T H T T O • RUDIMEN T • TEN YEARS AF • D • S • S E S O P S K AM 239 • www.liveuk.com • TW E RA December RKNE HE LO THE• VIssue LOOD ES •2019 EC E PILOTS IGY • TH TAKE THA • THE DA TINES • T ROYAL B E VACCIN M • TWENTY ON OVEMENT • WHIT HE PROD HE LIBER • T. REX • ARTHUR BROWN T H T T • IA • SCOTT • • S F S S G A T E Y M IN P A E E H T P M S F W T Y U E U B O S S Y P U O D T D O S T H W L N R E E R U N SO Y WO SHADO WHITE THE PR ES • TH SWEDISH EEHIVE • THE LAST THE CRAZ IS • TROJA ECTIVE • HE STROK

FOREVE 1873 -

R

HELLO HELLO (OLA)... SO, HERE’S A STORY FROM A - Z FROM ANGIE TO HEY JUDE TO SWEET CAROLINE TO SOME KIND OF BEAUTIFUL STRANGER... YOU CAN STAND UNDER MY UMBRELLA AND I’LL KEEP YOU SHELTERED FROM THE STORM. LET’S GET THIS PARTY STARTED ON A SATURDAY NIGHT… SO WE CAN DANCE ALL NIGHT TO THE BEST SONG EVER! IN SUCH A LOVELY PLACE (SUCH A LOVELY PLACE).

20

’S IE NE UL ND LL HE TY T… HE LY

20 years…. 1 Stadium, 1 roof, 142 artists, 50 concerts and over 2.5m people, from all of us at Principality Stadium, thank you for the memories!

So, what about us?

I think you might like to hear from us, and let me show you what it’s all about...

Alex Luff, Venue Sales Manager — AlexLuff@wru.wales

30I

PRODUCTION NEWS Newsbites FOLLOWING TAIT’S acquisition of Brilliant Stages (see LIVE UK, issue 238), the US company’s British arm will operate from The Production Park (PP) in Wakefield, where Brilliant will share facilities with businesses including AC Entertainment Technologies, Illuminate Lighting, KRS Rigging Services and the Backstage Academy.

PP CEO Lee Brooks says, “By welcoming Tait onto the campus, at a stroke we’re increasing inward investment and recruiting another collaborator to our industry innovation programme.” Tait clients include Lady Gaga, The Rolling Stones and Elton John.

LIGHTING CONTROL manufacturer, Artistic Licence, says its ethernet gateways (sockets and plugs) now support multiway protocol conversion between different software systems, meaning each port can be configured as an input as well as an output. This enables the product to split or merge data from protocols such as Art-Net, sACN and DMX/RDM data with greater flexibility, according to the company, which works with suppliers including White Light, AC Entertainment Technologies and EPS Lighting.

THE 1,700-CAPACITY Electric Brixton in London has upgraded its lighting system as part of a major refurbishment, installing an LX console, new fixtures and additional motors above the stage and audience, promising lighting directors greater flexibility. “This is stateof-the-art equipment, improving the quality and reach of the system,” says Electric Brixton production manager Tom Cull.

Artistes playing the venue include Bakar, Ari Lennox and Pvris.

Audio brands regroup as Solotech UK FOLLOWING THE acquisition of SSE Audio Group by Canada’s Group Solotech in November last year, the company is to realign into a unified British structure.

SSE and its subsidiaries, Wigwam, Capital Sound and BCS Audio will be known as Solotech UK as of 1 January 2020, under the new joint leadership of MDs, Alex Penn and Spencer Beard.

Penn leads the sales and installa-

tions side of the business while Beard, formerly Wigwam’s MD, heads up the hire and live productions side. Both now becoming part of Solotech’s global senior management team.

SSE co-founder John Penn takes a new role as strategic advisor. “After all these years steering the SSE ship, the time has come for me to reduce my day-to-day role in the active management of the business,” he says. “With

this role I can help the group take the next steps in its development and I’m pleased that Spencer and Alex are taking the leadership of our ever-expanding Solotech UK group.”

The UK operation works with Coldplay, Arctic Monkeys, The Prodigy, Madness and Little Mix, while globally, Solotech clients include Taylor Swift, Celine Dion, P!nk and Michael Bublé.

A-ha’s screen of many colours THE HUNTING High and Low Live tour by A-ha took the unusual step of introducing the 10-bit video to their visual display, featuring a video by animator Knut Helgeland.

The format allows content creators the use of one billion colours, compared to roughly 16 million colours afforded by the conventional 256

RGB approach.

