ISSUE 242 MARCH 2020 UK ÂŁ6.25
Why not me?
Grace Carter reafďŹ rms headline status
Ticket tout fraudsters are jailed Kilimanjaro backs new promoter Business rates relief for some venues Committed to the unsigned and emerging live sector see page 26-29
Dedicated to the Business of Contemporary Live Music
CONTENTS I 3
Contents
ISSUE 242
4-13 News
The business of live music
8 Forthcoming Events
Key industry gatherings 14-19 Sector Focus Tour Accounting Comment from the key players in an essential live music business sector
20-25 City Limits Middlesbrough A look at the people and venues behind live music in the city
26-29 NXT News
Business activity in the unsigned and emerging artiste sector
26-29 NXT Profiles
Insight from the venue operators, artiste managers and A&R executives
20
30-33 Production News
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
14
Publisher & Managing Editor: Stephen Parker
Accounts Manager: Murali Sri Balaskanda
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Accounts Manager: Anna-Marie Henderson
Editorial Contributors: Allan Glen, Christopher Barrett, Claire Bicknell, Mike Gartside.
Editorial: Lisa Henderson
Sales Director: Gareth Ospina Advertising Executive: Tom Brint
Circulation Manager: Victoria Brush
T: 020 7486 7007 E: lisa@liveuk.com Advertising: Gareth Ospina, Tom Brint T: 020 7486 7007 E: gareth@liveuk.com E: tomb@liveuk.com
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ISSUE 242: March 2020 Subscribe online at: Circulation & Subscriptions: www.liveuk.com Published monthly by: Print: Victoria Brush Stephens & George Ltd T: 020 7486 7007 www.stephensandgeorge.co.uk E: victoria@liveuk.com Cover photograph: © Rex A subscription costs £75 per annum and includes 26 Dorset Street, London W1U 8AP, United Kingdom 12 monthly issues of LIVE T: 020 7486 7007 UK, four seasonal issues of F: 020 7486 2002 Festival, the UK’s Best Venues E: info@live.uk.com For Contemporary Live Music W: www.liveuk.com directory and other annual publications and free digital The opinions expressed by contributors to this publication are not always a reflection of the opinions or the policy of the access to all publications. 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. Design: Charles McQuaid
March 2020 • Issue 242 • www.liveuk.com
4 I NEWS
Touts given jail sentences in ground-breaking prosecution TICKET TOUTS who resold By facilitating the activities of hundreds of fraudulently obtained online touts, there must be conconcert tickets at inflated prices cerns that the platforms themselves have been jailed for a total of are profiting from the sale of tickets six-and-a-half years, marking the unlawfully acquired by their biggest first successful suppliers. prosecution against This should be invesa resale business. tigated as a matter of Peter Hunter was urgency, and lead to sentenced to four action against those years in prison, platforms if they have and David Smith benefitted from the to 30 months, after proceeds of criminality. jurors at Leeds Long-time camCrown Court found paigner against secthe pair guilty of ondary ticketing Shafraudulently and ron Hodgson MP says, dishonestly buying Adam Webb “Today’s sentence is and reselling tickets a victory, but there is for concerts by artistes such as Ed much more to be done, with webSheeran, Madness and McBusted sites such as Viagogo and StubHub through their company BZZ Ltd. still operating and other ticket Following an touts using simiinvestigation by lar fraudulent “Today’s sentences send a National Tradtechniques to strong message to similar ing Standards’ illegally acquire eCrime Team, tickets. online ticket touts – these are the judge found “To truly tackle criminal offences that can lead that Hunter and this issue, we to prison sentences. Smith made a need more fundLord Toby Harris net profit of £3.5 ing for National million in the last Trading Stantwo years of the fraud, committed dards and the Competition and between May 2010 and December Markets Authority to investigate 2017. suspected touts, and for brands “These sentences represent a such as Google to stop sponmajor blow to online ticket touts sored advertising for Viagogo and who break the law StubHub.” and rip-off the pubNational Trading lic,” says Adam Webb, Standards chair Lord campaign manager Toby Harris says, “This at anti-ticket toutis an important mileing organisation Fan stone in the fight to Fair Alliance, which tackle online ticket is funded by artiste touts who fraudulently managers. buy and resell tickets to It’s a fantastic thousands of victims, result for National to line their own pockTrading Standards ets. Today’s sentences and for music lovers send a strong message Sharon Hodgson across the UK, and to similar online ticket should also send touts – these are crimishockwaves through the likes of nal offences that can lead to prison Viagogo and StubHub, whose busi- sentences. I hope this leads to a nesses are dependent upon large- step-change in the secondary tickscale resellers. eting market, making it easier and March 2020 • Issue 242 • www.liveuk.com
safer for consumers buying tickets in the future.” The investigation by National Trading Standards found that the defendants used several dishonest and fraudulent tactics to purchase multiple tickets from primary ticket sellers such as Ticketmaster, Eventim and AXS, which breached the platforms’ terms and conditions, and circumvented their automated systems to block multiple purchases. This saw them use fake names and addresses to bulk-buy tickets
to the Ed Sheeran’s Teenage Cancer Trust show at London’s Royal Albert Hall (cap. 5,200) in March 2017 and sell them for almost four times face value (see LIVE UK issue 240). The pair also involved a number of other people in their fraud, making them liable to arrest and prosecution. This includes those who allowed their credit and debit cards, names, addresses and other details to be used to misrepresent the identity and nature of the purchaser.
OVG to submit plans for Manchester arena OAK VIEW Group (OVG), the US company behind the plan for a second arena in Manchester, is close to submitting a planning application to the city council. The company is hoping to build a 23,500-capacity arena in the Eithad Campus, the site of Manchester City football club’s Eithad Stadium (cap. 63,000) in Eastlands, which would rival the existing Manchester Arena (21,000) and rank as the largest in the UK. “We came to Manchester knowing that we needed to develop our proposals in a way that would support the needs and priorities of the entire city and deliver a venue that would enable Manchester to thrive in an evolving entertainment market,” says Tim Leiweke, co-founder and CEO of Oak View Group. “We will present our full analysis of the Manchester opportunity along with our plans and are committed to engaging in dialogue and scrutiny throughout the planning process to ensure a second arena is
a win-win for the city.” Working with City Football Group, OVG has been undertaking feasibility studies and community consultations since last August (see LIVE UK issue 239). The company says it plans to submit a planning application in the coming weeks and, if success-
OVG Manchester Arena
ful, envisages the venue opening in 2023. OVG was founded in 2015 by former AEG CEO Tim Leiweke and former chairman of Live Nation Entertainment and legendary artiste manager Irving Azoff, and also owns US live industry publication Pollstar. The exiting Manchester Arena is operated by ASM Global, created by the merger of AEG Facilities and SMG in October last year (see LIVE UK issue 237).
NEWS I 5
Kilimanjaro backs merger of One Inch Badge and Rockfeedback REGIONAL PROMOTERS One Inch Badge and Rockfeedback are joining forces to launch new venture FORM, backed by Kilimanjaro Live. The two companies will operate as FORM Presents outside their local markets of Brighton (One Inch Badge) and London (Rockfeedback), where they will retain their established brand names. The combined entity expects to promote more than 600 events Dan Monsell per year. Kilimanjaro, majority-owned by German conglomerate Deutch Entertainment AG (DEAG), has taken a stake in the business and will act as an advisor. The size of shareholdings was not available as LIVE UK
that feels new and different.” went to print. Kilimanjaro Live director Steve TilRockfeedback co-director Dan Monsell alongside co-director Toby ley says “I’ve known Dan, Alex and L, who also founded Transgressive Toby for several years and when they first raised the idea of joining forces and inviting Kilimanjaro to be part of their long-term plan it was a complete no brainer to me.” FORM’s combined roster of clients includes Flume, Father John Misty, The War on Drugs, Kate Tempest, Marika Hackman, Dream Wife Steve Tilley and Sophie. The new business will also build Records, says “Following on from years of successful collaboration with on the companies’ touring arts and Alex and all at One Little Badge, we’re culture events, which have included delighted to have found a great, book launches and comedy shows natural way to bring our brands for artistes including Akala, Beastie together, whilst creating something Boys and Kim Gordon.
