Best of 2024: Behind the scenes of The 1975’s tour

As one of the biggest arena acts on the planet, The 1975 have been making headlines wherever they go for the past 20 years. Having just brought the curtain down on their third consecutive year on the road, their fanbase continues to grow, making their efforts to rewrite the rulebooks on sustainable touring all the more impressive. Derek Robertson learns just what it takes to take such a cultural phenomenon on the road.

Can you have too much of a good thing? Clearly, The 1975 think not. For an A-list arena band, they have been remarkably prolific – aside from releasing an album every two years since 2016, they’ve also toured behind them relentlessly: 18 months and 150 shows for I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It; a 24-month world tour behind Music For Cars; and a seven-leg, 96-date stint doing their At Their Very Best show. And barely a month after that wrapped on the 13th of August 2023, they were back on the road in Atlanta starting Still… At Their Very Best – another 66-date, worldwide jaunt – in support of their fifth studio album, Being Funny In A Foreign Language.

Even taking into account the enforced breaks during the pandemic, that’s quite a workload – particularly when you consider some of the bands’ struggles with mental health and the pernicious effects of fame. Yet manager Jamie Oborne says that after the Music For Cars tour was interrupted by lockdowns (while first rescheduled, the remaining shows for that tour were ultimately cancelled), “we collectively had a desire to tour, and Matty (Healy, frontman) was very excited about doing a show that was ‘different’ to what people expected or had seen in an arena before. It felt like the right time to get back on the road.”

Work it real good
“The boys love to work,” says Maarten Cobbaut, tour manager. “The first real break they had from their intense schedule was the pandemic, but within a week of restrictions being lifted and everything, they were back in the studio working on new music. They are just so passionate about what they do and put so much of themselves into the music and these shows.”

And these shows for Still… At Their Very Best are, unsurprisingly, fairly close in terms of concept, setup, and logistics as the At Their Very Best show. “An evolution, not a revolution,” as Oborne puts it. “It was part of the same cycle, but so much had happened since the tour commenced that Matty felt a creative need to highlight this evolution. The plan was always to use this tour cycle to market Being Funny In A Foreign Language, so we didn’t really see it as two separate tours.”

“The Finsbury Park show sold out instantly, and it was clear the fanbase was still growing on this cycle”

“Both UK runs were all part of the global touring for Being Funny In A Foreign Language, and weren’t seen as separate projects,” adds Matt Bates of Primary Talent, the band’s agent. “Of course, the first run was billed as At Their Very Best, with the second run having a slightly different name, but they very much coexisted together. And there was a lot of demand – the Finsbury Park show sold out instantly, and it was clear the fanbase was still growing on this cycle.”

Treading the boards
The show itself was certainly “different” – both from what you’d expect from an arena band and from their previous bombastic show for Music For Cars. That tour was “really big and ambitious,” says creative director and show designer Tobias Rylander. “We really went for size and technology with massive LED screens and automated cubes. But for At Their Very Best and Still… At Their Very Best, we wanted to be very analogue – Matty wanted the show and design to be more personal and really show them as a band.”

Healy is, says Rylander, always very conceptual in the approach for each era and tour. While the design for the previous tour reflected social media and internet behaviour, “This time around Matty wanted the show and design to be more personal and show them as a band,” explains Rylander.

“Matty wanted it to reflect their history as friends and a group, while also focussing on them as a live act and musicians. He wanted the stage to reflect how they recorded this last album live, together in the studio. He knew he wanted a house, and some sort of living room. And he wanted it to be focusing on the I-mag camera. No video content: just live camera. That’s how I started to design and look at the house. To always have a good background and setting for the camera shots.

“We looked at anything from Ingmar Bergman to Steven Spielberg for inspiration and references,” adds Rylander; Stanley Kubrick and avant-garde theatre were other touchstones (one review described the show as being: “part performance art, part stage play, part Charlie Kaufman movie about a rock star in crisis.”)

“I always remain amazed by the creative ideas of Matty and the band”

Our house
The design eventually started to take on a life of its own as it developed – it literally became Matty’s “home,” housing his memories. “It’s monochromatic and anonymous at the same time; it can reflect and take the shape of anyone’s childhood memories or their new memories leaving the show,” says Rylander. “It’s a very inviting and inclusive set.”

The first half of the show has almost no “effect” lighting and looks more like classic theatre than a rock show. “That’s something we’ve never done before, and something that’s not very common these days – I think we are the only rock band tour out there that brings a whole ‘Broadway’ set,” says Rylander.

And for the second leg of the tour, they kept all the theatrical parts and added a large, curved video screen behind the set that allowed them to add set extensions and environmental backgrounds. “We could go from night to day in a very beautiful way, but also play some really fantastic bits of video content reflecting older tours and eras from the past,” he adds. “And using the upstage video screen as a theatrical set extension like we do – I don’t think I have seen that on stage before.”

“I always remain amazed by the creative ideas of Matty and the band,” says Matt Bates. “The show was brilliant theatre while not losing the ethos of what makes the band so special in the first place. It truly showed a band at the top of their game creatively and musically, and, in their own words, ‘at their very best.’”

Boys on film
As noted above, video – shot live and intimately – was key to the whole look and feel of the show. Head of video Ed Lawlor has been with The 1975 since 2016 and was tasked with turning concept into reality while ensuring the solution was practical enough for a world tour. “We didn’t want to compromise on providing the best IMAG show possible for the budget – the design brief was ‘cinematic’ – so it was an easy decision to focus on one thing and do it well,” he says.

“It was clear early on that the band and management wanted larger than normal IMAG screens, and we wanted the classic projection look rather than LED”

“It was clear early on that the band and management wanted larger than normal IMAG screens, and we wanted the classic projection look rather than LED. On the initial US tour, we specified two Panasonic PT-RZ31K projectors per side on a 24’ Stumpfl screen from PRG rental stock, which was the largest off-the-shelf option available,” he adds. “On returning a year later to larger venues, the management requested a bigger option – at that point, we commissioned a 32’ Stumpfl screen, which was the largest practical option in a fast-fold product. This required an increase to 3x PT-RZ31K per side, which is the brightest arena IMAG projection I’ve heard of in a while.”

As for the cameras, Lawlor decided to do 3G well rather than 4K on the cheap, so specified four Sony HDC-2500 channels and a Ross Carbonite 2 M/E PPU from PRG UK. This was augmented with four Panasonic AW-UE160 and an RP150 control panel, with additional fixed shots from Marshall CV503-WPs.

Screen time
Those IMAG screens are very much larger than normal for arena touring, and so Lawlor and his crew worked closely with both PRG and AV Stumpfl to find a solution that allowed for rear projection in a fast-fold type frame with no central member that would obscure the beam. PRG have also been working with The 1975 since 2016 and, says Stefaan Michels, sales director for PRG UK, “our partnership has grown stronger over the years – we’ve fostered a close relationship with their tour and production management team, and one that extends beyond their time on the road.”

PRG’s brief was scalability, and the integration of new equipment tailored specifically for this production. Michels had to ensure the duplication of rig setups between Europe and the US, as well as customising equipment to meet the tour’s unique requirements. “Implementing A-B-C rig configurations was essential for maximising efficiency and flexibility throughout the tour,” he says, “and we made specific equipment choices based on detailed specifications provided.”

For example, one significant consideration was the need for different sizes of projection screens to suit the dimensions of various venues. For larger arena shows in the US and UK, they incorporated a large USC Hi Res LED wall to deliver high-resolution visuals that could effectively engage the audience across expansive spaces. Additionally, custom-made, large projection screens equipped with additional 31K laser projectors were also used, particularly in venues with specific lighting conditions or sightline challenges.

