South by Southwest’s upcoming European debut edition is primed to help build a “better and bigger” global industry, according to the festival’s head of music Adem Holness.

The Austin, Texas-hailing festival of convergence, which launched in 1987 and combines interactive media, film & TV and music, lands in the UK capital for the inaugural SXSW London from 2-7 June, taking over dozens of venues, galleries, clubs and other spaces in East London over the course of the week.

Holness joined SXSW London last summer from the city’s Southbank Centre, where he curated and oversaw events including Meltdown Festival, Stormzy’s Live from Queen Elizabeth Hall and Honey Dijon’s Honey Verse in his role as head of contemporary music.

“When I first found out SXSW was coming to London, I was immediately intrigued,” he tells IQ. “I’m a Londoner, and what I love about London is that it’s already somewhere people can experience music from all around the world, so I was interested in how we could present the future of music from that perspective.

“London is an international city: it’s one of the only places where you can get off at any tube stop and find yourself in a distinct community. I could immediately see how that would work in the context of SXSW and how the venues could feel like gateways into distinct underground music scenes. And I wanted to have a hand in helping to guide that.”

“Tems was our first choice of headliner and reflects so much of what I want the festival to stand for”

As head of music, Holness is tasked with leading the cultural platform’s music programming team and oversee music partnerships and curation of events within the music industry.

“My job is part-booker and part-industry liaison, so there have been lots of conversations about our plans and for people to understand the vision and ambition,” he explains. “We’ve got some pretty major players turning up at the conference and coming down to check out artists, so it’s feeling really good.”

Grammy Award-winning Nigerian singer-songwriter and producer Tems will headline Billboard‘s THE STAGE event at Troxy on 5 June (Billboard and SXSW are both Penske Media Corporation brands), with support from British-Nigerian Afro-soul artist LULU.

“Billboard is one of our co-curators, and we’ve been talking a lot about the international underground and growing music scenes, and there was so much crossover,” says Holness. “When thinking about [the purpose of] SXSW London, there are such strong relationships with Sub-Saharan Africa, and so we were interested in finding an artist that reflected that scene and that growth, and Tems was our first choice.

“I am probably the worst programmer because I’m constantly telling people that I’m fans of their music, which is not a great negotiation tactic! But she was absolutely my first choice and reflects so much of what I want the festival to stand for. We’ve announced a support artist that also reflects that scene and where we’re trying to go, so I’m very excited about that. I think it’s going to be a special moment in the festival.”

“It’s about spotlighting international underground scenes, grassroots collectives and people who are disruptive in their local context”

Other partners co-curating stages across SXSW London’s Music Festival include BBC Introducing, BBC Asian Network, Black Lives in Music, Dankie Sounds, Seoul Community Radio and Shubbak Festival.

“It’s about spotlighting international underground scenes, grassroots collectives and people who are disruptive in their local context. It’s a chance to navigate one of the most exciting parts of one of the best cities and learn about music from all across the world, at the cutting edge.

“Like any new venture, we’re building it from the ground up. We’ve announced our first wave of co-curators and we’ve got more to announce. These are people who are embedded in specific music scenes, who are helping us shape what the programme looks like. We’ve got people who really understand underground music in different contexts – well known brands and platforms, as well as grassroots and DIY.”

In terms of showcases, a music industry jury reviewed artists from the open submissions. Sample names from the jury included BBC Studios’ Alison Howe, consultant George Ergatoudis, Royal Albert Hall head of programming Dave Gamble, artist manager Whitney Asomani, BBC Radio 2 and 6 Music editor Lauren Brennan and Ivors Academy Trust chair Michelle Escoffery.

Following the public submissions, each entry was reviewed by a genre or scene specific specialist within the jury, which created a shortlist for co-curators to select from. Each jury member also submitted a wildcard – an act they were particularly excited about.

“I knew we would get absolutely inundated, because there are not enough opportunities out there for emerging artists,” notes Holness. “So we wanted to make sure we had a process that meant the people that were looking at their submissions understood the music they were making.