All fired up PROPELLED BY her 2017 debut single Silence, Grace Carter played the opening spot on tours with Dua Lipa and Rag’n’Bone Man before embarking on her own headline shows, showcasing her most recent single Amnesia. Concert dates this month include London’s O2 Shepherd’s Bush Empire (cap. 2,000), Manchester Academy 2 (950) and O2 Institute2 Birmingham (600). “Grace tells incredibly powerful stories with her music after having taught herself to play the piano,” says her co-agent Solomon Parker, who works with Nick Matthews on the project, both at Paradigm Talent Agency. “Her live show is a rollercoaster of emotion and stunning raw vocal power. It was obvious that a large part of being able to develop a fanbase for her was going to be about being very active in the live arena. From small and then medium sized headline shows and plenty of slots at festivals to supporting
Newsbites FLYDSA ARENA (cap. 13,600) in Sheffield has invested £1.5 million in the venue’s infrastructure, refurbishing dressing rooms, improving counterterrorism measures and installing a new ice plant for ice hockey season. The arena is operated by Sheffield City Trust, a notfor-profit organisation working closely with Sheffield City Council, and reinvests all profits back into its facilities and services. Upcoming shows feature Harry Styles, Stormzy and Gerry Cinnamon. FORMER GROUPON UK ticketing executive John Gibson has been appointed MD of Eventim UK, a subsidiary of German panEurope ticketing and promoting behemoth CTS Eventim. Gibson has also previously held positions at SeatGreek Entertainment, Vivaticket, Ticketmaster UK and Seetickets. Eventim UK was launched in 2009.
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COVER ARTISTE Haim, Mabel, Dua Lipa and most recently Lewis Capaldi. “It has been an incredible couple of years so far, alongside Tap management and Polydor. Bigger venues, bigger stages, more markets – the world is her oyster.” Ben Mawson at Tap Management in London handles Carter’s business affairs.
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March 2020 • Issue 242 • www.liveuk.com
6 I NEWS
Viagogo-StubHub merger complete but CMA continues its investigation CONTROVERSIAL RESALE website Viagogo has completed its £3.9 billion ($4.05bn) acquisition of StubHub from eBay, announced in December. However, the Initial Enforcement Order (IEC) issued by the Competition & Markets Authority (CMA) still prevents the companies from integrating the websites while it continues its preliminary investigation (see LIVE UK issue 241). “We are pleased to confirm the closure of our purchase of StubHub, an important milestone in
our journey to deliver a more competitive customer offering,” says Viagogo MD Cris Miller, based at the Geneva-registered company’s London office. “The two businesses, Viagogo and StubHub, will remain separate globally in line with the recent order from the CMA until their examination into the deal is complete.” Adam Webb, from anti tickettouting campaign group FanFair Alliance tells LIVE UK, “I suspect the chances of regulatory approval are far higher in the US. But only
because StubHub operates in a highly competitive environment over there, with other secondary sites like VividSeats and SeatGeek also vying for resellers inventory. “The UK is completely different. Viagogo and StubHub don’t have that type of competition. While they engage in commercial secondary ticketing, the rest of the market is heading in the direction of capped, consumer-toconsumer ticket resale. “For those reasons, the impacts of the merger would be far more profound in the UK and Europe. It
would consolidate market power in a solitary monopoly platform. And one that carries considerable baggage and no end of controversy.” The IEC bans the companies from taking any actions to the integration and requires the CEO of each firm to provide the CMA with statements confirming compliance every two weeks. The CMA will follow this preliminary inquiry with a formal Phase 1 investigation, in which they consider comments submitted by third parties.
Vodafone to showcase new tech at SSE Hydro VODAFONE HAS partnered with The Scottish Event Campus (SEC), owners and operator of The SSE Hydro (cap. 14,300) arena in Glasgow, to sponsor a new “super suite” at the venue for the telecoms giant’s customers and guests during events. The company’s VeryMe customer loyalty app will also offer Vodafone users the opportunity to win tickets to events at the venue. Due to open this spring, the suite will also be used by Vodafone to showcase new technology such as Internet of Things applications and 5G. Opened in 2013, The SSE Hydro hosts around 150 events per year, with upcoming concerts featuring The 1975, Lewis Capaldi, The Who, Nick Cave and Pet shop Boys.
March 2020 • Issue 242 • www.liveuk.com
The SSE Hydro
NEWS I 7
Music venues benefit from business rates reduction FOLLOWING THE Government’s announcement of a business rates reduction for high street retailers, which includes small and mid-sized venues across the UK from spring (see LIVE UK issue 241), more information has come to light on the criteria applicants must meet in order to be eligible. HM Treasury stated that venues in England and Wales with a rateable value up to £51,000 could be granted a 50 per cent business rate relief from 1 April. Further detail comes from the Ministry of Housing, Communities & Local Authorities, which has issued guidance to local authorities in England that will be adopting a local scheme and determining when to grant relief under the retail discount 20/21. The policy covers “hereditaments [heritable properties] wholly or mainly used for the performance of live music for the purpose of entertaining an audience”, which excludes venues that are wholly or mainly used as a nightclub
or theatre. Premises can be classed as live music venues if used for other activities but only if those activities are “merely ancillary or incidental to the performance of live music”, such as the sale of alcohol or infrequent uses that don’t affect the primary purposes, such as community events. Venues below a rateable value of £12,000 do not pay business rates (LIVE UK issue 241), Julie Tippins Music Venues Trust (MVT), which lobbied for the changes, along with industry umbrella organisation UK Music and the Musicians Union, estimates that £1.7 million will be released back into the grassroots live music sector, with an average reduction in rates of £7,500 per year for 230 grassroots venues likely
to be affected. However, MVT declines to name the 230 venues, which it says are members of its Music Venues Alliance. Promoter and multi-venue owner DHP Family owns Thekla (cap. 600) in Bristol, which has a rateable value of £31,000 and is therefore eligible. “We intend to claim for Thekla, but we’ve got three venues that are smaller, hardly make any money whatsoever, and are heavily penalised in terms of business rates that aren’t eligible for the relief,” says Julie Tippins, head of risk management for DHP Family. “We reckon Thekla will save around £7,500 a year with the 50 per cent relief, but we have to go through the application process
and see whether it works out.” Among DHP Family’s smallest venue are The Bodega (220) and Rescue Rooms (450), both in Nottingha, along with Oslo (375) and The Garage (400) both in London. Max Harvey, who co-owns The Craufurd Arms (250) in Milton Keynes along with Jason Hall, called the scheme “a victory” for music venues”. “We haven’t looked into it yet but we look forward to applying as the saving would benefit us greatly. Our next project for the venue is putting in a gender-neutral accessible toilet.” According to the government’s website, the venue has a rateable value of £30,800 and Harvey says he currently pays over £1,500 monthly in rates, meaning the venue would save around £750 a month. “It shows the government is listening to the sheer amount of struggling venues and how important independents are to our infrastructure of music venues across the country.
March 2020 • Issue 242 • www.liveuk.com
8 I NEWS
FORTHCOMING EVENTS APR 22-25 Brighton Music Conference Brighton www.brightonmusicconference.co.uk
APR 23-25 Wide Days – Scotland’s Music Convention Edinburgh www.widedays.com
MAY 6 Music Week Awards London www.futureevents.uk/ musicweekawards2020
MAY 13-16 The Great Escape Festival Brighton www.greatescapefestival.com
Empire Coventry in move to the centre OWNERS OF Coventry’s The Empire (cap. 900) are sound system and Christies lighting rig. Backstage will moving the business to a former ABC Cinema in the be three dressing rooms, a crew room and catering. Bus and truck parking, with power, will also be city centre in July. available. The new venue will be able to accommodate The current venue, located within Coventry audiences of up to 1,400, with a range of University’s campus. was launched in 2015 configurations available to promoters. The following the closure of Hush, the former venue’s live music promoter Dave Brayley of Students’ Union’s venue. DCB Events says it will play a significant role in “The new venue is 100 yards from Coventry’s the activity surrounding Coventry being the main square on a shopping parade; it is in a City of Culture next year. The main room in the council-owned venue Dave Brayley much better location with a bigger capacity will feature a bi-fold wall, which when closed that allows us to do more with the diary,” says will reduce the capacity to 1,000. It will also provide a director of The Empire Phil Rooney.Artistes playing The second room for smaller shows with a capacity of 350. Empire include Levellers, Big Country, The Brand New Production facilities will include an L’Acoustics Heavies and The Blockheads.
Roundhouse names new head of music LONDON’S ROUNDHOUSE (cap. 3,100) has appointed Lucy Wood as the new head of music, who will join the venue from Festival Republic, where she led the music programme for Latitude Festival (cap. 35,000). Wood’s experience in the industry spans 15 years and includes roles at 19 Entertainment, Warp Records, and Eat Your Own Ears, working on festivals such as Field Day (25,000) and promoting shows by Grimes, Lucy Wood The xx and Four Tet. “I’ve had a brilliant three years working with amazing music from across the spectrum of genres at Latitude, as part of Festival Republic – building on my time
promoting at London’s cherished Eat Your Own Ears,” says Wood. “I’m thrilled to be joining the team at the Roundhouse, a world-class arts institution with incredible history, and to be supporting its exceptional work with young people.” Her new role, which she’ll assume from the end of March, will involve delivering over 100 commercial concerts each year alongside Roundhouse produced festivals In the Round and Roundhouse Rising. Wood is taking over from Jane Beese who has held the role since 2015 and has accepted a new role as head of music at Manchester International Festival (see LIVE UK issue 240).