“We had to come up with a system that kept Matty safe but also ensured that, if the worst happened, it was safe for a rescuer to go out and assist”

Another specific choice was the decision to utilise Ereca Stage Racer 2s, a decision driven by the need to minimise the deployment of copper cabling on a daily basis. “This choice not only reduces setup time but also enhances flexibility, allowing for swift adjustments as tour requirements evolve, as they inevitably do over the course of an extensive tour like this one,” says Michels. “Moving multiple 3G video signals even over medium distances caused problems on the first leg of the tour, as it required coaxial cable to be both modern and in good condition, which is a challenge to maintain on tour when local labour is in use,” adds Lawlor. “This was another factor in the decision to adopt the Stage Racer 2s.”

Hanging about
All in all, this setup provided a modest challenge for head rigger Simon Lawrence – “simply 120 points going to the roof and a relatively small weight of 50 tonnes.” But there was one area of concern – at one point, Healy climbs upon onto the roof of the “house” to perform a song, on top of the front apex. “Like any artist, Matty wants to be as free as possible when performing, and initially, he felt he should have no safety systems at all, but when he is nearly six metres up in the air above the stage, this is not possible,” says Lawrence. “So we had to come up with a system that kept Matty safe but also ensured that, if the worst happened, it was safe for a rescuer to go out and assist.”

Rounding out the suppliers, All Access provided the front of house mix position stage (a B stage set piece) and built a custom lift for this, while TAIT provided a TAIT Mag Deck rolling house stage. “The Mag Deck design incorporates magnetic corner blocks for alignment and a shear keyway to reduce the number of legs needed to support the decking structure,” says Bullet,
TAIT’s business development manager – UK. “This reduced the amount of product that needed to travel on the road and the time needed to load in and load out, ultimately saving on costs.”

On the road again
Moving all this around was the responsibility of Natasha Highcroft, director of Transam Trucking. “We supplied 15 low-ride height production trucks, plus one merchandise truck for the UK, and eight production trucks plus one merchandise truck for the European leg of the tour, all superbly handled by our lead driver, David Isted,” she says. “As with most tours, keeping to the EU legislation on drivers’ hours and statutory weekly rest periods can prove difficult when parking and access is restricted. Fortunately, with an understanding production and accommodating promoters, we were able to facilitate breaks whilst keeping to budget.”

Bussing was provided by Beat The Street; in total, they ran four 16-berth double-deck Setra’s for the crew and two 12-berth Van Hool Super-highdeckers for the band. “Plotting band bus moves can be a bit of a challenge when day drivers are mixed in with overnight drivers, as it becomes difficult to get the drivers their required weekly breaks,” says Garry Lewis, the company’s transport manager. “So, it was agreed to add a second driver to each band bus, which gave us the flexibility to make it work as seamlessly as possible for the band party.”

“Our focus, as a community of creatives, is always to try and limit the negative impact touring has on the environment”

Sustainability has long been an issue dear to the band’s heart, and on this tour, they were determined to do all they could to lessen its carbon footprint and impact on the environment. “The set design put a real focus on the structural elements being reusable or recyclable, and many of the items that make up the set-build will end up back in stock at the supplier end – this is quite unique,” says Oborne. “Our focus, as a community of creatives, is always to try and limit the negative impact touring has on the environment. It’s by no means a perfect solution, but we are pretty committed to chipping away at our impact on the environment.”

Indeed, the modular nature of the set is something of a first. “It’s a renewable scenic technology, and this is the first time this product has been taken out for a live touring show,” says production manager Josh Barnes. “We wanted something that would really give us the aesthetic finish that we were looking for, in terms of being robust and feeling like the walls are actually the walls of a house and not just a flimsy, flat set. But also, be something that could be transported in the most sustainable, cost-effective way possible and be renewed or recycled at the end of the campaign.”

He goes on: “We ended up partnering up with PRG scenic through their Belgium and Las Vegas offices and worked with them on creating the house out of a product called InfiniForm – basically, it’s a 50 x 50 mil aluminium box section that allows you to cut it and add corners, reels, braces, fixings, or whatever you need. Then, once the frames are made, they were clad in aluminium honeycomb, which is a lightweight, hard-wearing wall surface.

“And, at the end of the campaign, they’re just going to be stripped back into component parts and used by the next project. There’s no ongoing storage needed, and there’s no waste in terms of bits and pieces that would just normally get thrown away if it were a custom build.”

This also meant that the band was able to drop their air freight requirements from 40 pallets down to just 17 for the entire show. Coupled with the decision to carry a smaller production around mainland Europe, requiring only eight trucks instead of 16, this allowed the production team to significantly cut the tour’s carbon footprint and make some impressive cost savings.

“One of the things that we’ve really focussed on for this tour is crew welfare, and trying to look after people’s mental health”

Take a break
Looking after the planet is a noble endeavour, but the band are also at pains to look after people – specifically, their people. “One of the things that we’ve really focussed on for this tour is crew welfare, and trying to look after people’s mental health,” says Barnes. This effort started before the tour even hit the road – after rehearsals, several training days were scheduled with an American organisation called Safe Tour, covering topics such as wellness on the road, mental health first aid, pronoun training, and some bystander intervention training. “It was really beneficial to everybody involved in the project to set them up for success on what was, and still is, quite a long run,” he adds.

Crew rest was another priority, something that’s always a struggle given the nature of long days on the road. “Getting the right amount of rest between shows is really important,” says Barnes. To that end, they’ve been careful not to set loading times for arrival or very early in the morning, instead choosing “about an hour after we expect to arrive, to give the crew enough time to actually plan their mornings. We can also adjust show and door times as well, to assist if we need to leave slightly earlier one night or start later the next day.”

The quality of crew rest has been improved, too. “So not just a single day off where you arrive at a hotel, but a day where you can sleep in a bed and not set an alarm,” says Barnes. “Effectively, two days off, or one full day off, every few weeks – that was a real win being able to work that into the schedule.” Hotels are pre-booked, so people can access their rooms direct on arrival at 10am or whenever and are required to have a number of amenities to help the crew unwind; a gym, a sauna, a pool, spaces to relax, and convenient access to nature, parks, or wildlife. “Options beyond just sitting in a bar drinking.”

And this emphasis on physical health extends to the available food, with nutritionally balanced meals available on the buses and through catering, plus plenty of non-alcoholic beverages and 0% beers. Crew members can make individual food choices through an app, and while the band themselves tour with a personal trainer to keep them in shape, things like being able to walk to a venue from the hotel, and that downtime is actually downtime, are prioritised. “These things help in a number of ways – it’s financial, it’s sustainability, and it’s improving welfare,” adds Barnes. “They’re all important aspects to us.”

Much in demand
As one of the most popular acts of the new millennium, the band is in tune with its global fanbase, striving to make its touring activities as sustainable as possible and speaking out on issues on behalf of underrepresented communities. An infamous onstage kiss in Malaysia between Healy and bassist Ross McDonald last July continues to have repercussions, but that hasn’t stopped promoters internationally from booking the act.

“We sold out four O2 Arena shows this time, plus 40,000 tickets on this album campaign in the UK alone”

Unsurprisingly, given the stature and popularity of the band, Still… has been a roaring commercial success, too, with sold-out shows all across the globe. “We sold out four O2 Arena shows this time, plus 40,000 tickets on this album campaign in the UK alone,” says Bates. “Their fanbase continues to grow year on year, and while that does make the tours easier to sell, we like to launch the show with significant marketing for the first announcement,” says Luke Temple of SJM Concerts. Both Arena Birmingham and the two Manchester dates sold out in a weekend; Temple says the plan was always to do two at the latter, “but I’ve no doubt they could have sold out a few more.”