“We invited around 100 music professionals from around the world – from grassroots DIY club promoters making their own underground queer scenes, through to A&R directors. We also wanted to make sure we had people in the mix who have the capacity to open opportunities for artists, so festival bookers and other kinds of programmers. You’ve got people who’ve got decades-long careers in music alongside people still relatively early in their journey.”

“We’re not doing this on our own. The festival is co-led by our industry”

Holness continues: “I’ve been working with new and rising artists for most of my career, and I know there are not enough opportunities for people to realise their ambitions – not enough resources, not enough infrastructure – and so I really hope this is a useful vehicle for them to be able to realise their ambitions.”

He adds: “We’re not doing this on our own. The festival is co-led by our industry, whether that’s people on our jury helping to shape the artist showcase, or the platforms, collectives and pioneers presenting them and shaping the programme with us, it’s something that we’re doing together.”

Big-name conference speakers announced so far include actors Idris Elba and Gillian Anderson, ABBA legend Björn Ulvaeus, Police drummer Stewart Copeland and fellow musicians Wyclef Jean and Jean Michelle Jarre. Holness insists that music is “integral” to the event.

“Music is the backbone of London in many ways,” he says. “It’s definitely how I make sense of the world around me. Not to in any way undermine the other parts of SXSW London – technology and screen – which will be really important parts of what we’re doing, but I think music is going to be what makes SXSW London feel alive in a way that I don’t think anything else can.”

SXSW London is produced under licence from SXSW LLC by Panarise, a live entertainment company established and owned by private investment firm Panarae. It will become the second international spin-off of the brand, following in the footsteps of SXSW Sydney, which debuted in Australia in 2023 and returns for its third year from 13-19 October.

“We’ve got over 900 companies coming to the festival and people from over 45 countries”

With the 2025 Austin flagship having just wrapped up, Holness says the London edition follows the “same fundamental framework” as its sister events.

“The basic building blocks of SXSW Austin and Sydney are absolutely informing how we’re working,” he remarks. “But as I’ve said before, this ain’t Texas, it’s going to feel different. It’s going to feel like the European version. Not just London, Europe and beyond. I’m getting on really well with my counterparts in Austin and Sydney, but I hope it feels different in a good way.”

Conference passes are priced £1,000 (€1,200), with music passes costing £600 (€720). And with just over two months to go until SXSW London, Holness says that preparations are on track.

“We’ve got over 900 companies coming to the festival and people from over 45 countries,” he finishes. “What I’m focused on is making sure that we’ve got the right decision-makers there and people who are able to to drive our industry forward and do better and bigger business together, but also on opportunities for artists.

“I have experience of delivering London festivals in June and am hoping we get really great weather. Of course, London is busy. The London calendar is busy, but I’m really excited for summer.”

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The LGBTIQ+ List 2023 – IQ Magazine’s third annual celebration of queer professionals who make an immense impact in the international live music business – has been revealed.

The ever-popular list is the centrepiece of IQ’s third Pride edition, sponsored by Ticketmaster, which is now available to read online and in print for subscribers.

To get to know this year’s queer pioneers a little better, we interviewed each of them on the development of the industry, the challenges that are keeping them up at night and more.

Throughout the next month, IQ will publish a new interview each day. Check out yesterday’s profile with Amy Greig, booking agent at Runway Artists in the UK.

The series continues with Adem Holness (he/they), head of contemporary music at Southbank Centre in London, UK.

Having been responsible for arts and cultural organisations; talent development programmes; live music festivals, tours, and gigs, Adem specialises in enabling the ambitions of music artists and creatives from diverse backgrounds to realise ambitious contemporary music programmes. As music curator at the Horniman Museum & Gardens, he led the award-winning 696 programme and festival celebrating Black British music and the sounds of south London.

Adem is a fellow of Clore Leadership, the Royal Society of Arts, and PRS Foundation’s Power Up scheme, an award-winning initiative supporting Black music creators and industry professionals to address anti-Black racism and racial disparities in the music sector.