MAY 21 The Ivors London www.ivorsacademy.com Roundhouse © Will Pearson
Wigan’s premier music and event space 1000 seated auditorium On site parking Artisan coffee shop Additional event space TheEdgeWigan The Edge, Riveredge, Wigan, WN3 5AB
March 2020 • Issue 242 • www.liveuk.com
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10 I NEWS
Thekla doorman recognised for bravery THE DOORMAN of Thekla (cap. 400), the DHP Family-owned venue located in a boat moored in Bristol’s Floating Harbour, has been presented with a award for bravery, after rescuing a woman from the water. The incident happened in November 2018 when a woman leapt into the water during a row with another woman. Head door manager Grayson Underhill
jumped into the water and the core security team are trained brought her back to in water safety managesafety. ment but none of us are Staff at the venue lifeguards,” says Thekla nominated Underhill for general manager Alex the National Pubwatch Black. award for Bravery and “This is a rare incident Meritorious Conduct for us and one we don’t Award, which he hope to encounter again received at a ceremony Grayson Underhill in the future, but on this in Cardiff on 10 February. night, Grayson went “All of our venue managers and above and beyond the call of duty
and it is truly commendable.” The new award recognises individuals including pub and hospitality workers, members of the public and those serving in the emergency service, whose actions have prevented harm in the nighttime economy. Acts playing the venue include Georgia, The Icicle Works, Sons of Liberty, and The Slow Readers Club.
MULTI-VENUE management company and promoter VMS Live has appointed three new staff to work in its new London office. Former Mean Fiddler general manager James Gall joins as southern regional manager; Yara Magarino, previously with Festicket, has been appointed as marketing executive and Filippos Saltsidis heads graphic design.
The company, which is now led by chief operating officer Bert Van Horck following the death of founder Steve Forster last year, opened the Kings Cross office last month as part of a business restructure. “Establishing a central team in London is a key
marketing support.” The London office, leded Abbie Marshall, will house centralised booking, ticketing operations and marketing, headed by Ioana Mosteanu.. VMS live venues include Eventim Olympia (cap. 1,960) in Liverpool, the University of East Anglia’s venues and The Foundry (3,000) in Sheffield.
VMS expands team in London office
Bert Van Horck
part for VMS Live in supporting our nationwide network of venues,” says Van Horck. “These three people combine experience and youthful talent and I’m confident we are well positioned to provide our clients with enhanced promotional, operational and
Watts boosts management team ARTISTE MANAGEMENT company YMU GROUP has appointed Sarita Borge as senior manager in the London office. Borge joins the company from First Access Entertainment, where she worked within the company’s London and LA divisions
across their roster of artists including Ray BLK. Previously she has held roles at Kiss FM, Ministry of Sound, Asylum Records/Atlantic Records and ROAR Global. “The company’s depth of resource alongside the talent and passion within the team is so impressive and it’s really
wonderful to be a part of it,” says Borge. In her new role, she’ll oversee the company’s existing clients whilst also building her own roster, reporting to MD Iain Watt. YMU represents artistes including Clean Bandit, Friendly Fires, Years & Years.
Iain Watt and Sarita Borge
“One of the finest concert halls to perform in.” Elvis Costello
A gem of a venue with a world-class acoustic With a reputation for quality and excellence, the Grade II* listed St George’s Bristol attracts international classical, jazz, folk, world, and spoken word artists. The unique and intimate atmosphere, recording facilities, and great team, make St George’s perfect for artists and audiences alike. Based in the heart of Bristol, with a stunning new extension, café bar,and backstage spaces now opem, there’s even more to discover. Registered charity no. 295178. Photo by Evan Dawson
March 2020 • Issue 242 • www.liveuk.com
events@stgeorgesbristol.co.uk | 0117 929 4929 | stgeorgesbristol.co.uk
NEWS I 11
From Calling to conference
THE FOUNDERS of Kendal Calling (cap. 27,000) are launching of a music industry conference that will take place on 7 May in the same Lake District town. Andy Smith and Ben Robinson, who run music festival production company From the Fields, expect it to attract around 600 delegates, including artiste managers, producers, artistes and production
techs, in its first year. Although the event’s name and speaker line-up have yet to be announced, Smith says the day will close with a Q&A session featuring Creation Records founder Alan McGee in conversation with Tom Salmon of BBC
Andy Smith
Introducing Cumbria. Once the conference, to be held at Kendal’s Brewery Art Centre (400) has finished, the event will involve live shows at venues across the town. Smith says if it wasn’t for a music industry conference held by MusicLinks in Kendal, he would not have
SABATON WERE presented with award frames to commemorate their sold-out first headline show at The SSE Arena, Wembley (cap. 12,500) in London on 8 February. Pictured across top L-R are the band’s agent Günther Beer from Cobra Agency, band members Chris Rörland, Joakim Brodén, Pär Sundström (also the manager), Tommy Johansson and Hannes van Dahl, and SSE Arena booking manager James Harrison. Bottom row L-R are Adam Sagir (The Noise Cartel), promoter Alan Day (Kilimanjaro Live), Donnay Clancy (The Noise Cartel) and Mona Steufkens (Kilimanjaro Live).
met Robinson and founded Kendal Calling 15 years ago. “Promoting emerging musical talent has been at the core of Kendal Calling since the outset, and the aim of the conference is to help develop the region’s music scene,” says Smith. “Manchester has conference and festival Off The Record, so we thought; ‘why not Kendal’.”
Newsbite
SJM CONCERTS has pledged a six-figure sum each year, for the next three years, to ClientEarth, Europe’s first environmental law charity which advises governments on green legislation. ClientEarth launched in 2007 and has offices in London, Warsaw, Brussels, Berlin, Beijing and Los Angeles. The charity has received long-term support from Brian Eno and Coldplay, and last year David Gilmour auctioned more than 100 guitars from his private collection, and donated all the proceeds to ClientEarth.
March 2020 • Issue 242 • www.liveuk.com
12 I NEWS
Bristol arena gets go-ahead PLANS FOR Bristol’s new 17,080-capacity YTL Arena have been given the green light by Bristol City Council and is expected to open in 2023. In November last year, Malaysian developer YTL submitted a planning application to build the arena at Brabazon Hangars on Filton Airfield. “There is a huge amount of work to be done now, with detailed designs and plans expected to take at least six months,” says YTL Arena MD Andrew Billingham. “This will be followed by a two-year construction phase.”
The development will also need approval from South Gloucestershire Council as part of the proposed site involves its land. The project will also need final approval from the Secretary of State before it goes ahead. Elements of the plan include a Temple Meads to Brabazon station rail link and a pedestrian bridge over the railway line, leading to the venue’s entrance. Billingham says arena’s construction will be fully funded by YTL, and the project is expected to create 500 jobs and inject £1.5 billion into the local economy in the next 25 years.
YTL Arena Bristol - artist’s impression
Sin City, 14-16 Dillwyn Street City Centre, Swansea, SA1 4AQ www.sincityclub.co.uk
VENUE OWNER & GENERAL MANAGER Gary Lullham gary@sincityclub.co.uk Office Contact 01792468892 Box Office Contact 01792 654226 General Enquiries info@sincityclub.co.uk
March 2020 • Issue 242 • www.liveuk.com
Music scheme boosts exports RECORD INDUSTRY body the BPI reports that its Music Export Growth Scheme (MEGS), an initiative which supports companies that boost artistes in overseas markets, has generated £36 million in export revenue for the Geoff Taylor British economy. The MEGS Impact Report for 2019 reveals that, based on the first 16 rounds of funding, the scheme has generated £12 for every £1 invested. Launched in 2014 and funded backed by the Department of International Trade, the scheme has supported 242 successful applications including artistes such as Wolf Alice, Young Fathers and Dave, with a total of £3.8 million
awarded in grants. “The Scheme is a highly successful partnership between Government and the private sector promoting UK exports,” says BPI CEO Geoff Taylor. “The UK punches well above its weight as the largest exporter of music in the world after the US – and the Scheme is an increasingly important foundation underlying this track record. Small and medium sized UK-registered independent music companies with the potential to help artistes achieve increased international success can apply for grants ranging from £5,000 to £50,000 to support their marketing overseas and the promotion of specific product releases.
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14 I SECTOR FOCUS
Making touring add up
With our exit from the European Union, fluctuating currencies, varying tax regimes and the threat of Coronavirus to the touring business, accountants have their work cut out, especially as touring is the main generator of income for most artistes. Claire Bicknell reports
T
Colin Young
ouring presents a range of financial complexities, from countries having different regulations on areas such as withholding tax, through to volatile currencies fluctuating due to world events. Thankfully behind-the-scenes, and sometimes even on the tour bus, are expert accountants who can navigate these matters and help smooth the ride. “We act for a variety of live artistes, ranging from young bands who have signed their first record deal and performing promotional shows in small venues to the largest established bands who are touring internationally,” says Colin Young, director of CC Young & Co.