It was a similar story north of the border, in Glasgow. “The band played Glasgow Hydro in January 2023, then headlined TRNSMT Festival in July 2023,” says Dave McGeachan of DF Concerts. “We were thinking we would leave Glasgow off the 2024 tour, but we decided to add a show at the OVO Hydro. Then we had to add a second night due to demand, which also sold out – quite incredible sales within 13 months.”

In Sweden, the band sold out Stockholm’s Tele2 Arena – “their biggest show in our territory yet,” says Natalie Ryan-Williams of Luger. “Over the years, their fanbase has expanded, and with them being the phenomenon they now are, we knew people were going to travel in from all over Sweden – and even some internationally.”

The possibility of multiple shows in Spain was considered, but, says Cindy Castillo of Mad Cool, venue availabilities and logistical constraints prevented it. “The demand was certainly there, indicating the band’s strong draw in this area,” she says.

Two nights were possible at Amsterdam’s AFAS Live – even if they were nearly a month apart – and, says Friendly Fire’s Roel Coppen, “they were the band’s fastest-selling arena headline shows to date. They played Best Kept Secret in 2023, but we had no issues with these new dates – we could cater to different audiences with different shows within 12 months.”

“You can just about see anyone attending a The 1975 show nowadays – they really attract people from all backgrounds and generations”

Even in more developing territories, these shows have really connected to local fans. “The situation in continental Europe is quite different from the UK, especially in Central Europe,” says Anna Vašátková, head of marketing and PR for Rock For People in Czechia. “The band isn’t played on the radio very often and there’s not as much media coverage, so we’ve had to do all the heavy lifting ourselves. We did quite a massive marketing campaign, including outdoor, radio spots, and extensive use of online media.”

Coppen also noted something else on this run – a broadening of their fanbase. “I do see there’s been a steady, growing interest from other demographic groups and also journalists have been getting more excited about the band in recent years,” he says. Ryan-Williams has noticed something similar. “You can just about see anyone attending a The 1975 show nowadays – they really attract people from all backgrounds and generations, which is a beautiful thing to see.”

“The 1975’s appeal spans various age groups and genders, and their music has definitely attracted a diverse audience transcending age and gender boundaries,” adds Castillo. “It resonates with listeners across generations, from teenagers to older adults, probably thanks to its relatable themes and catchy melodies.”

Success is no accident
Beyond the accolades and acclaim, beyond the facts and figures, this tour has been a resound- ing success. And not just for the legions of happy fans. Everyone IQ speaks to has high praise for the way the band and their team have gone about everything and how they treat all those who encounter them. “Over the years, The 1975 has evolved into more than just a client; they have become like a second family to me,” says Michels. “The professionalism, collaboration, and welcoming spirit displayed by everyone involved transcend mere business relationships.”

“It is always our pleasure to work with The 1975, their production, and their management teams,” says Meegan Holmes of 8th Day Sound, a sentiment echoed by Roy Hunt, Christie Lites’ global account manager. “Every individual involved has demonstrated a high level of professionalism, commitment, and passion that has made this journey memorable,” he says. “The synergy between the band and the crew created an atmosphere of mutual respect and cooperation, while management has been nothing short of supportive, ensuring a seamless and enjoyable tour. Overall, it has been a remarkable experience that speaks volumes about the dedication and talent of everyone involved.”

Fittingly though, band manager Oborne attributes the success to all of those who work so hard to make the shows happen – and who help the band shine. “When I think about The 1975 touring, I can’t help but think about how dedicated and committed to the show our crew are,” he says. “The professionalism and dedication are something we simply could not be without. I am very grateful to all those behind the scenes who turn up day in day out and make the entire thing work. It’s quite something to witness.”

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Chappell Roan’s live team on her ‘exhilarating’ rise

Chappell Roan’s agents and promoters have spoken to IQ about managing the live campaign behind the world’s fastest-rising artist.

The 26-year-old pop star (real name Kayleigh Rose Amstutz) released her debut album, The Rise and Fall of a Midwest Princess, in September 2023 but its commercial breakthrough didn’t come till almost a year later.

In the UK, the record slid into the charts in April this year at number 68 before a 17-week ascent to No.1 at the start of August. In her native US, it only hit peak position on the Billboard 200 chart last month.

Despite the record’s slow burn, her live team had no doubts that the Missouri-born star would get the recognition she deserved.

“It was only a matter of time before the world caught up with Chappell,” says Wasserman Music’s Adele Slater and Anna Bewers, who represent the artist alongside their US colleagues Jackie Nalpant and Kiely Mosiman.

The combination of Roan’s ‘campy-pop’ theatrical shows and a savvy live strategy helped to bring the ‘sleeper hit’ album to life.

“It was only a matter of time before the world caught up with Chappell”

“She started the year supporting Olivia Rodrigo across the US and really connected with her audience,” the agents continue. “Then she went straight onto Coachella and then with each festival appearance throughout the US, she gained traction, upgrading all her headline US dates.”

“At Gov Ball, she emerged from a half-eaten apple in full Statue of Liberty drag as an homage to NYC, and then built up to the biggest audience ever seen on an afternoon slot at Lolla Chicago. The exposure gained from these festival appearances, and the growing loyal, global fan base showed what a force of nature she is.”

These live shows were matched by her performance in the charts, with multiple singles from …Midwest Princess skidding into the top 10.

With the world finally paying attention to Roan, the promoters of her already-underway second headline tour The Midwest Princess Tour were faced with the task of satiating ballooning demand.

“I’ve worked with a lot of overseas artists from the start of their careers but I don’t think I’ve worked on an artist who has blown up like Chappell Roan,” Luke Temple, promoter at SJM Concerts, tells IQ.

“I first heard her music back in 2020. Some of the singles released that year get some of the biggest reactions at the live shows. With her 2023 …Midwest Princess album and multiple singles being in the top 10 for the past four months this year, it shows what an unconventional campaign this has been….very much driven by people being exposed to her songs and falling in love with them. It’s great to see.”

“I’ve worked with a lot of overseas artists from the start of their careers but I don’t think I’ve worked on an artist who has blown up like Chappell Roan”

Having promoted Roan since her very first UK show, Temple is well-versed in adapting to her ever-growing fanbase.

“Our first show on-sale with Chappell was at Colours (300 capacity) in June 2023 and this was quickly upgraded to The Garage (600 Cap),” he remembers. “Fifteen months later we’ve shifted 14,000 tickets [to the Brixton Academy shows] in a heartbeat. It’s been a long time since I’ve seen that sort of increase in demand.”

Temple is referring to the star’s three sold-out nights at the 4,921-capacity Brixton Academy in London – a major upgrade from the single show at the 5,300-capacity Hammersmith Apollo that was initially scheduled.

“Normally when rescheduling dates and moving venues you expect fans to be unhappy but I think from the moment she played in the UK, Chappell has built a strong connection with her fans,” says Temple.

“The fans are on the journey with her and from reading her socials, when these dates rescheduled, they understood why they moved and the shows went smoothly with very limited refunds. However, satisfying the huge demand is clearly going to be a challenge going forward.”

“Chappell’s meteoric rise this summer has been nothing short of exhilarating”

DF Concerts’ Ellen McEleney had a similar experience when booking Roan’s only Scotland show, which ended up at O2 Academy Glasgow.

“Chappell’s meteoric rise this summer has been nothing short of exhilarating,” she tells IQ. “The original Scottish show was due to be in a 600-cap room, but due to the incredible demand, we upgraded it twice. Ultimately we settled on O2 Academy Glasgow (2,500), ensuring more fans could be accommodated. I had tried to see if we had the possibility of adding more dates in Scotland, but scheduling constraints limited us to a single show. It’s safe to say this was the hottest ticket in Scotland for 2024.”