The decision required Video Design to source a screen capable of accepting 10-bit, rendering the artiste’s content in that format and to create the network to manage the significantly increased data traffic flows, according to the company’s MD Alex Leinster, who worked with video designer

Video design at work with A-ha

Rigging Services

Icarus Wilson-Wright.

“Icarus had obviously been thinking about this for some time,” says Leinster. “The content he saw Knut developing was so beautiful that he felt this was the ideal opportunity: that the result would entirely validate the effort and expense.”

Video Design invested in two 10bit ready gx2c servers by manufacturer Disguise for shows at venues including London’s Royal Albert Hall (cap. 5,200), The SSE Arena (11,000) in Belfast and Leeds’ First Direct Arena (13,600).

“Switching up to HDMI 2 [10-bit] from 256 RGB colour integers per channel at 8-bit, to 1024 at 10-bit is massive,” says Leinster. “That forced us to think it through again. It’s not just the new gx2c servers, we have had to invest in new infrastructure – new matrices, new switches, new cable systems.”

The tour screen supplied by Video Design was a 140m² of ROE CB5.

info@riggingservices.co.uk

FROM A CORNER BLOCK TO A COMPLETE ROOF SYSTEM

HIRE SALES INSPECT TEST TRAIN CONSULT INSTALL PROJECTS December 2019 • Issue 239 • www.liveuk.com

0845 5 55 65 75

SYMPHONY HALL

1,900 fully seated 2,200 fully seated (including choir)

TOWN HALL

880 fully seated 1,200 standing/seated

TWO ICONIC VENUES Recent artists appearing include: Hozier • Nick Cave • Biffy Clyro • Editors • Sheryl Crow • Robert Plant • Gary Barlow • Kelly Jones • Ben Howard • Sophie Ellis-Bextor • Gladys Knight • Grandmaster Flash • Soul II Soul • Tower of Power • RuPaul’s Werq the World Tour • Sarah Millican • Rhod Gilbert Contact: Chris Proctor, Head of Programme Chris.proctor@thsh.co.uk / programming@thsh.co.uk 0121 644 6157

AUDIO � VIDEO � LIGHTING � RIGGING � AUTOMATION & SFX � BACKLINE � digital media � scenic & staging DESIGN � CONFERENCING solutions � venue SERVICES � advanced technology � EXHIBITION SUPPORT UK:+44 845 900 0606 � UAE:+971 4 880 0092 � KSA:+966 55 410 6440 eventrental@productiontec.com � productiontec.com

I 33

PRODUCTION NEWS

Björk keeps audience immersed Sound direction for SEEKING A sound for her Cornucopia tour that drew audiences into “another world”, Björk has scaled up a production developed at The Shed (cap. 2,700) in New York, on her latest visit to the UK. Playing venues including London’s The O2 (21,000) and Glasgow’s The SSE Hydro (13,000), she needed a system that would translate the subtleties of her audio to a larger crowd.

The singer worked with front-ofhouse (FOH) engineer John Gale, High Wycombe-based Southby Productions and manufacturer d&b to run the audio company’s Soundscape Immersive system with d&b KSL speakers.

Immersive effects were achieved using En-Space room emulation software, plus

the En-Scene object-based mixing facility (which allows the engineer to specify different mixes for different environments).

“Björk wanted the sound for Cornucopia to create an other-worldly experience that draws all the visual, aural and virtual elements together,” says d&b’s Steve Jones. “By using Soundscape from the studio all the way through to the show performances.”

John Legend at BluesFest © Ben Turnbull dbaudio at work with Björk on Cornucopia

Diamonds in the sky with Kodaline THE LIGHTING designer for Kodaline’s UK tour, D Reilly, adopted the band’s diamond-shaped logo using three large diamond-shaped trusses as the visual core of the show.

With one flown over mid-stage and the other two mounted stage left and right on two truss columns each, the geometric patterns were designed to create a “powerful, consistent and easily identifiable look” for the band at venues

Kodaline

Audio Hire Consoles PA Systems Monitoring Mics & Splits Radio Systems Comms IEMs Outboard Recording Production Rehearsals The Pro Shop Staging Hire Rolling Risers Transport Crewing Technicians

Legend’s arena show

including London’s Roundhouse (cap.

3,000), Glasgow’s O2 Academy (2,500) and the O2 Victoria Warehouse (3,500) in Manchester.

Needing to outline these features in “vivid” colour, Reilly chose Epix Strip Tour fixtures by manufacturer Chauvet Professional.

“Although there is a level of subliminal branding with the patterns, which mirror the logo, it’s a very attractive and engaging look,” says Reilly. “It draws eyes towards the stage. Because it’s also very modular, it allows us to create a consistent environment to perform in as we move from one venue to the next. We can cut down the size of the patterns for a smaller stage, but it’s still the same feel.”