March 2020 • Issue 242 • www.liveuk.com
“A passion for the music industry is key to us. Essential qualities are a calm and confident approach when working under pressure, building trust and confidence with artiste and management, and being responsive and proactive.” Young started the firm in 1998 and it has grown to nearly 60 members of staff and two offices in London and Sweden. As well as touring and business management, it has departments specialising in independent record labels and publishing companies, royalty analysis and royalty audit, producers and writers, and support for management companies, film, TV, fine art, promoters and other media sectors. “We provide full business
management services, including pretour planning to review and provide guidance on budgets and cashflow requirements, raising of sales invoices and the collection of income, authorisation of purchase invoices and the payment of creditors, and the mitigation of withholding tax at the front-end when agreeing the fee structure with promoters, and the utilisation at the back-end when preparing the tax returns,” says Young. “We also arrange insurances for all touring needs, which includes travel, combined liability, cash, equipment, terrorism and cancellation insurance, operate the Concert Live Services in conjunction with PRS, calculate and
SECTOR FOCUS I 15
pay label override and management commission, and ensure an accurate and timely distribution of profits to the band, after tax.” The company has invested in personalised software, as well as utilising cloud-based systems.
“We wanted a better overview of all as much money as legally possibly from of our clients on tour so we invested in their touring, and to be part of a team software which can track every client that makes everything runs smoothly and every show performed worldwide,” and successfully.” The stealth checking and spotting of says Young. “We can view them all on a map, so if there is a problem such as any financial discrepancies, and acting typhoons in Japan or coronavirus in quickly, are all staples in the sector. “Where overages are, or might be, due Italy, we can tell in less than 30 seconds how many of our 300+ clients will be it’s important to check the settlement affected and provide faster, targeted statement, and back up and ensure the artiste is being paid what they should advice for them. “Improvements in cloud-based be paid,” adds Harris. “It doesn’t always follow that the bigaccounting systems means that we can share direct financial information with ger the venue, the bigger the profit as clients too. It allows them much more costs can escalate on big stages, so I’m involved in making freedom in terms “The days of carrier bags of sure there is a focus of how much work on the bottom-line they want to do receipts are over” profit,” says Harris. themselves.” Charlotte Harris She also highCurrent hot lights Coronavirus topics include the as a significant concern. potential impact of the Coronavirus. “Dealing with issues around the “It’s a current topic for us in terms of what effect it will have on upcoming Coronavirus is a new one right now – shows and European touring this sum- you can’t get insurance to cover this mer,” says Young. “What financial impact now, and who knows where the next will this have on the bands, and what major outbreak might be.” The firm is also looking to technodoes this mean for the festivals and attendees? Shows in Bologna have been logical innovations which benefit tour accounting. cancelled – will the insurers pay?” “The PRS app is great at checking rates in overseas countries,” states Harris. “We No more bags of receipts Celebrating its 80th year, London-based are also now using Receipts Bank which Harris and Trotter works with artistes is an electronic tool for keeping receipt including Lewis Capaldi, Depeche Mode of expenses. This means the days of carrier bags of receipts are over! and Two Door Cinema Club. “For as long as there is live music, “We offer business management services including book-keeping, man- there will always be a need for accounagement of the bank account, doing tants working on the team. Whilst parts what is legally possible to reduce with- of the music industry have declined holding taxes, raising invoices and over the years, the live side is not part of making payments, dealing with insur- that decline so it’s a bright and exciting ances, checking settlement statements, future.” and preparing tour accounts,” says partner Charlotte Harris. Brexit concerns “Our aim is to ensure the artistes make MGR Touring is a division of MGR
Charlotte Harris
March 2020 • Issue 242 • www.liveuk.com
16 I SECTOR FOCUS Weston Kay chartered accountants, based in London and provides the usual services for touring artistes, such as withholding tax, social security payments, and issues encountered in Europe and beyond. Partner Ian Thomas runs the division alongside Gillian Park, with a member of the team also based in California. “We file around 300 FEU [HMRC’s Foreign Entertainers Unit] applications a year for artistes of all shapes, sizes and genres,” says Thomas. “We become part of a client’s team for a tour, and they look to us to give them clarity as to what is needed.”
“Tour accountants need to be sociable, organised and ready for anything” Adrian Bullock
Ian Thomas
With the UK now having left the European Union (EU) and in the transition period until 31 December, the financial uncertainties of Brexit are another topic of concern for the sector. “Whilst the basic right for tax dealt
March 2020 • Issue 242 • www.liveuk.com
with by bilateral tax treaties won’t change in itself, other issues like National Insurance and social security will – it’s another piece of paper you’ll need like a visa,” says Thomas. “There is paperwork common to EU countries and we won’t be part of that gang anymore. Will they adapt, or will a
new system be needed?” With a financial eye on the horizon, Thomas makes some predictions and also gives a word of warning. “The tax situations we deal with will go through a bit of an upheaval over the next few years. Countries will always have different ways of doing things and
SECTOR FOCUS I 17
handle the foreign obligations and cut through the masses of bureaucracy on the tax side, and tell them the outcome.” Live music clients also differ in the amount of financial information they want from their accountants. “In most instances they don’t want the gory details,” adds Grossman. “By and
“The younger generation want to be better informed, they want to see how much money they’ve got and how much they’re owed” Nick Lawrence
that won’t change, but it may get even more fractured. Currencies will be more volatile.”
“Clients want an accountant that is not only literate and numerate, but who has a good working knowledge of the live music industry and the business,” No textbooks says Grossman. “They don’t want someEd Grossman, a consultant at Brackman one who hangs about backstage. These Chopra, works with a range of artistes are qualities you won’t see in a textbook. Live UKNorth Advert Feb 2019.qxp_Layout 08:50 1 for someone to from America and the UK. 1 07/03/2019 “They are Page looking
large, they are looking for the outcome; they know broadly what it will look like, and that’s what they pay me for. “The basic rule is artistes are obliged to pay tax in the country in which they perform, as well as the tax in the country they live in. On stadium-sized tours, the likelihood is profit will be taxed at a higher rate. Tax differs across Europe, Belgium is similar to us, but nowhere else, and people like me would need
Ed Grossman
Dales Evans & Co Ltd Chartered Accountants Telephone: (44) 020 7298 1899 • www.dalesevans.co.uk Email: lesterdales@dalesevans.co.uk or paulmakin@dalesevans.co.uk Regulated by the Institute of Chartered Accountants in England and Wales for a range of investment business activities.
March 2020 • Issue 242 • www.liveuk.com
18 I SECTOR FOCUS to touch base with every promoter on the tour to agree the tax structure.” Grossman is also concerned about the potential financial impact of the Coronavirus. “With 80-85 percent of artistes’ revenue coming from touring, if you cut that out for a year then you’ve got a problem. Coronavirus worries me greatly. It could be a long-term problem, rather than a short to medium term issue.”
On the road support
Nick Lawrence
Adrian Bullock
BigStar Business Management was founded by CEO Nick Lawrence in 2017, with 95 per cent of its clients in the live music industry, including Happy Mondays, Tom Grennan and The Darkness. With staff having expanded to 20, the company is planning to move to larger offices in London. “I wanted to focus on an industry that is part of my DNA, and also to simplify a traditional model to take the anxiety out of accounting for clients,” says Lawrence. “We have business managers and accountants, and everyone employed here loves music. We’re always looking for great people too. “It’s about simplicity, transparency and affordability. Clients are charged a monthly retainer or some choose a fixed price per show.” BigStar utilises a cloud-based app called Xero which allows clients access to their financial information at their fingertips. “We have an 18-year-old artiste who has signed a multi-six-figure advance and wants to see what’s going on via their phone, and it’s reassuring for mum and dad,” adds Lawrence. “The younger generation want to be better informed; they want to see how much money they’ve got and how
much they’re owed, and they want to see it on a dashboard.” Supporting clients as an on the road tour accountant since 1999, director of Bullocks Touring Adrian Bullock counts Radiohead, Nick Cave and the Bad Seeds, Supergrass and Robbie Williams amongst his clients.
“Coronavirus worries me greatly. It could be a longterm problem” Ed Grossman
“Tour accountants need to be sociable, organised and ready for anything,” says Bullock. “The main areas dealt with are show settlements, withholding tax planning, insurances, budgeting, cash and currency control. “The same principles apply whether it’s a small venues tour or a large scale
stadium tour. In many ways smaller clients are more difficult to manage as there is, of course, limited budget and infrastructure, whereas on a stadium tour you normally have access to anyone and anything you need.” The company also utilises cloud-based products on the road, helping to collate essential information no matter where you are in the world. “They’re really great for keeping information on hand at all times, but reminds us how dependent on a decent Wi-fi signal we are,” adds Bullock. Bullock agrees with his peers on the two main areas of current financial impact concern. “Insurance, especially regarding Coronavirus, is a hot topic. Brexit also means complete and utter uncertainty – it appears that it’s a headlong charge to a hard Brexit, and I do not expect it to end well for our industry.”