McEleney says that closely monitoring fan reactions and social media trends allowed the DF team to be proactive and secure venue upgrades well in advance to meet the overwhelming demand for her shows.

Even with upgraded concerts across the board, demand for Roan’s highly anticipated shows has far outstripped the supply. As a result, a batch of tickets to her US concerts ended up in the hands of scalpers – but not for long.

The singer and her team cancelled “all the scalper tickets we could” before returning them to the market for fans to purchase.

“Due to the lack of regulations in the US, artists have very little control over ensuring tickets on the primary platform go to actual fans at the prices approved by artists and their team,” her US team at Wasserman Music explained.

“Secondary brokers who purchase for high-demand shows make large profits by exploiting fans on secondary ticketing sites but unfortunately that practice is largely not illegal. Ideally, we would have more control in the first place but until then we do feel cancelling obviously fraudulent purchases and re-selling them to actual fans with the help of a request system is the best path forward.”

“Every show is themed to create an all-embracing and devoted community into Chappell’s world, where everyone is welcome”

As McEleney points out: “A rapid rise like this brings challenges such as managing high demand and addressing issues like secondary market touts, which Chappell herself has always been incredibly vocal about protecting her fans from.”

Indeed, Chappell’s close relationship with her fans has gone from strength to strength as the star has gained traction.

“Witnessing Chappell’s intimate interactions with her fans during meet-and-greets and the excitement surrounding her exclusive merchandise, and of course, seeing 2,500 people performing the H-O-T-T-O-G-O dance, was one of the best moments of my career to date,” adds McEleney. “It’s been a privilege to be a part of her journey and we cannot wait to have her back to Scotland.”

Wasserman Music’s Slater and Bewers concludes: “From the start she has been conscious about making the shows as inclusive as possible, including gender-neutral bathrooms and accessibility for all, we want to ensure all fans feel safe and respected at every show. She creates a platform for local drag queens to open, and every show is themed to create an all-embracing and devoted community into Chappell’s world, where everyone is welcome.”

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Scotland’s TRNSMT ramps up sustainability efforts

DF Concerts boss Geoff Ellis has addressed TRNSMT’s decision to ban single-use vapes and reflected on the Scottish festival’s ongoing efforts to improve the gender balance of its lineups.

In a new interview ahead of this weekend’s 50,000-cap event on Glasgow Green, Ellis says fans will also be prohibited from taking in flags, glass and selfie sticks.

“It’s purely from a sustainability point of view in the same way that we’ve banned plastic on site as well,” he tells the BBC. “We try to do what we can in terms of sustainability and we try to encourage the audience to do the same.”

Single-use vapes are already banned at events such as Glastonbury, with the Scottish government also planning to ban the sale and supply of the electronic devices in the country by 1 April next year due to environmental concerns.

“If you get the message out there to people, people listen,” adds Ellis. “If you tell them not to bring stuff, they tend not to bring them. We’ve got a fairly rigorous searching system at the gate with the stewards anyway.”

“I think all festivals do what they can to improve gender balance and at TRNSMT this year, we’ve actually over 50% of acts that identify as female”

TRNSMT, which runs from 12-14 July, has faced frequent criticism for booking non-diverse lineups in the past and will again feature three all-male headliners this year – Liam Gallagher, Gerry Cinnamon and Calvin Harris.

Other artists will include Garbage, Courteeners. Chase & Status, The Snuts, Rick Astley, Tom Grennan, Declan McKenna, Dylan John Thomas, Blossoms, Sugababes, Natasha Bedingfield, Alison Goldfrapp, Lauren Spencer Smith and The Vaccines. While only seven out of the 24 acts on the main stage feature women, the gender split across the wider bill is close to even.

“All three headline acts are male acts, there’s no denying that,” says Ellis. “But I think all festivals do what they can to improve gender balance and at TRNSMT this year, we’ve actually over 50% of acts that identify as female.

“It’s not the three headliners so there’s still work to be done, and work to be done with developing artists. Gerry Cinnamon played the very first TRNSMT on the King Tut’s stage and now he’s headlining this year.

“We’ve got people like Dylan John Thomas and The Snuts coming through on a very similar path as well. It’s very important to help develop new artists.”

“We are really happy with how the inaugural Stirling Summer Sessions went”

Elsewhere, DF is toasting the successful debut of its Summer Sessions in Stirling, which recently joined Edinburgh and Glasgow as hosts of the annual concert series in Scotland.  Held at the foot of Stirling Castle, Stirling City Park, from 27 June to 2 July, acts included Shania Twain, Tom Jones, James Arthur, Busted and Young Fathers.

Stirling’s Business Improvement District reports its footfall data showed a 51.1% increase in visitors over the duration of the event, with local businesses reporting substantial sales growth.

“We are really happy with how the inaugural Stirling Summer Sessions went,” says Ellis. “Hosting such a huge line-up – including the incredible Shania Twain, who played to over 20,000 enthusiastic fans after her memorable Legends Slot at Glastonbury – was truly a highlight for everyone involved and something very special for the area.

“The setting of Stirling City Park, in the shadow of the historic Stirling Castle, provided the perfect backdrop for a great few days of live music.

“We are incredibly thankful to the fans who attended for their energy and passion, and also extend our gratitude to the people of Stirling and all our stakeholders for their unwavering support and dedication, which were instrumental in making this event a success.”

“The industry is seeing increased demand for sustainable buildings and sustainable venue practices”

Also in Scotland, Aberdeen’s P&J Live has unveiled details of a multi-faceted sustainability campaign set to boost the venue’s environmental credentials as part of its commitment to achieving Net Zero carbon emissions target by 2050.

The 15,000-cap venue recently commissioned sustainability specialist Positive Planet to act as its Net Zero consultants and has started the implementation of a Carbon Reduction Plan to actively reduce the site’s carbon footprint. Several complementary initiatives around its energy strategy, transportation, food supply, waste and marketing will further help the venue’s bid to halve greenhouse gas emissions before 2030.

“From conferences to live entertainment, the industry is seeing increased demand for sustainable buildings and sustainable venue practices, with artists such as Coldplay and Billie Eilish actively pushing towards fully sustainable tours,” says P&J Live MD Rob Wicks.

“With everything that was originally designed into the building and wider site, including a low carbon energy centre to power, heat and cool the venue, an anaerobic digestion plant that generates gas from local food and crop waste, as well as our various certifications and initiatives, I feel we are well placed to cater for what artists, event organisers and delegates need as we improve our combined sustainability performance.

“There is still a lot of work to be done, but by measuring our carbon emissions we have a clear benchmark to work from as we commence our carbon reduction plans. It’s also been most encouraging to see the support from the team internally and we work towards consolidating all our green initiatives into a set of meaningful goals and our own in-house pledge.”

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Young Fathers to headline and curate 15k-cap gig

Edinburgh hip-hop group Young Fathers are set to headline and curate a huge all-day concert in Scotland.

The 15,000-capacity event will take place on 29 June at Stirling City Park, which is located between Glasgow and Edinburgh and within an hour’s travel time for 50% of Scotland’s population.

The summer show will see the Mercury Prize winners – who have also won the Scottish Album of the Year Award three times – play their biggest headline show in Scotland to date.

DF Concerts is set to promote the event, having already announced that its Summer Sessions concert series would take place in Stirling to coincide with the city’s 900th anniversary.

The 15,000-capacity event will take place on 29 June at Stirling City Park

Shows by Tom Jones, Shania Twait, James Arthur and Busted have been confirmed for City Park between 27 June and 2 July. The Summer Sessions will also take place in Glasgow and Edinburgh.

Tickets for the Young Fathers all-dayer will go on sale this Wednesday (27 March), with additional acts to be announced.

Ahead of the 29 June concert, the trio will head to the US for a string of shows in April.