Reilly weaves the ÉPIX Strip fixtures into his design with chase sequences and can use the strips to show pixel mapped video images created by Lumio Productions.

THE AUDIO system used by John Legend and his 11-piece band for a performance at The O2 (cap. 21,000) in London, as part of the multi-artiste BluesFest event, needed to adapt to the acoustics of a reduced auditorium, with the “horse-shoe” seats on the rear of Level 4 excluded from the mix.

Both the front-of-house (FOH) and monitor engineers for the show declared themselves impressed by the Martin Audio MLA system installed by Capital Sound for the event.

According to FOH engineer Paul Klimson, “The MLA was forward sounding. It sounded like we were at an outdoor festival and all the energy was coming out of the front of the array, with very little spill off the back.”

Because of the clean

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sound, he was able to do away with some processing and EQ effects he had used in past shows.

“It felt like a clean slate,” he continues. “The low-end down front was not oppressive, but still translated well in the back and upper bowl. There was great transition from mains to side hangs and up to the top seats. Our monitor engineer, Jon Ostrin said it was a great show from the stage as well.”

To manage the reduced upper tier seating plan, Capital focused the main hangs on the lower bowl and increased the size of the side hangs. Eleven MLA and two MLD Downfills were deployed each side as the main hang, with 16 MLX subs arranged in a cardioid broadside array.

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

December 2019 • Issue 239 • www.liveuk.com

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

Period

Contact details

Artistes

Period

Contact details

Artistes

Period

Contact details

5K HD

May

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

Joe Satriani May

Alexis Ffrench May-Jun

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

Amy May Montgomery

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

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

Anathema

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

Atari May Teenage Riot

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

Boyz on Block

May

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

Blackfoot

May

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

Bernie Marsden

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

Cameron Graves

May

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

Jungle Brothers Cameron Groves

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

May

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

Callaghan

Apr

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

Dreadzone May

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

Frank May Gambale & All Star Band

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

Fofoulah

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

May

Graham May Gouldman’s Heart Full of Song Gong

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

Hannah May Sanders & Ben Savage

Callaghan

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

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

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

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

Juan De’ Jun Marcos Afro Cuban All Stars Kathryn Williams

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

May

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

John Bramwell & The Full Harmonic Convergence

Kenny Jones Jun and The Jones Gang

Mark Lundquist MLM Concerts T 07971401510 mark@marklundquist.com

Lindisfarne May

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

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

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

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

December 2019 • Issue 239 • www.liveuk.com

Since 1983 Fat Sam’s has been one of the most vibrant dynamic and recognizable live music venues in Scotland. We have hosted some amazing shows over the decades...Danny Wilson, Simply Red, Fairground Attraction, Deacon Blue , Gabrielle , Hue and Cry, Stiff Little Fingers, The View, Calvin Harris, Paulo Nutini , Imelda May, Biffy Clyro, Twin Atlantic, Franz Ferdinand, KT Tunstall. The Charlatans, The Courteeners, Gerry Cinnamon, Seasick Steve, Chvrches, Foals, Two Door Cinema Club, Lewis Capaldi, Sam Fender, and many more!

Three separate rooms with capacities of 300, 550 ,1100 make us one of the most versatile around.

Fat Sams and Fat Sams Live, 31 South Ward Road Dundee DD1 1PU Tel 01382 226836 | For Bookings contact : gus@fatsams.co.uk

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

Period

Musical Youth

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

Tokio Hotel Jun

Nazareth

Sep

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

T-Rextasy

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

NOËP

May

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

Wolfgang Flür

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

Potato Head June Jazz Band

Contact details

Artistes

Period

Contact details

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

SAZ’ISO

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

Seth Lakeman

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

Period

Willie & May The Bandits

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

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

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

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

The Jim Dandies

10cc

Jun-Jul

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

The Trials May of Cato

The Jim Dandies

Jul

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

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

The Trials of Cato

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

The Wildhearts

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

Toploader

May

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

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

The Lumineers

They Might Aug Be Giants

Kathryn Williams

Artistes

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

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

Seth Lakeman

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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December 2019 • Issue 239 • www.liveuk.com

38 I BACKSTAGE STARS BACKSTAGE

STARS

Profile

Amy Field As senior events and sponsorship manager at PRS for Music, Amy Field – winner of the Backstage Star award at this year’s Live Music Business Awards – is responsible for over 200 events and sponsorship activations each year. She organises PRS’s involvement at festivals such as Glastonbury, The Great Escape and British Summer Time. She also launched PRS Presents in 2015 where featured artistes have included Kate Tempest, Kojey Radical and Idles.