We will help revolutionize your business. March 2020 • Issue 242 • www.liveuk.com
20 I CITY LIMITS
Teesside
Middlesbrough, Stockton and Billingham
Hard work pays, just ask promoters and venue operators of Teesside. Once seen as lost zone sandwiched between Newcastle and Leeds, the area is now reaping the rewards of years of steady growth in its emerging act scene with major investment in live music at all levels. Allan Glen reports
N
ot only will 2020 witness the opening of the 3,000-capacity Stockton Globe, but Middlesbrough’s 30,000-capacity Riverside Stadium will host only its second concert when The Killers play the last date on their Implode The Mirage Tour there in June. The show is promoted by SJM Concerts and follows on from last year’s Take That concert, which sold-out with tickets at £85, also promoted by SJM. The club’s head of commercial Lee Fryett says bringing The Killers, with tickets priced from £65, to the Riverside will help raise the profile of the area too. And that’s not all , Fryett adds that the
March 2020 • Issue 242 • www.liveuk.com
stadium also has plans to host a festival this summer. “I think with everything on Teesside, the local population will always get behind events such as the concerts we are hosting,” he says. “Therefore, there is always a lot of interest and people around here know how to have a good time.” “We are as a region starting to put Teesside firmly on the map, and we hope to be at the forefront of that year-on-year bringing more internationally acclaimed acts to the Riverside Stadium. “We are also hoping to develop a festival style event this summer to champion local talent. There are so many new exciting and well established artistes from
Teesside and we want to bring them all together in one place and give people the chance to enjoy their music and shout about what we are doing as a region on the music scene.” Increased local authority support is also helping, he adds. “The investment into the transport infrastructure can now support fans travelling from all around the country to events and the increase in hotel rooms locally also massively helps. We are getting so much better as a region at shouting about what a great place Teesside is, and I really feel 2019 was a landmark in doing that, with [Radio 1’s] Big Weekend and Take That.”
Exploring the live music networks in our key cities and towns I CITY
Middlesbrough Town Hall
BBC Radio 1’s The Big Weekend, held in Stewart Park (cap. 35,000) last May, featured Billie Ellish, Little Mix, Lewis Capaldi, Catfish and The Bottlemen, Charli XCX and Dave. The move to more shows at the Riv-
erside has been welcomed by local promoters too. “The Riverside Stadium hosting huge gigs is a massive bonus for the area,” says Henry Carden, who promotes as Pay For The Piano. “After the success of the local artistes performing at the fan zone for the Take That concert last year, it’s great that they’ve asked [North-east promoters] The Kids Are Solid Gold and I to programme some emerging artistes to play as part of a wider offer for The Killers’ show,” Meanwhile in neighbouring Stockton, the Ambassador Theatre Group (ATG) and Stockton-on-Tees Borough Council are busy putting the finishing touches to the Globe, an art deco venue that is undergoing a multi-million pound refurbishment, funded by the council and the National Heritage Lottery Fund. Also launching as part of the refurbishment is a 250-capacity event space housed in the adjoining building. ATG was appointed to operate the Globe on a 25-year management contract. in May 2018. “Stockton’s history and culture are steeped in music, and it’s extremely exciting to be establishing the town as a focus of the North East’s incredible live music scene once more,” says the venue’s general manager Jo Ager, who previously held a similar position at Scarborough Spa (1,825) and Whitby Pavilion (372). Already part of local music industry history, Stockton Globe originally opened in 1935, and hosted acts such as The Beatles and the Rolling Stones, closing as an entertainment venue in 1974. “It can only be a good thing that the Globe is finally re-opening,” says Carden, one of those behind multi-venue Middlesbrough event Twisterella. “The more high profile events on Tees-
LIMITS I 21
side, the better as far as I’m concerned particularly as Jo Ager seems very keen to involve the wider local music scene in collaborations, to ensure that the venue complements rather than competes with the existing offer.” These two developments are the culmination of years of hard work on Teesside, an area that covers the towns of Middlesbrough, Stockton and Billingham.
Live for 131 years
According to Kesia Bruce, acting commercial and box office manager at Middlesbrough Town Hall, which comprises the Main Hall (1,200) and The Crypt (600), things are good. “The live music scene has always been prominent within Teesside,” she says, adding the venue hosts up to 50 live music shows a year. “The Main Hall was specifically designed and built for live music and it continues to host music event 131 years later. “We have some great local promoters and other venues including pub and clubs who are always looking to push the next big thing or bring back some of the greats who are still going strong. Acts playing the venue include The Bluetones, Peter Hook & The Light, Ben Ottewell, Glenn Hughes, Roddy Woomble and Della Mae. Bruce adds that the biggest challenge is managing demand. “It’s also important to ensure you have your finger of the right pulse at the right time, as promoting any show or event is always going to be a gamble,” she says. “You can always expect great audience support and an unforgettable atmosphere here and this is where you get real job satisfaction knowing all the hard work was worth it.”
Jo Ager
Henry Carden
Kesia Bruce
March 2020 • Issue 242 • www.liveuk.com
22 I CITY LIMITS
Group energy
Paul Burns
Much of the groundwork for the resurgence of the area’s music scene can be linked to the activities of a handful of local promoters, who regularly bring emerging talent to the area, among them Paul Burns of Tees Music Alliance (TMA), KU’s Jimmy Beck, Ten Feet Tall’s Graham Ramsay, Fast Forward’s Dave Griffiths and the aforementioned Carden and Carr. Growing the scene from the grass-
The Georgian Theatre
roots up has always been the aim of TMA, which runs The Georgian Theatre (300) and neighbouring micro-venue The Green Room (60). Due to its not-forprofit business model, TMA positions itself as a “neutral force for good”, according to Burns. “As well as running our own venues, TMA is the local development agency,” he says. “We’re currently doing a lot of work around support for music activists – artistes, promoters, venue operators etc – people who are vital to a vibrant scene.” As Burns explains, this has recently led to the formation of an events network, which has pulled more than 20 local promoters together. “The idea is that we can all learn from each other and support new talent while at the same time retaining our independence.” Ultimately, though, it is the small changes that will make the biggest difference to a scene such as Teesside’s, he adds. “If every band member in the area attended a gig every month that they themselves weren’t playing in, or those
in the audience attended one more gig a year featuring a local artiste, then we would begin to strengthen our scene overnight.” As for current ticket sales, Burns adds that these vary, depending on the artiste. “We programme upwards of 100 shows a year,” he says. “Ticket sales are steady, and this year has seen a very slight upturn in advanced sales. The bigger names always sell well, emerging artistes less so, but we’re trying to persuade audiences that buying in advance ensures that gigs will take place – and it’s cheaper.” In addition to individual shows, TMA is involved with multi-venue events Stockton Calling, which also takes place at KU and ARC, and has featured acts such as Peter Hook & The Light, and Lightning Seeds, and Songs From Northern Britain, whose recent visitors include Avalanche Party, The Van T’s and Fatherson. The latter event is a co-promotion with TKASG. “There are lots of reasons that artistes return to play The Georgian Theatre,” says Burns. “The number one, however, is probably the warm welcome they get from the venue and the local crowd.”
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March 2020 • Issue 242 • www.liveuk.com
Exploring the live music networks in our key cities and towns I CITY
The Globe, artist impression
Acts to have performed in The Georgian Theatre over the years range from Arctic Monkeys to The Charlatans and Spear of Destiny, while those currently playing the venue include Working Men’s Club, Kitty, Daisy and Lewis, Theatre of Hate (all Fast Forward Promotions); She Drew the Gun, Holy Moly & The Crackers, The Wandering Hearts, Warmmduscher (all in-house); Martin Stephenson and The Daintees (AGMP), Half Deaf Clatch
(Down By The River), The Skids (J Promotions) and Pete Wylie – a co-promotion between TMA and Fast Forward.
Active venues
According to Dave Griffiths of Fast Forward, venues such as The Georgian Theatre and the Westgarth Social Club in Middlesbrough are fast gaining a reputation as places bands from across the UK want to play.
LIMITS I 23
“The range of venues with varying capacities is such that there is rarely a week goes by with there not being a gig of note,” he says. “Teesside audiences have plenty of options to choose from.” An active sense of community has also helped to develop the scene, he adds. “The benefits to promoting on Teesside are the wide range of venues, the help and support that they give to help independent promoters, an increasing student population and basically a local audience that seems to have a thirst for live music and is, in the most part, willing to turn up to support the shows on offer. “As for the challenges, sadly Teesside is not a wealthy area and sometimes that is reflected in turnouts at gigs, especially when that aligns with one of the other challenges, which is quite often there are two shows competing for the same audience on the day.” Fast Forward shows also include Goodbye Mr Mackenzie, The Space Agency, Fallen Leaves and Filthy Tongues at Westgarth Social Club, and Ruts DC, The Pack, Dreadzone and A Certain Ratio at The Georgian Theatre.