Tell us about the professional feat you’re most PROUD of in 2023 so far.
Straight in with a pun, love it. Well, I’m right in the middle of delivering Christine & The Queens’ Meltdown. Meltdown is the longest-running artist-curated festival in the world. Chris is the youngest-ever curator. With this being my first Meltdown, having only started at Southbank less than a year ago, it’s been amazing for the two of us silly queer kids to make something that we both feel really proud of. We want the festival to feel really fun and have huge amounts of imagination, with artists that we both love. There are loads of queer artists, creatives, and collectives at the festival, so definitely something I feel proud of.

Name one queer act you’re itching to see live this year.
Am I allowed to say one of my own shows? Is that bad? Because it’s Honey Dijon. We’ve got her doing a huge takeover of our site in September, including her performing with an orchestra – it’s going to be wild! If I’m not allowed to say one of mine, I’d say Iniko. I think they’re incredible. They give me a glimpse of the queer future and I would love to see them live.

“We need you – as you are – in our industry. We need your perspective, ideas, and imagination”

What advice could you give to young queer professionals?
Be yourself and find a good support network outside of work. So, if it’s ever uncomfortable and scary to show up to work authentically, you’ve got people outside who can charge you back up. Because we need you – as you are – in our industry. We need your perspective, ideas, and imagination.

What’s the best mistake you’ve ever made?
Contacting an artist’s management that I didn’t hold the relationship with and nearly getting a major show pulled as a result. Big squeaky bum time. But I learned the power of good relationships in our business and not overstepping. In a way, I feel like we should all be making mistakes all the time because failing is how we learn. Ideally, not huge mistakes that cancel gigs or destroy our industry but small things along the way that mean we can each get better and refine what we do.

In terms of challenges in the industry, what’s currently keeping you up at night?
Ticket sales! Particularly for the smaller- to mid-level acts. There is so much amazing activity in London this summer and I feel really proud to be in one of the most exciting music scenes in the world. I just hope that we are protecting enough space for people at the grassroots and emerging levels to be able to build amazing careers.

“I’m so excited by the new generation of leaders that are coming through and helping to create a more inclusive landscape”

How do you see the live music business developing in the next few years?
I do genuinely believe we are on a journey to becoming more inclusive. I think we’ve got a way to go but I feel really hopeful that we’re getting there.

Name one thing you’d like to see the live music business change.
I’m so excited by the new generation of leaders that are coming through and helping to create a more inclusive landscape. For example, I feel really proud to have been a part of Power Up, an initiative confounded by Ben Wynter and the PRS Foundation powering up Black music artists and professionals. So, I’d like to see more people from my communities in leadership positions.

Name one thing the industry could do to be a more equitable place.
I think it comes back to the question about making mistakes. One thing that we could all do is recognise that it’s okay [that] we’re not all getting everything right all the time. By being open to trying things differently and seeing what makes a wider variety of people able to do their best at work, I think we can create a more equitable work environment. I know sometimes people who might already feel comfortable in an environment worry that changing the setup to welcome others might alienate those who are already doing well. What I want is for all of us, everyone, to feel comfortable and confident at work. It’s okay that we’re not there right now if we’re open to experimenting and trying new things to see how we can get to a place where we’re all having a great time and putting on great gigs.

Do you support any LGBTIQ+ causes?
I have to shout out The Chateau, which was a queer venue in southeast London, and we are bringing it back for the opening night of Christine and the Queens’ Meltdown. Bring back The Chateau!

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IQ Magazine has revealed the LGBTIQ+ List 2023 – the third annual celebration of queer professionals who make an immense impact in the international live music business.

The ever-popular list is the centrepiece of IQ’s third Pride edition, sponsored by Ticketmaster, which is now available to read online and in print for subscribers.

The 20 individuals comprising the LGBTIQ+ List 2023 – as nominated by our readers and verified by our esteemed steering committee – are individuals that have gone above and beyond to wave the flag for an industry that we can all be proud of.