An official announcement from DF Concerts said: “Since the release of their now-legendary mixtapes, Tape One in 2011 and Tape Two in 2013, the latter of which gave Young Fathers their first of three Scottish Album of the Year gongs, the Edinburgh-based band have honed their categorically evasive hybrid sound.

“Young Fathers aren’t like any other live band. Blessed by multiple voices, an eye-popping approach to performance and a four-album-and-two-mixtape-deep catalogue, the radical Afro-Scottish hip-hop group are true game-changers, tearing up the rulebook for what live music can be. Teeming with ideas, with influences from every corner of the musical – and actual – world, the most exciting thing is wondering what Young Fathers will do next on stage.”

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DF Concerts to bring Summer Sessions to Stirling

Promoter DF Concerts is bringing Scotland’s long-running Summer Sessions to the foot of Stirling Castle, Stirling City Park in June/July 2024.

The announcement comes just weeks after DF, Live Nation and Cuffe & Taylor announced the live music series will expand to five new destinations in England and Wales next year.

Stirling, which is within an hour’s travel time for 50% of Scotland’s population, joins Edinburgh and Glasgow as Summer Sessions hosts in Scotland. New 15,000 to 30,000-cap events are also set to take place in Bedford’s Bedford Park, Chepstow Racecourse, Derby’s Markeaton Park, Plymouth’s The Hoe and Southampton’s Guildhall Square.

“Summer Sessions has gone from strength to strength with the announcement of more cities hosting events in 2024 and Stirling Summer Sessions will be a very welcome addition to Scotland’s event calendar next year,” says DF CEO Geoff Ellis. “Stirling City Park is a very unique event space, sitting in the dramatic shadow of Stirling Castle and we cannot wait to bring some world-class acts to the city as it celebrates its 900th anniversary.”

Founded in Glasgow back in 2013 and expanded to Edinburgh in 2018, Summer Sessions has showcased acts including The Cure, Simple Minds, Florence & the Machine and Paloma Faith. The first headliners announced for 2024 are Nile Rodgers & Chic – who will play Bedford and Southampton on 7 July and 23 June, respectively – and Jess Glynne, who will perform in Bedford on 28 June.

“Stirling City Park will be a superb venue for the Summer Sessions, as it has been for previous large-scale concerts and events”

“Next year is the Burgh of Stirling’s 900th anniversary so it’s hugely exciting and fitting for us to host the Summer Sessions for the first time as we celebrate this major milestone,” says Stirling Council leader Cllr Chris Kane.

“With its stunning backdrop of Stirling Castle and accessible location near the city centre, Stirling City Park will be a superb venue for the Summer Sessions, as it has been for previous large-scale concerts and events. We can’t wait to welcome music fans from across the country for this major festival and to showcase everything Stirling has to offer.”

Dates and the full programme of events will be be announced soon.

Next year’s Glasgow Summer Sessions will return to Bellahouston Park after a brief hiatus, while Edinburgh Summer Sessions will now take place at the Royal Highland Showgrounds, which hosted Connect Festival, Paolo Nutini and The Killers in 2023.

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Scotland’s Summer Sessions expands across UK

Live Nation, DF Concerts and Cuffe & Taylor have announced the expansion of Scotland’s long-running live music series Summer Sessions to five new destinations in England and Wales in 2024.

The new 15,000 to 30,000-cap events will take place in Bedford’s Bedford Park, Chepstow Racecourse, Derby’s Markeaton Park, Plymouth’s The Hoe and Southampton’s Guildhall Square.

The first headliners have been revealed as Nile Rodgers & Chic – who will play Bedford and Southampton on 7 July and 23 June, respectively – and Jess Glynne, who will perform in Bedford on 28 June.

“We see an incredible opportunity to deliver world-leading live shows all around the UK under the Summer Sessions banner”

Founded by DF Concerts back in 2013, Summer Sessions will also return to Edinburgh and Glasgow in 2024, with more cities to be announced soon. Previous headliners have included Eminem, Foo Fighters, Kendrick Lamar, Florence + The Machine and David Guetta.

“The runaway success of Summer Sessions in Scotland has proven the event is one which resonates with music fans and artists alike, whilst also bringing brilliant economic benefits to host cities” says Cuffe & Taylor co-founder Peter Taylor. “We see an incredible opportunity to deliver world-leading live shows all around the UK under the Summer Sessions banner, and very much expect the events to become regular fixtures in music fans’ calendars.”

Next year’s Glasgow Summer Sessions will return to Bellahouston Park after a brief hiatus, while Edinburgh Summer Sessions will now take place at the Royal Highland Showgrounds, which hosted Connect Festival, Paolo Nutini and The Killers in 2023.

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Harry Styles breaks Scottish stadium record

Harry Styles has broken the record for the highest-selling stadium concert in Scottish history, according to the venue.

The 29-year-old, who is represented by CAA, drew 65,000 fans to Murrayfield in Edinburgh this past Saturday – breaking the previous best of 64,000 that the singer set with One Direction in 2014.

“Saturday night’s Harry Styles concert is the highest-selling stadium concert in Scotland ever with an attendance of over 65,000,” says a spokesperson for BT Murrayfield, who adds that the DF Concerts-promoted event was “fantastic”.

Styles’ Live Nation-promoted Love on Tour was the fourth highest-grossing in North America last year, delivering US$160.4 million at the box office from 47 shows, according to Pollstar. The star was also 2021’s top worldwide ticket seller, selling 669,051 tickets for a total gross of $86,723,984.

Love on Tour is due to finish up in Italy at the RCF Arena in Reggio Emilia on 22 July

The European leg continues this week with two shows at Stade de France in Paris (1-2 June), followed by three nights at Amsterdam’s Johan Cruyff Arena in the Netherlands (4-6 June).

The run then reverts to the UK and Ireland with dates at Slane Castle in Ireland (10 June), four shows at London’s Wembley Stadium (13-14 & 16-17 June) and a two-night stand at Cardiff’s Principality Stadium (20-21 June).

Love on Tour will continue with concerts in Belgium, Germany, Poland, Austria, Spain and Portugal before finishing up in Italy at the RCF Arena in Reggio Emilia on 22 July.

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Lewis Capaldi’s arena tour ‘only the beginning’

Lewis Capaldi‘s backroom team have spoken to IQ about the Scottish superstar’s biggest tour to date.

The 26-year-old singer/songwriter, whose new Netflix documentary How I’m Feeling Now dropped yesterday (5 April), broke the record for Scotland’s highest-selling indoor show earlier this year after shifting more than 15,000 tickets for his DF Concerts-promoted date at P&J Live in Aberdeen.

He also performed a sellout date at the 14,300-cap OVO Hydro in Glasgow as part of his 2023 European arena tour.

“His shows in Scotland for this tour were amazing,” says DF promoter Craig Johnston. “He has been very open about his mental health and that anxiety can cripple him sometimes, so it was so powerful to see him enjoying the shows, because hometown shows come with huge pressures. Our Aberdeen show became the highest-selling indoor show in Scotland’s history: it’s an incredible achievement.

“Lewis has an amazing talent of making everyone, even people who have never met him, feel like they are his best mate, and that is an incredible tool for us when selling tickets.”

Capaldi was forced to reschedule his remaining European tour dates in Germany, Spain, Switzerland and Italy last month due to illness, but has a stacked slate of high-profile concerts booked for this summer.

“The focus now turns to 2024. We’ve got dates held internationally, and we’re looking at bigger venues, especially in the UK”

“He’s confirmed for Electric Picnic, and Reading and Leeds festivals, and we’ve recently announced additional outdoor shows in August for Manchester, Belfast, Chepstow, and Edinburgh at the Royal Highland Centre,” says Ryan Penty, who represents the star along with Alex Hardee at Wasserman. “But the focus now turns to 2024. We’ve got dates held internationally, and we’re looking at bigger venues, especially in the UK where the sales we had for the arena tour were ridiculous.”