The Princess Alexandra Auditorium is a stunning 750-seat performance venue based on the banks of the River Tees. It boasts the highest performance specifications, superb technical facilities and an experienced, professional support team at hand to accommodate a wide range of events. The auditorium has already welcomed a number of incredible performers, including Jimmy Carr, Leo Sayer, Michael Portillo, Toyah and Hazel O’Connor, Francis Rossi and Sir Ranulph Fiennes. The venue is available to hire for commercial, professional, amateur and community performances, arts and educational organisations and similar events.
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March 2020 • Issue 242 • www.liveuk.com
24 I CITY LIMITS
My Life Story, Martha Reeves and the Vandellas (both Tony Denton), Heather Small, Wilko Johnson, Ruby Turner, Lloyd Cole (all Ten Feet Tall), Leo Sayer, Toyah Wilcox and Hazel O’Connor (all RLN Music).
Growing showcase
The Princess
Benefits in Billingham
Derek Cooper
Dan Brookes
While the majority of music scene on Teesside is focused within Middlesbrough and Stockton the outlying areas are also active, in particular The Forum (655) in Billingham, and the Princess Alexandra Auditorium in Yarm, the latter 10 miles south of the two main towns, the former eight miles north, and hosting up to 200 live music events a year. Both venues have recently been refurbished. In the past, visitors to The Forum have included Big Country, Tony Hadley, Smokie, Joe McElderry and Les McKeown, while forthcoming acts include Tony Christie and Merrill Osmond (all in-house promotions). “Ticket sales are very good and have been for several years now,” says general manager Derek Cooper. “Acts love playing and returning here because of the atmosphere in our auditorium, busy houses and the stage facilities we offer.” Cooper adds that extra seating has been added to meet demand.
“Challenges for us tend to be fitting into a tour schedule to save a huge amount of travelling up North,” he says. “Also, unlike a major compact city, we have to promote across a wide range of towns and villages here.” Over at the Princess Alexandra Auditorium, manager Dan Brookes says there has recently been investment in a new lounge bar, with the venue hosting approximately 50 live music events a year, with these averaging 400 ticket sales per show. The benefits to performing at the venue are numerous, he says. “We sell ourselves with the experience the audience gets. These include a good range of drinks, always kept cheap, no restricted view seats, a comfortable auditorium, clean and attractive surroundings, and one of the prettiest foyers and bars on the circuit.” Acts taking advantage of the above include Illegal Eagles (Barry Collins), You Win Again, Magic of The Beatles, Magic of Motown, Radio GaGa (all Entertainers),
Since launching in 2014, Twisterella, which uses venues such as TSOne (150), Teesside University Students’ Union (300) and the Westgarth Social Club, has increased its profile and capacity with the festival winning the In on the Ground Floor award at the Independent Festival Awards 2019. “This reflects the event’s forward-thinking bookings with the likes of Sam Fender, The Snuts, Dream Wife, PINS and more,” says Andy Carr, whose current TKASG shows include NXTGN, a new emerging act all-day event in September, featuring Everyone You Know, Spinn and Roe, and Red Rum Club; The Howl & The Hum, Martha Hill and Jordan Mackampa at Westgarth Social Club, and Plastic Mermaids and BC Camplight at The Georgian Theatre. In summing up, Henry Carden says that in the 15 years he has been putting on shows on Teesside this is the strongest the local scene has been. Other events promoted under his Pay For The Piano banner include Wonderful People, a one-day event at the Westgarth Social Club in September, featuring emerging artistes, and Eve Conway at The Georgian Theatre. “There are brilliant new artistes such as Jodie Nicholson, Eve Conway, Mt. Misery and Tom Joshua starting to break through, while the likes of Cattle & Cane, Avalanche Party and Dylan Cartlidge are continuing to make waves nationally and internationally,” says Carden. “At grassroots level venues such as KU Bar [300] and The Georgian Theatre continue to bring the best emerging artistes to the area.”
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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
PPL increases support for Momentum fund PRS FOUNDATION’S Momentum Music Fund has been renamed PPL Momentum Music Fund, to reflect a closer partnership with recorded music licensing body PPL. The Fund was launched in 2013 and has provided grants of between £5,000 to £15,000 four times a year, to help emerging artistes with costs Peter Leathem for touring, recording, marketing and promotion. PPL has been a core partner of the fund since 2017, providing fi-
nancial and wider support. “Seeing these acts produce work of such high quality, with the help of PRS Foundation, has encouraged us to become increasingly involved with the Fund,” says PPL CEO Peter Leathem. Joe Frankland, CEO of PRS Foundation, the charitable arm of performance royalty collection body PRS For Music, says, “This is a strong endorsement of the ground-breaking Fund and the impact it has had
over the past seven years. We’ve enjoyed working closely with the PPL team through industry funds and events, and this feels like a natural next step to accelerate the careers of shared PPL and PRS for Music members across the UK.” As part of the new arrangement, PPL chief operating officer Christine Geissmar Joe Frankland will join the PRS Foundation Board of Trustees, and PPL director of member services, Sarah Mitchell, will become an observer
of the board. The Fund has distributed an overall £3.7 million supporting 375 artistes, among them Years and Years, Kate Tempest, Ms Banks, Sam Fender, Anna Calvi, Novelist and Moses Boyd. PPL also supports PRS Foundation’s International Showcase Fund, which provides grants of up to £5,500 to help export-ready artistes perform at music industry-oriented events overseas.
Managing Talent Denise Allan
Other emerging acts to watch:
677 Media Management, Glasgow
Shredd, The Shambolics, Medicine Cabinet, Tamzene, Paris Street Rebels.
E: info@677mm.net Your artiste roster: Glasvegas, Freakwave, Steph Johnston, Cherry, Lamaya. Favourite venues for seeing and/or showcasing new artistes: St Luke’s, King Tuts Wah Wah Hut, Broadcast (all Glasgow), Sneaky Pete’s (Edinburgh), The Bungalow (Paisley), PJ Molloys (Dunfermline), The Lexington (London). How important is it for artistes to play live: “It’s vital especially in the early days. God bless the venues that keep their doors open and the promoters that take a punt.”
March 2020 • Issue 242 • www.liveuk.com
Greatest lesson learned: “Be excellent to each other.” Worst live experience: Denise Allan “Pukkelpop in Belgium in 2011. Amazing festival, but saw Mother Nature at its worst.” (Five people were killed and more than 140 injured when a fierce storm hit the site, blowing down trees and lighting towers).
Current live music projects: Glasvegas and Freakwave touring.
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NXT NEWS I 29
in association with
Generator’s Mawdsley replaced by Matterson NORTH-EAST music development agency Generator has appointed Hannah Matterson as its new CEO, replacing Jim Mawdsley, who is taking up a new role with Newcastle City Council. Matterson has experience in the music, digital and creative economy, having held roles at Sage Gateshead (cap. 1,700) and Sunderland’s bid to become the UK city of culture. She also worked with Sunderland Culture and MAC Trust focusing on partnership development across the North-East’s creative industries to drive
economic development. In addition, she was a co-director at We Make Culture to develop music opportunities and support young musicians and emerging artistes. Matterson will relocate back to her native North-East from Manchester, where she has recently held the role of Innovation Partnership Bids developer at Manchester University Knowledge Transfer Partnership. On taking the new position, she says, “It is my dream job – I’m passionate about the local and regional development of our creative industries.”
Stage Break
Clwb Ifor Bach
Clwb Ifor Bach 11 Womanby St, Cardiff CF10 1BR Talent Booker: Adam Williams T: 02920232199 E: post@clwb.net
City Limits
W: www.clwb.net Capacity: Downstairs 150 / Upstairs 250 PA/lights: Yes
Adam Williams
Dressing rooms: 1 private and 1 shared Booking policy: N/A Best unsigned/emerging acts currently playing the venue: Gaffa Tape Sandy, JOHN, Orchards, Heavy Lungs, Sorry, The Howl & The Hum. The best advice you can give the manager of unsigned/ emerging artistes: “Tour around a release. It builds a buzz and venues fill up on live dates when there’s exciting recent new music and press surrounding the artiste.”
Middlesbrough See page 20-25
Better known acts who’ve played the venue: Biffy Clyro, The Killers, Coldplay, Super Furry Animals, LCD Soundsystem, Kasabian, Metronomy, Skrillex, Enter Shikari, Cate Le Bon, Akala, DJ Shadow, Rag’n’Bone Man, Foals, Hot Chip, Bombay Bicycle Club, Stereophonics, The Strokes, Pavement, Bloc Party, Funeral For A Friend, Elbow, Bullet For My Valentine, Roni Size, Ben Howard, Kaiser Chiefs, Wolf Alice, Catfish & The Bottlemen, Mark Ronson, Idles, George Ezra, John Newman, Frank Turner.