The third instalment comprises agents, promoters, tour managers, marketing executives, consultants, founders and more – all of whom identify as LGBTIQ+ and, in the face of adversity, have made enormous contributions to their respective sectors.

In alphabetical order, the LGBTIQ+ List 2023 is:

Christina Austin, music agent, United Talent Agency (UK)
Hila Aviran, director of entertainment & tours, PixMob (US)
Johanna Beckman, senior creative curator and promoter, FKP Scorpio Sweden (SE)
Amy Greig, booking agent, Runway Artists (UK)
Adem Holness, head of contemporary music, Southbank Centre (UK)
Kane Kete, client development manager, Ticketmaster (AU)
Ippei Kimura, booking/marketing/tour manager, Creativeman Productions (JP)
Katherine Koranteng, marketing & campaigns manager, Festival Republic (UK)
Stefan Lehmkuhl, freelance curator & live entertainment consultant, BMG/Ruined My Rainbow (DE)
Lucy Mackenzie McNae, tour manager (Josef, Twin Atlantic), Two and a Half TMs (UK)
Saskhia Menendez, innovator at Keychange, board of directors at F-List Music (UK)
Dev Mistry, global internal comms manager, DICE (UK)
Frederik Diness Ove, founder, Queer Music Agency (DK)
Boyan Pinter (Boiadjiev), founder/director, SPIKE Bulgarian Music Showcase (BG)
Scott Robson, event manager, ASM Global (UK)
Roman Samotný, director, Queer Slovakia (SK)
Marie-Christine Scheffold, senior booking agent manager, Selective Artists (DE)
Karim Siddiqui, senior booking manager, Live Nation (US)
Areti Tziorta, marketing manager, TEG Europe (UK)
João Pedro Viana, music agent, WME (UK)

Throughout the next month, IQ will be publishing full-length interviews with each person on the LGBTIQ+ List 2023.

Subscribers can read the full Pride edition now. Click here to subscribe to IQ from less than £8 a month – or see what you’re missing out on with the limited preview below.

Check out 2022’s cohort of queer pioneers here, and 2021’s cohort here.

London’s Southbank Centre has appointed Adem Holness as head of contemporary music.

Currently relationship manager (music) at Arts Council England and programme consultant at the Dugdale Arts Centre in Enfield, Adem will join the Southbank Centre’s artistic programming team in mid-September.

Leading the venue’s contemporary music team, Holness will be responsible for curating and overseeing the delivery of 150-plus music events, including the annual artist-curated Meltdown festival and supporting the interdisciplinary experimentation series Purcell Sessions, which launched in September 2021.

“I am beyond thrilled to be joining the team at the Southbank Centre,” says Holness. “As a Londoner, the Southbank Centre has always felt like our hub for groundbreaking music and creativity. So I feel deeply honoured to have the opportunity to help it continue to create space for contemporary music that reflects our city, country and international family. I am so excited to collaborate with artists, creatives, colleagues and partners to dream up new ways for people to experience live music.”

“Adem will certainly take our world renowned gigs and series to the next level”

Holness will also be focused on building new relationships with artists and labels, nurturing young and diverse talent, developing the family of Associate Artists and working with Creative Learning to create music engagement opportunities for young people. In addition, he will contribute to the content strategy for the Southbank Centre’s digital platforms, expanding the reach of contemporary music nationally and internationally.

“Adem will play a pivotal role in not just leading on our incredible contemporary music programme, but also in how it speaks to our other artforms and connects with new audiences to ensure a rich and relevant programme in our venues and across our outdoor and virtual spaces,” adds Mark Ball, artistic director of the Southbank Centre. “With such a varied and deep knowledge of the music landscape, a commitment to championing diverse talent and an unwavering commitment to culture in all its forms, Adem will certainly take our world renowned gigs and series to the next level.”

Holness is a fellow of Clore Leadership, the Royal Society of Arts and PRS Foundation’s Power Up scheme, an initiative supporting Black music creators and industry professionals to address anti-Black racism and racial disparities in the music sector.

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