Capaldi, whose second album Broken By Desire To Be Heavenly Sent is out in May, performed at the International Festival Forum (IFF) in 2017.

“The thing about Lewis is we never skipped a moment of building,” notes Penty. “In London, for example, we started at The Waiting Room [120 capacity], then we played a show at Oslo [350-cap] where there was an 18-plus age restriction, which was a little bit of a hiccup, at the time. But from there we played the Scala [800], then we went straight to Shepherd’s Bush Empire [2,000], then Brixton Academy [4,921], then Wembley Arena [11,500] for two shows on the weekend before the pandemic. And then last year we played two nights at The O2 [18,500]. That sort of sums up the hard work Lewis and the whole team have put in everywhere, just organically growing the audience each time.”

Speaking in the latest issue of IQ, Penty continues: “Lewis doesn’t do any VIPs – there’s no meet and greets, there’s no golden circle, there’s no end-of-the-aisle uplift or anything like that. He’s always wanted to keep the face value ticket prices affordable, so on the UK dates for this tour, we’re at £45, £55, and £65, which is the top price for the very best seats.

“This tour is only the beginning of the many things we have planned on the live side for Lewis Capaldi in 2023 and beyond”

“We don’t want his fans to feel like he’s ripping them off at any point, and I know he just wants to make sure that everybody feels like they’re not excluded from seeing him because of the price. Originally, the tickets were going to be even cheaper, but we had to push the price a little because the costs of everything have gone through the roof since this tour was routed two and a half years ago. But in the end, we worked hard to keep ticket prices reasonable. At the end of the day, if the fans come and have a good night, and they’ve had value for money, they’ll come back.”

Echoing Penty’s thoughts, Anna-Sophie Mertens, VP of touring at Live Nation suggests that Capaldi’s current tour is “only the beginning”.

“Lewis has a great team, from his band, his tour and production managers and road team who have, for the most part, been there right from the start,” says Mertens. “A particular mention needs to go to Ryan Walter, Lewis’s manager, who right from the start had a strong vision in place and ensures every step, every release, every artwork, every tour announcement and on-sale is meticulously planned and slotted into Lewis’s career. It was always a perfect execution of putting the right building blocks in place.

“This tour is only the beginning of the many things we have planned on the live side for Lewis Capaldi in 2023 and beyond. I am extremely excited for things to come.”

IQ subscribers can access the full tour feature here.

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Heavenly Sent: Inside Lewis Capaldi’s biggest-ever tour

When Lewis Capaldi played the final UK show of his Divinely Uninspired to a Hellish Extent tour in Aberdeen on 15 March 2020, little did anyone know that 24 hours later, a ban on mass gatherings would be introduced that would curtail any further shows for the best part of two years.

However, during the intervening period, the singer-songwriter worked with his representatives to crank up anticipation of his soon-to-be-released second album (Broken By Desire To Be Heavenly Sent) to such an extent that his return to performing live is smashing records.

Indeed, Capaldi’s return to Aberdeen’s P&J Live Arena on 23 January this year set a new high bar of more than 15,000 tickets sold. “His shows in Scotland for this tour were amazing. He has been very open about his mental health and that anxiety can cripple him sometimes, so it was so powerful to see him enjoying the shows, because hometown shows come with huge pressures,” states promoter Craig Johnston at DF Concerts. “Our Aberdeen show became the highest-selling indoor show in Scotland’s history: it’s an incredible achievement.”

That historic gig was all the more special for production manager Nick Lawrie, who has been on the road with Lewis since he only needed a car to get from gig to gig. “I was asked early on if I could look after him. In fact, the only person who has worked with him longer is Aiden Halliday, his musical director, who started on keyboards,” says Lawrie.

Having taken on driver duties, front of house, monitors, and part-time production manager in smaller venues, Lawrie stepped up to full-time PM as the size of show grew. “On the last tour, we had seven trucks, but we’re up to 14 trucks for the UK and European arenas tour,” says Lawrie, adding that the touring party numbers in the 80s including drivers, etc. “We were six buses for the UK leg – it’s a big tour!”

“The thing about Lewis is we never skipped a moment of building”

Hailing from Aberdeen, Lawrie is delighted that the P&J show broke records. He commends everyone involved on the road for their hard work, while singling out artist manager Ryan Walter and agents Ryan Penty and Alex Hardee for making sure everyone is looked after.

“A lot of the Lewis camp has been around for a long time and that definitely helps,” contends Lawrie. “As for the tour routing, we have a couple of spicy overnights in Europe where we’ll have to advance the rigging package, but thankfully, his manager and agents are mindful about burnout, from Lewis himself right the way down through the crew. The fact they take our welfare so seriously is really appreciated by everyone on the road.”

Examining Capaldi’s tour history hints at an artist who has an impressive work ethic, having put in the long hours around the world playing tiny venues and step by step growing his fanbase at every opportunity.

“The thing about Lewis is we never skipped a moment of building,” says Ryan Penty who represents Capaldi along with Alex Hardee at Wasserman Music. “In London, for example, we started at The Waiting Room [120 capacity], then we played a show at Oslo [350-cap] where there was an 18-plus age restriction, which was a little bit of a hiccup, at the time. But from there we played the Scala [800], then we went straight to Shepherd’s Bush Empire [2,000], then Brixton Academy [4,921], then Wembley Arena [11,500] for two shows on the weekend before the pandemic. And then last year we played two nights at The O2 [18,500]. That sort of sums up the hard work Lewis and the whole team have put in everywhere, just organically growing the audience each time.”

Assisting team Capaldi on the journey are a team of promoters whom he has remained fiercely loyal to. There are no fewer than eight promoters involved in his 12 UK dates, for example. One of those long-term partners is Anna-Sophie Mertens, VP of touring at Live Nation. “I first came across Lewis Capaldi in mid-2016, before any of his music had been officially released,” she says.

“He wandered on, plugged in, looking pretty casual about the whole thing, then started to play… and it was jaw-dropping”

“I was struck by his voice and the simple, yet remarkable, beauty of the songs, so I arranged a meeting with his management to talk about what plans they had in mind for him. Usually [at that stage] artists and managers would be looking for London showcase opportunities, but they wanted the opposite and felt strongly about getting live show experience outside of London and building from north to south. So, I focused on delivering just that, with a support to Seafret in spring 2017. I got to meet Lewis for the first time at Birmingham O2 Institute3 on that tour, and the room just fell silent when he went on – everyone being in absolute awe. It was a sign of great things to come.”

Anton Lockwood at DHP Family tells a similar tale. “I got an email from his manager, sometime in early May 2017, with a link to the song Bruises, which got my interest enough to offer Lewis a slot, at two weeks’ notice, at Dot to Dot Festival,” says Lockwood.

“I saw him for the first time with my colleague Dan Roberts at Hy-Brasil bar in Bristol, where there was a small but decent crowd. He wandered on, plugged in, looking pretty casual about the whole thing, then started to play… and it was jaw-dropping. One of those few times when you turn to the person you’re with and you both just say, ‘Fuck me, this guy is incredible. He’s going to be a superstar!’”

Mertens continues, “Once the music finally got released to the wider world, the headline live shows slotted in perfectly with sold-out shows across the board. The campaign gathered real momentum with Lewis’s songs really connecting with his fans of all ages and his humour and character making him instantly likeable and relatable, too. We found ourselves finishing his first album campaign with two shows at The O2, and they sold out in minutes. I am not sure this has ever been done before on a first album campaign.”