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www.esp-musicrentals.co.uk March 2020 • Issue 242 • www.liveuk.com
30I
PRODUCTION NEWS Newsbites Brit Row in high wire performance THE FACTORY Live, Worthing’s new 300-capacity music venue hosting shows by artistes such as Romeo Stodart, Lee Scratch Perry and Turin Brakes, has installed a Yamaha PA and console. Venue cofounder Gerry Heeley selected a pair of the manufacturer’s DZR15s for the main left/right system, with two DZR10s for the overhead centre fills and three DXS18 XLF extended low frequency subwoofers, opting for a Yamaha TF5 for the mixing console.
ABERDEEN’S NEW arena, P&J Live (cap. 15,000), has installed a system of RigSwitch cabinets by manufacturer Zero 88 to control and synchronise power to LED lighting rigs in its three main event spaces. Eighteen cabinets were installed by LSI Projects, which also provided cabling infrastructure for the entertainment lighting. Acts playing the venue include Elton John, The Script and Stereophonics. MARTIN AUDIO reveals its new Wavefront Precision Series of loudspeaker systems this month, the WPM, WPS, WPC and WPL plus a range of subwoofers including its new SXC118 and BlacklineX Powered portable series. The manufacturer, which works with London events including BST Hyde Park (cap. 65,000) and All Points East (40,000), and the band Idles, is also launching ceiling and wall speaker range Adorn.
AVOIDING AUDIO reflections and keeping the system away from the acrobats’ flying infrastructure were the key challenges facing Britannia Row for Cirque du Soleil’s Luzia show at London’s Royal Albert Hall (RAH, cap. 5,300). The show, set to live music, usually tours using Cirque’s big top and its system required extra fine-tuning for the RAH, according to Brit Row’s Lez Dwight. “We were brought in mainly because the touring systems weren’t sufficient to cover the hall,” he says. “Cirque came to us as we were local and have decades of experience deploying speakers into the RAH.”
According to Brit Row technician L-Acoustics’ Soundvision simulation Sergiy Zhytnikov, who helped design software facilitated an accurate sound the system, “We minimised reflections prediction plot and system coverage.” Zhytnikov tuned the system using while delivering enough power for the live band, and smooth coverage L-Acoustics’ new M1 measurement across the audience, while remaining software tool, integrated into the Las unobtrusive as possible. We also Acoustics P1 processor. had to keep the sound system away from the performers’ stage, as the show has flying acrobats and metal wires to support their flown equipment. “I combined three sub arrays into a single source and placed them in the centre above the [hall’s historic] cupola. This pro- Britannia Row’s PA had to avoid duced powerful and even sub flown infrastructure for the coverage around the audience. Cirque Du Soleil performers
CANADIAN SINGER-songwriter Carly Rae Jepsen briefed her production team to create an elegant and theatrical design which was adaptable for touring different-sized venues and festivals.
Production manager Zach Snyder invited Liverpool-based Adlib to provide audio and lighting for the European leg of her Dedicated tour, which played venues such as the O2 Victoria Warehouse (cap. 3,500) in Manchester and London’s O2 Academy Brixton (4,900). Snyder specified an Avid S6L 24d audio console for front-ofhouse, and a DiGiCo SD13 for monitors, while lighting designer Charles Ford chose a grandMA2 light as his control desk. “We have no touring video, but a backdrop made from lightweight crushed grey fabric, which takes light beautifully and looks textured and three dimen-
Elegance with Adlib
Adlib at with Carly Rae Jepsen
Rigging Services
sional,” says Ford, who used 16 Ayrton Khamsin LED profiles combined with 12 Robe MegaPointes for “eyecatching” beam work and effects. He used the Claypaky B-Eye K20 and GLP Impression X4 Bar 20s plus Chroma! ColorForce LED 48 and 72 battens for uplighting. “Carly takes great interest in the look of the show, and trusts me to get great-looking results,” he says. For audio Snyder deployed an LAcoustics K2 & KS28 system, which he says is, “A is a great PA: you can source it worldwide and we use this standard rig at festivals.” Rae and her four-piece band used their own Sennheiser mics and inear-monitors.
info@riggingservices.co.uk
FROM A CORNER BLOCK TO A COMPLETE ROOF SYSTEM
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I 33
Switch and go KNOWN FOR their raw sound and multiple effects, Primal Scream required a widely available and easy-to-use desk with plenty of channels, according to front-ofhouse engineer Chris Martin. He and monitor engineer Gerry Colclough opted for DiGiCo SD12 consoles for a tour which visited venues including Brighton Dome (cap. 1,700), Nottingham’s Rock City (2,000) and London’s O2 Kentish Town Forum (2,300). “The band has a very good idea about what they want and we spent many days at a rehearsal studio to achieve it,” says Martin, who used a DiGiCo SD12 on the
tour with a single SD Rack, with a Waves server connected via MADI to a DiGiGrid MGB interface. “The Waves server is mainly used for effects such as auto pan for guitars and keyboards,” he says. “Plus a few reverbs, sub enhancer and distortion and some primary source expanders on the vocals. I’m also using a Universal Apollo interface connected via analogue for a few compressors and EQs. “We can get the consoles wherever we travel, and the compatibility within the SD range has made our lives very easy. We simply switch the show-file from one desk to another.”
AUDIO ENGINEER Ed Irons needed a full, clear sound and durability from his microphones for the international tour by Kool & The Gang, which visited venues such as London’s IndigO2 (cap. 2,350) at The O2. He says the band is known for its brass sound, while capturing the bass has sometimes proved a
challenge on previous tours. On the recommendation of associates, he deployed the 4099 Instrument microphone by DPA for the latest shows, plus its 4018 Vocal Mic and 2011 Twin Diaphragm Cardiod and 4011 Cardiod models. “Once we heard the DPA mics, we were hooked,” he says. “The horn section for Kool & The Gang
PRODUCTION NEWS
Primal Scream performs with a Digico SD12
Keeping that Kool brass franchise sounding great
Middlesbrough 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
is a franchise sound and with the 4099s, it is so easy to [achieve] the fullness of the group. Most notable is the ease with which I capture the true character of each instrument; whether it’s a sax, trumpet or trombone.” The band used three 4099 Loud Instrument Mics and one 4099 Extreme on its horn section, along
with two 4011s for mic’ing the percussion and a 4099 Instrument mic on bass. “Although the 4099s sound great on all of the band’s instruments, we were especially blown-away when we used them on the bass cabinet, as it’s typically quite difficult to capture clear sound in this application,” says Irons.