What are your first live music memories?

“My first solo gig experience without the folks was at a local youth centre in Guildford, called Plantation. I was probably in year eight or nine at school at the time and I saw a pop-punk band called Fastlane. I had my first mosh, and it was the first time I felt like I found a community.

“But it was when I was in sixth form that a gig really impacted me. It was at a at the back of The Star [100] in Guildford. A local magazine called Spill Mag put on a night and one of my favourite bands at the time, Million Dead [now Frank Turner], performed. The room is so small and personal. I went mad in the pit and ended up jumping on stage with Frank. I felt so alive and, to this day, it’s one of the gigs I will never forget.”

“I studied art at uni but felt very lost with what to do with my life when I left. I did a quick course and became a PA and worked in Pall Mall, London, which is a super fancy job to have at 18/19-years-old. I learnt so much in that job in terms of organisation, managing time and spinning many plates.

But it was lacking the music I craved to be around. ”

How did you get into the entertainment industry?

“I left my PA job and started as an admissions assistant at the Academy of Contemporary of Music [ACM] in Guildford. I was surrounded by music, students studying in business, tour management and performance, plus we had an industry team that connected students with the music industry. I realised my true potential at ACM and worked my December 2019 • Issue 239 • www.liveuk.com

LIVE UK intervie ws key people who help shape our industry

way up to the Industry Link team. We put on gigs every week, hosted and ran stages at festivals and helped develop students to get into the industry too.

“I worked my way up to be brand manager at ACM which was a massive achievement for my age. It included doing lots of live work, also marketing and organising an many events and projects. It let me see the overall landscape of the music industry and meet and work with all the different sides and gain and overview.

“I also did some freelance events in my spare time which took me around the world to Los Angeles, Mexico and more. I worked on private events which included looking after artistes such as Stevie Wonder, Bruno Mars and Katy Perry.”

What were your high and low points

“Working at PRS has led me to my biggest achievements such as founding and running PRS Presents, for which member artistes come into our offices and perform. I also run our Glastonbury activation, host over 200 guests, book over 25 bands and manage our venue, the build and all the suppliers, contractors and over 30 staff. I love this festival and being part of that community is so huge for me.

“I was proud this year to host a [PRS} Heritage Award presentation at the pub went to in sixth form days, The Star in Guildford. We invited The Stranglers back to perform and reveal a plaque to show that was where they first played.

“I have also had many low points of selfesteem and mental health is very important in this industry. We get can disillusioned

and be on a high, due to the nature of what we do. I will admit I have been lost and low many times through my career. But I have always found a way back and that is due to friends and colleagues and staying humble and grounded.”

Where do you see the industry going?

“The live industry is so important and always will be, but venues are closing so we need to make sure we go to gigs and support our local community. These places are the starting point for most of the bands we all know and love.

“Sybil and Ward who run Independent Venue Week are doing so much work and support in this area, as is Mark from Music Venues Trust.

These guys are what help keep the grassroots of the live scene alive.”

How do you unwind?

“Yoga is my release, being with my animals are my love, long walks and living by the sea in Brighton is the best thing I ever did.

“I would love to be a nomad and let go of what society thinks you need. Time is precious so I want to go see more of the world.

“I am also a crazy animal person and have a dog called Roxy, a cat called Loui. Also, I’ve always kept chickens. I’m known as a crazy chicken whisperer.

“My sister moved to Thailand for work, so now it’s like a second home to me and I love being with her.

“I’ve been with my husband Scotty since 16-years-old and I would be lost without him by my side.”

NOTTINGHAM AMSTERDAM B E R L I N L I B S O N L O N D O N LOS ANGELES M A D R I D M A R S E I L L E P A R I S N A S H V I L L E

workwithus@seetickets.com

BRANgWYN HAll, SWANSEA

Highlights include Paul Young, Bullet for My Valentine, Frank Turner and The Sleeping Souls, Christy Moore, Russell Watson, Marti Pellow, Public Service Broadcasting, The Proclaimers, Ben Elton, You Me At Six, BBC National Orchestra of Wales and The Overtones Seated capacity: 1070 l Standing capacity: 1360 l Flexible capacities l In-house generic lighting l Full box office, marketing/press and technical support

TWITTER www.twitter.com/thebrangwyn

BRANgWYN HAll The Guildhall, Swansea SA1 4PE

FACEBOOK www.facebook.com/TheBrangwyn

FOR RATES ANd AVAIlABIlITY Call 01792 635432 or email tracy.ellicott@swansea.gov.uk