Capaldi’s legendary reputation to elicit laughter from his audience, as well as delivering a powerful set, has seen his popularity blossom. And the demand from fans to witness his shows is not lost on his promoter partners. Lockwood comments, “The thing with Lewis is, what you think he’s like from his social media, he is actually like that – and people respond to that.”

“We’ve no reason to change our promoters, because everyone’s done a great job. Everyone sells all the tickets”

Kilimanjaro Live promoter Steve Tilley agrees. “Lewis’s social media game is second to none,” he states. And Tilley discloses just how deep the loyalty to promoters runs through the Capaldi camp. “Kilimanjaro has been involved in Lewis’s career from the very start, and when Carlo Scarampi was working for us, he was given some parts of the UK when those decisions were made. I got involved after Carlo moved over to Communion, retaining our interest in the artist but working with Communion going forward in collaboration.”

Recalling his initial interaction, Tilley continues, “I saw Lewis supporting Bastille and suggested we put him forward to support Ed Sheeran at the 2019 Leeds and Ipswich gigs, which he subsequently went on to play. We also booked Lewis for the mainstage at Belladrum in 2019, just as he was exploding in career terms. So many people wanted to get into the mainstage arena to see him that we had to close it! We also added Lewis to Kew The Music in 2019 when Jess Glynne had to cancel her slot, and with only about two weeks’ notice, we sold out the show in minutes. It was a crazy time.”

Continuing their collaboration on the current tour, Kilimanjaro and Communion are co-promoting Exeter Westpoint Arena. “It sold out absolutely effortlessly,” reports Tilley. Addressing the decision to stick with the promoting team, everywhere, Penty notes, “We’ve no reason to change our promoters, because everyone’s done a great job. Everyone sells all the tickets. It was split up at the start for a reason, and everybody did their bit to help Lewis get to where he is, so people should be rewarded for that. In the UK & Ireland, we’ve got Futuresound, SJM, Communion, DHP, Kilimanjaro, Live Nation, DF Concerts, and MCD – just about everyone’s got a slice of the tour.

Let it Roll
With the UK leg of the tour wrapping up on that 2 February show in Exeter, Capaldi’s European promoters have been counting the days to welcome him back – many having first witnessed him live at the IFF [International Festival Forum] in 2017.

Michael Šimon, booker and promoter for Selection in Czech Republic, has Capaldi back for just his second headline show in Prague on 17 February, having also booked him for Colours of Ostrava Festival in 2019. “When we first saw him at IFF, his enormous talent was clear to us,” says Šimon. “The first costing for November 2019 was built on a cap of 750 tickets. A few years later, Lewis’s second show in Prague will take place in the biggest arena in the Czech Republic, the [18,000-cap] O2 Arena Prague.”

“He played a lot of shows but never the wrong places, allowing his fanbase to grow continuously”

In Switzerland, Stefan Wyss at Gadget abc Entertainment also recalls Capaldi’s showcase at IFF. “Alex Hardee told us very early about this super-talented guy from Scotland. At IFF we were really impressed – Lewis was sick and had a bad voice, but it was still a massive voice.”

That showcase led to a booking. “His first show in Switzerland was at Openair St. Gallen in 2018 on the tent stage. After that, we sold out – way in advance – his first headline at [the] end of 2018 with 500 tickets in Zürich.”

Turning to Capaldi’s work ethic, Wyss comments, “He played a lot of shows but never the wrong places, allowing his fanbase to grow continuously. And I’m sure his humour and charisma helped a lot. If you look at his live history in Switzerland – [nine shows across four years] – it’s very impressive for a new artist in a small market.”

And Wyss predicts the momentum will keep building. “He will [take] another massive step [this year],” he says. “Hallenstadion in Zürich will be sold out with 13,000 tickets. And he is also headlining Openair St. Gallen. It will be a massive year for Lewis.”

Commenting on Capaldi’s tireless efforts, Selection’s Šimon reveals, “During his first Prague show, we watched Lewis sign hundreds of CDs for hours after the sound check. He did it with a dedication and respect toward each and every fan.”

“The way Lewis engages his fans on social media is just brilliant and different from anyone else”

Other promoters attest to his enthusiasm and drive. Mertens notes, “Lewis and his whole team have a strong work ethic. If it is the right thing to do, they will find the time and way to make it work. In the early days, he was flying back and forth between the US and the UK almost weekly to ensure he was making an impact with the right opportunities.”

One recipient of such an opportunity was Alessandro Ravizza at Vivo Concerti, who promoted Capaldi’s first Italian show in 2017 at Linecheck Festival. “Some of the people knew Bruises, but he captured the attention of every single person in that room,” recalls Ravizza, who has since promoted two headline shows for the Scottish crooner.

“As an Italian promoter, you don’t always have the chance to work with artists on each step of their touring career; but I think Lewis, management, and Ryan/Alex had a long-term vision, and they’ve worked very hard on every territory to grow a loyal, organic fanbase. Also, the way Lewis engages his fans on social media is just brilliant and different from anyone else, and this helps us as promoters a lot when it comes to selling tickets.”

DF’s Johnston concurs. “Lewis has an amazing talent of making everyone, even people who have never met him, feel like they are his best mate, and that is an incredible tool for us when selling tickets.”

As the tour rolls through Europe, Ravizza reports that Vivo Concerti will sell out the 8 March gig at Mediolanum Forum in Milan. “To be honest, Clemente [Zard], Andrea [Ritrovato], and I felt very confident even without listening to any songs of the new album because we knew demand was there,” he says. “After hearing the new songs, it was pretty clear. We’re looking forward to seeing one of the greatest artists of his generation connecting deeply with his people.”

“It was always a perfect execution of putting the right building blocks in place”

Another beneficiary of Capaldi’s artistry is Live Nation Denmark promoter Anna Brink. She says, “In 2018, we sold out Vega Small Hall in Copenhagen, a 450-cap venue. There has been an increasing demand for his shows ever since, and the next hard-ticket show we did was in 2019, which we upgraded from a 1,550-cap venue to a 5,000-cap venue and sold out. It’s amazing for an artist to grow like this in such a short time, especially in a smaller market like Denmark. We’ve now sold out his Royal Arena show on this tour, so we couldn’t be happier.”

Brink adds, “Lewis has a wonderful team around him, and I love working with them, especially his agents, whom I’ve known for a long time, so it’s great to be able to share this success together.”

Mertens comments, “Lewis has a great team, from his band, his tour and production managers and road team who have, for the most part, been there right from the start. A particular mention needs to go to Ryan Walter, Lewis’s manager, who right from the start had a strong vision in place and ensures every step, every release, every artwork, every tour announcement and on-sale is meticulously planned and slotted into Lewis’s career. It was always a perfect execution of putting the right building blocks in place.”

To Tell the Truth I Can’t Believe We Got This Far
While the crew on the road now numbers in excess of 70, the core members have been with Capaldi from early on in his career.

DF Concerts’ Johnston observes, “Most of Lewis’s live crew are Scottish, and we’ve all worked together before on other acts and projects over the years. It’s worth mentioning that King Tut’s gets a lot of credit for bringing through new artists, but all of his crew have done shows in Tut’s as well, so it also brings through the new tour managers, production managers, sound engineers, lighting engineers, backline tech, etc.”

“Effectively, if you ignore the pandemic shutdown, he’s doubled the size of the production in less than a year”

As for the production itself, the back-to-back September 2022 shows at The O2 in London proved to be a rehearsal for the current tour. Nick Lawrie says, “By about the second week, every day was starting to feel the same, which as a production manager is kind of what you want. Now we can concentrate on finding efficiencies and trying to identify areas where we can tighten things up.”