City Focus See page 17
Specialist Suppliers to the Entertainment Industry
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March 2020 • Issue 242 • 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
Lisa Ekdahl Jun
Paul Charles, Asgard T 020 7387 5090 pc@asgard-uk.com
Lisa Stansfield
Jun
Neil Wornock, UTA T 020 7278 3331 neil.warnock@unitedtalent.com
Atari Jun-Aug Jeff Aug, Maximum Booking Teenage Riot T +49 177 642 4221 info@maximumbooking.com
Musical Youth
Jun
Serena Catapano, SAS Entertainment T 07871 075 072 serena@sas-ents.com
Bernie Marsden
Nazareth
Sep
Alan Cottam, Alan Cottam Agency T 01254 668471 alam@alancottamagency.co.uk
Emily Robbins, UTA T 020 7278 3331 Emily.Robbins@unitedtalent.com
Anathema
Andy Farrow, NMC Live T 01274 306361 andy@northernmusic.co.uk
Jun
Jun-Aug Alec Leslie, ALE Consolidated T 01829 730488 alecconsol@aol.com
Boomtown Oct-Nov Alan Cottam, Alan Cottam Agency Rats With T 01254 668471 Bob Geldof alan7000uk@yahoo.com Cliff Bennett Jun & The Rebel Rousers Chesney Hawkes
Fofoulah
Mark Lundquist, MLM Concerts T +1 161 7254 0007 mark@marklundquist.com
Jun-Aug Ryan Balch, The Leighton-Pope Organisation T 020 8741 4453 ryan@l-po.com Jul-Nov
David Flower, Sasa Music T 07798 743466 rab@sasa.demon.co.uk
Potato Head Jun Jazz Band
Steve Hillage Band
Graham Jul-Sep Gouldman’s Heart Full of Song Gong
Steve Parker, Miracle Artists T 020 7935 0222 steve@miracle-artists.com
Jun-Nov Glenn Povey, Event Horizon Live T 07841 594677 glenn.eventhorizon@gmail.com
Hannah Jun-Aug Chris Wade, Strada Music Sanders & T 01377 217662 Ben Savage info@stradamusic.com Holy Moly & Jun-Oct The Crackers
Polly Bolton, Strada Music T 01482 014971 polly.bolton@stradamusic.com
Joe Satriani Jun
Wayne Forte, Entourage Talent Associates T +1 212 633 2600 wayne@entouragetalent.com
Jungle Brothers
Seth Lakeman © T Griffithis
Tim Jennings, Big Bear Music T 0121 454 7020 tim@bigbearmusic.com
Jun-Aug Albert Samuel, ASM Talent T 020 3005 9170 albert@missioncontrol.net
Kenny Jones Jun and The Jones Gang
Mark Lundquist MLM Concerts T 07971401510 mark@marklundquist.com
Lindisfarne Jun-Nov
Graham Smout, Strada Music T 07971 072 938 graham.smout@stradamusic.com
T. Rextasy
Q
Alexis Ffrench Jun
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
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March 2020 • Issue 242 • www.liveuk.com
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THE PERFECT LINE-UP Issue 40
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ISSUE ISSUE239 239DECEMBER DECEMBER2019 2019
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Hypersonic rocker Sam SamFender’s Fender’salmighty almightyascent ascent
Campaigners Campaignersslam slamViagogo-StubHub Viagogo-StubHubdeal deal London’s London’sMSG MSGSphere Spheredelayed delayedindefi indefinitely nitely AEG AEGpartners partnerswith withAmEx AmExfor forBST BSTrebrand rebrand Committed Committedto tothe theunsigned unsignedand andemerging emerginglive livesector sector see seepage page26-27 26-27
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A GUIDE TO ARTISTES, TOURS & AGENTS TOUR PLANS I 37 Artistes
Period
Contact details
Artistes
Ruby Turner Sep-Oct Nick Peel, Miracle Artists T +44 207 935 9222 nick@miracle-artists.com SAZ’ISO
Jun
Seth Lakeman
May-Sep Dave Farrow, DMF Music T 01392 437 744 david@dmfmusic.co.uk
Sons of Apollo Jun
David Flower, Sasa Music T 07798 743466 rab@sasa.demon.co.uk
Andy Farrow, NMC Live T 01274 306361 andy@northernmusic.co.uk
Period
Zac Peters, DMF Music T 01392 437 744 zac@dmfmusic.co.uk
The Way Jun Down Wanderers
Phil Simpson, Strada Music T 01482 014971 phil.simpson@stradamusic.com
Toploader
Jun
Mark Lundquist, MLM Concerts T 07971401510 Mark@marklundquist.com
Tokio Hotel Jun
Georg Leitner,Georg Leitner Productions | T + 431 914 86 15 gleitner@glp.at
T-Rextasy
Jun
Mark Lundquist, MLM Concerts T 07971401510 Mark@marklundquist.com
Sophie Evans Jun
Heulwen Keyte, UTA T 020 7278 3331 Heulwen.Keyte@unitedtalent.com
Steve Hillage Oct Band
Dan Silver, Value Added Talent T +44 207 704 9720 dan@vathq.co.uk
Steven Sep Seagals Blues Band
Alan Cottam, Alan Cottam Agency T 01254 668471 alan7000uk@yahoo.com
10cc
Jul-Aug
Steve Parker, Miracle Artists T 020 7935 9222 steve@miracle-artists.com
The Jim Dandies
Jul
Tim Jennings, Big Bear Music T 0121 454 7020 tim@bigbearmusic.com
Tokio Hotel
The Jim Dandies
Contact details
They Might Aug Be Giants
Artistes
Period
Contact details
The Trials of Cato
Jun-Nov Graham Smout, Strada Music T 07971 072 938 graham.smout@stradamusic.com
UB40
Jun-Aug Gary Howard, UTA T +44 207 278 3331 garyhoward@unitedtalent.com
The Lumineers
Aug
Wolfgang Flür
Jun
The Wildhearts
May-Nov Andy Farrow, NMC Live T 01274 306361 andy@northernmusic.co.uk
Alex Bruford, ATC Live T 020 7580 7773 alex@atc-live.com
Zac Peters Dark Independent Bookings T +32 468 27 06 12 pieter@darkindependentbookings.com
Xander and Jun-Aug Alec Leslie, ALE Consolidated the Peace Pirates T 01829 730488 alecconsol@aol.com
UB40
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.
March 2020 • Issue 242 • www.liveuk.com
38 I BACKSTAGE STARS BACKSTAGE
STARS
Profile
Jon Wood Having worked as a tour manager and van driver, huped equipment about and played in bands, Jon Wood founded Ooosh Tours in Brighton 11 years ago. The company, which now has six full-timae staff, supplies transport, backline and rehearsal studios, along with a host of back-up services, for artistes and events, both in the UK and internationally. What are your first live music memories? “I grew up in a small town on the Kent-London-Essex border where there was absolutely sod-all going on. Through various school friends I had a growing interest in music and bands, so I ended up organising gigs myself in local village halls. Because no-one had much to do, we always hit capacity far too soon. “The first proper gig I went to as a young teenager was Blur supported by Super Furry Animals at the Bournemouth International Centre [cap. 6,250] in 1997, I think. I’d never seen a big band in a big venue before and it was mind-blowingly good.” How did you get into the entertainment industry? “I moved to Brighton in the early 2000s to study at uni and had a job as a sound engineer in a couple of local venues, most notably the Freebutt [150], which eventually shut down. “I was at a bit of a loose end after my degree, but had done a few bits of driving for friends’ bands so I toured for several years all over Europe as a band driver, eventually moving into tour managing. ”After a few years, I was getting a lot of offers for work, too many to handle really. It struck me that all the non-UK bands I was working for would start the tour by driving to London and hiring a load of backline. I also noticed that apart from a few others like myself, there was otherwise no way of getting a splitter van south of London. “I owned a few bits of musical equipment from playing in bands myself over the years and so bought a second splitter and struck a deal with a local rehearsal studio to act as
March 2020 • Issue 242 • www.liveuk.com
LIVE UK intervie ws key people who help shape our industry
my shop front and use their card machine. This worked very well and within a few years I’d progressed from a small cupboard at the top of their stairs, to my own premises, a few self-drive splitters and a growing stock of backline. “We now have premises that houses two world-class production-style rehearsal studios, our vast inventory of backline, 20+ splitter vans as well as our tour supplies shop, repairs, staging, client storage, DJ & PA equipment etc.” What were your high and low points? “The first year that we were the main suppliers for The Great Escape festival was pretty exhilarating. It was 28 stages of full backline, plus several PAs, staging, ad-hoc pop-up events, logistical support throughout and all the usual dozen or so May tours too, all crammed into three days. It’s absolutely bonkers but we’ve done it for the last few years and it’s a great feeling to be there absolutely smashing such an important industry festival. “Possibly the lowest feeling I’ve ever experienced was around eight years ago, when we failed to deliver everything on time for a relatively new festival. It really kicked me in the arse and cost me a lot of money. I can look back and see how it really shaped the future of the company - we invested heavily in software and training to make sure we’re the best we can be.” Where do you see the industry going? “Ours has been a very steady and organic growth. I’m not a great believer in growth for the sake of it, but I believe we’ve got more great things to do for sure. I’m floored some
times when I look over our client list and see some of the famous names that rehearse or tour through us. “Continuing to support them and enjoying organic growth through word-of-mouth is what we’re looking forward to this year, as well as a steady and focussed refinement of our methods and inventory. “I love collaborating with other companies and am always interested to see new ideas and try new things - I much prefer seeing four smaller companies pooling together for an event rather than one big one supplying everything. How do you unwind? “I play in a couple of bands and manage to dabble around the outskirts of the job whilst enjoying a degree of separation. “I’m happily married to my wife Kat and we have a five-year-old son called Lenny. Kat’s mum lives on the edge of Dartmoor and we go and stay there every couple of months, which is just lovely. A windswept walk across an moor is a wonderful respite to heaving a Hammond organ into the back of a van. “The job can be all-consuming, especially as it’s my own company. It’s the nature of the business though, especially as so many of our clients are based in Australia and America – as our day is ending theirs is starting which often means a lot of work at home in the evenings. “I’d certainly like to try and work a bit less but it’s hard as I really just love the music business and love working for our amazing clients.”
20-22 GEORGE CLINTON
Funk Pioneer Singer/Songwriter, Record Producer
DALLAS AUSTIN
ALLEN KOVAC FABRICE SERGENT CEO, Better Noise/ Tenth Street Entertainment
Cofounder & CEO Bandsintown
SUKHINDER MARTY DIAMOND DESMOND CHILD GRAMMY SINGH CASSIDY Head of Global Music Award-winning
DIRECTOR X
GRAMMY Award-winning producer, songwriter, musician, and film producer ®
®
President, StubHub
Paradigm Agency
producer, songwriter
Music Video & Film Director
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