One of the main features of the production is a giant video cube, which raises and lowers to the stage, and at one point, features Capaldi using its roof as a B-stage. “We have a customised automation system, which is pretty complicated, and the show relies on a fair amount of trim – 17 metres on the grid. Some arenas don’t allow that, so it’s something we have to adjust every day, as well as making sure that every seat in the house has good sightlines,” explains Lawrie.

Matthew Bull at All Access Staging reveals the production from last year’s O2 shows was slightly reduced for ease of use, loading in and out. However, with two trucks for staging alone, it’s still an impressive set up.

“They asked us for a rolling stage because of what they wanted to do with video, etc, so we supply that on the top level, as well as the risers on either side for the backline and cameras,” says Bull. And the feedback from the road he reports is all positive, “They’re a really friendly bunch, and the tour seems to be running really smoothly, so it’s great to be involved again with Lewis.”

Neg Earth Lights has been working with Capaldi since his last tour. “This production is much bigger, so Lewis has done very well in terms of scaling things up, because effectively, if you ignore the pandemic shutdown, he’s doubled the size of the production in less than a year,” says Neg Earth’s Sam Ridgway.

“We’re playing some of the biggest arenas in Europe, and I have to say it’s the best tour party I’ve ever worked with”

He adds, “Nick Lawrie is great to work with. Following The O2 shows, we had a production debrief and drew up plans on how to make improvements to the rig to make things more tour friendly.”

Those tweaks included adding a specialist automation company, WI Creations, to the equation. Involving automation of course complicated matters, with sound supplier FE Live completely redesigning its kit as a result.

“It’s fairly tricky audio-wise because of the three-sided cube, so we’ve had to design audio around that,” says FE’s managing director Ryan Mcilravey. “The O2 shows allowed us to trial stuff, and after those shows, we rebuilt our kit into bigger packaging because audio has to be assembled pretty quickly once everything else is loaded in.”

Like many of the suppliers on the tour, FE Live began working with Capaldi in 2018 and have witnessed the speed at which the artist moved to academy-sized shows and then onto even bigger venues.

“Fourteen months later, we’re playing some of the biggest arenas in Europe, and I have to say it’s the best tour party I’ve ever worked with,” says Mcilravey. “Lewis is very loyal to his suppliers and crew, so there are a lot of Scottish people who know each other well, but even so, it’s not that common to have 70-plus people on the road and everyone gets along.”

“It was glaringly obvious that Lewis would be playing arenas in a short space of time”

One of the key crew members is backline expert Paul Gibson, who handles tech for bass and guitars, including Lewis’s. He reveals that when Covid hit, the decision was made to sell all the Kemper equipment, which has now been replaced with Quad Cortex. “The equipment only recently came out, and I think we’re the first large production to use it, so that has been a bit of a challenge,” says Gibson. “It’s controlled by playback, so we had to get a couple of programmes made but that process has been quite exciting.”

Gibson, who has been working with Lewis Capaldi for close to six years, observes that while lots of production departments have stepped up their game, the biggest notable change for him is somewhat easier. “There are a few more stairs for me to climb in the arenas.” He adds, “Even the new suppliers who have been brought in are amazing. Usually, when you’re on the road, little cliques develop, but that hasn’t happened on this tour – we’re just one big family.”

Another happy traveller is Bobby Langley from Global Merch Services, who first encountered Capaldi at The Great Escape in 2018, thanks to a tip from Alex Hardee. “It was glaringly obvious that Lewis would be playing arenas in a short space of time,” states Langley.

“From my side of things, we inherited some incredible creative to work with. Lewis approaches his music as an art, rather than jumping on any bandwagon. There can be a temptation when you’re working with artists who reach arena level to just play it safe when it comes to merch, but if you keep being creative, you get a better result for everyone.”

Headspace
For an emerging superstar – or “Scotland’s Beyoncé,” as Capaldi has jokingly referred to himself – the temptation to cash in can be overwhelming. But there’s no trace of greed among Capaldi’s inner circle, with tickets for the tour priced amazingly low for such a large arena production.

“Lewis doesn’t do any VIPs – there’s no meet and greets, there’s no golden circle, there’s no end-of-the-aisle uplift”

“Lewis doesn’t do any VIPs – there’s no meet and greets, there’s no golden circle, there’s no end-of-the-aisle uplift or anything like that,” says Penty. “He’s always wanted to keep the face value ticket prices affordable, so on the UK dates for this tour, we’re at £45, £55, and £65, which is the top price for the very best seats.

“We don’t want his fans to feel like he’s ripping them off at any point, and I know he just wants to make sure that everybody feels like they’re not excluded from seeing him because of the price.

“Originally, the tickets were going to be even cheaper, but we had to push the price a little because the costs of everything have gone through the roof since this tour was routed two and a half years ago. But in the end, we worked hard to keep ticket prices reasonable. At the end of the day, if the fans come and have a good night, and they’ve had value for money, they’ll come back.”

Having been planned three years ago, the current tour has been a long time in the making, but the results have made the wait worthwhile.

“We first started discussing and planning the tour dates in 2020, but we had to push back our plans several times due to the pandemic, so I am very excited to see the new tour and album campaign finally kicking off,” says Live Nation’s Mertens. “This tour is only the beginning of the many things we have planned on the live side for Lewis Capaldi in 2023 and beyond. I am extremely excited for things to come.”

And hinting at those future plans, Penty says, “He’s confirmed for Electric Picnic, and Reading and Leeds festivals, and we’ve recently announced additional outdoor shows in August for Manchester, Belfast, Chepstow, and Edinburgh at the Royal Highland Centre.

“But the focus now turns to 2024. We’ve got dates held internationally, and we’re looking at bigger venues, especially in the UK where the sales we had for the arena tour were ridiculous.”

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DF Concerts celebrates record-breaking summer

Scotland’s DF Concerts has heralded a record-breaking summer, having sold one million tickets between June and August.

The promoter says that, as a result, it has made an economic impact of around £72.4 million on tourism and hospitality businesses in its domestic market.

The Glasgow-headquartered company expects that, by the end of 2022, it will have welcomed over 50% of the population of Scotland to one of its concerts or events.

DF promotes some 1,000 concerts per year, as well as its festivals TRNSMT (Glasgow), Connect (Edinburgh) and Summer Sessions (Glasgow, Edinburgh, Dundee). In addition, the promoter owns and operates grassroots music venue, King Tut’s Wah Wah Hut (Glasgow).

This year’s sold-out edition of TRNSMT topped DF’s best-selling events of the summer, attracting 50,000 attendees on each of its three days.

Other highlights include two nights from The Killers at Falkirk Stadium (cap. 25,000), and Harry Styles performing to 50,000 people at Glasgow’s Ibrox football stadium.

“It’s looking like it will be more of the same next year”

This summer also saw DF revive Connect, a music festival that originally took place in Argyll, Scotland, in the mid-noughties.

The reboot took place at The Royal Highland Centre (RHC), an exhibition centre and showgrounds located near Edinburgh airport, between 26–28 August.

The Chemical Brothers, The National, Little Simz, Mogwai and Bombay Bicycle Club were among the artists that performed at the camping festival.

In total, DF Concerts had 33 days of outdoor shows from June to August, at venues including Slessor Gardens in Dundee, Edinburgh’s Royal Highland Centre Showgrounds and Princes Street Gardens, SWG3 Galvanizers Yard, Glasgow Green, and Bellahouston Park in Glasgow, plus Hampden Park, Ibrox and Falkirk Stadiums.

“This has been a really special summer season for all involved,” Geoff Ellis, CEO of DF Concerts, tells IQ. “It has seen a seven-figure investment in new events for music lovers across the country, diversifying the experiences available in Scotland.

“With two stadium shows, one greenfield and two festivals already announced for summer 2023 and more to come very soon, it’s looking like it will be more of the same next year.”

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