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Leeds’ first direct arena celebrates 10 years

Twenty-four years. TWENTY-FOUR! That’s how long the good people of Leeds lived without a music arena befitting the city’s status as the UK’s fifth largest and a hotspot of innovation, culture, and creativity. Instead, Leeds’ 750,000-odd residents, and artists, had to traipse down the M1 to Sheffield or cross the Pennines to Manchester to get their arena-sized music fix.

“It’s weird to think back to the early Kaiser Chiefs days in Leeds, and how quickly, as a band, we reached a level where there wasn’t anywhere for us to play in our home city,” says the band’s bassist, Simon Rix.

“Leeds was the largest city in the UK without a large-scale music and entertainment venue,” adds Kevan Williams, Leeds Arena’s head of marketing. “The people here are passionate about music and live events, and it was deeply frustrating they had to travel for miles to see their favourite artists.”

But the lean years finally ended on 24 July 2013, when the first direct arena threw open its doors to the public (fittingly, Bruce Springsteen, a working-class hero from another blue-collar town, provided the entertainment). Ten years on, it’s time to celebrate not just this anniversary and the positive impact the arena has had on the city but to look forward to its next decade and how the arena is gearing up to thrive as an example of what a 21st-century music venue should be.

“There was huge public demand from the people of Leeds to build something in their city”

When the Queens Hall closed for good in 1989, it left a sizable hole in Leeds’ cultural scene. With live music being one of the city’s cultural lifebloods, fans were spoilt for choice when it came to smaller venues such as The Cockpit, The Wardrobe, The Warehouse, and, of course, the world-renowned Brudenell Social Club, but the Queens Hall’s demise left the O2 Academy Leeds (formerly known as Town and Country Club) and its 2,300 capacity as one of the very few venues suitable for bigger, more established acts and events.

Naturally, the clamour for a solution to this became too loud to ignore.

“Prior to the first direct arena opening, music fans from the city would have to travel over an hour to other arenas in the North of England,” says Martin McInulty, the arena’s general manager. “So there was huge public demand from the people of Leeds to build something in their city.”

That demand led to consultations with the council and its inclusion in the Vision for Leeds 2004 – 2020; the project eventually became one of the city’s 12 stated priorities. The Leeds Initiatives then formed a Cultural Facilities task group to consider possible options; they investigated the viability of a Leeds Arena, the refurbishment of existing buildings and venues, and other potential projects such as a concert hall.

Angry Mob
At the same time, campaigners, including the York-Shire Evening Post, local artists such as the Kaiser Chiefs, and local businesses and residents, lobbied for a new arena to be built in the city. This resulted in a widescale “Leeds needs an arena” campaign that was publicised nationwide and drew widespread support from the cultural community.

In addition to local demand, various studies outlined the economic, cultural, and social impact of such an arena. It was thought that it could bring in up to 900,000 additional visitors annually, adding up to £25m to the local economy.

Job creation was another benefit – one study predicted over 300 direct, full-time equivalent roles would be required, with further jobs created in the construction sector. And, of course, tourists and out-of-towners weren’t the only thing a new arena would attract – other businesses and organisations would be drawn to Leeds, too. “An attractive venue displays an auspicious future with a dynamic business environment,” stated one study.

“Utilising the early concepts of the amphitheatre, this layout optimises sightlines and the guest experience”

Eventually, and unsurprisingly, the task group recommended that the council proceed with the development of a 12,500-seat arena – and concrete plans were set in motion. With funding in place from Leeds City Council, additional public funding from Yorkshire Forward, and some commercially funded revenue, Claypit Lane, in the Northern Quarter of the city centre, was chosen as the site for the new arena, and the council decided that they themselves would proceed as the developer. Designed by the council’s own team with a budget of £60m in mind, the proposed venue was notable in a number of ways.

All Roads Lead to Leeds
For a start, its central location was seen as a positive; it sits just ten minutes’ walk from Leeds train station, three bus stations are all within walking distance, and there are over 7,500 car parking spaces within a 15-minute walk. The building itself was modelled on a giant insect’s eye, with the external design utilising a honeycomb design based on a Voronoi diagram, and the façade was designed to change colour or pattern depending on the show or mood of the arena at the time.

Innovation wasn’t limited to the outside, either. According to McInulty, the arena was also the UK’s first fan-shaped bowl, a design that allowed the venue to achieve the largest capacity possible given the size of the site.

“This alternative layout means that guests are never any further than 68 metres away from the stage – typically, this can be 95 to 110 metres in traditionally designed arenas – with the nearest seats being only a few metres away and allows every seat to directly face the performance area,” he says. “Utilising the early concepts of the amphitheatre, this layout optimises sightlines and the guest experience.”

“The layout, and the building itself, was designed with easy modification and retractable seating to meet the changing requirements of a diverse event schedule”

It also makes for a far more intimate experience than one might expect from a venue with a capacity of 13,871. Divided into a floor-standing area and two raised banks of seats that rise high above the stage, the design also gives spectators the best acoustic experience from any position; interestingly, even the sound mixing desk can be situated in different places. And it’s flexible; the layout, and the building itself, was designed with easy modification and retractable seating to meet the changing requirements of a diverse event schedule, which could be anything from theatre to family events, ice dance shows, and indoor sports.

“Impressive” is an understatement. But such an ambitious build came with a unique set of challenges. For a start, the city centre location and tight space constraints meant construction access was restricted; this was particularly challenging with regard to the transport and delivery of materials, especially the two 500-tonne mobile cranes required.

Furthermore, the combination of such a central location and acoustic performance also presented problems – specifically, how to keep the noise at an acceptable level for those living close by. Planning conditions stipulated that external noise levels had to be 10dB lower than ambient noise levels outside the building, a criterion that didn’t come cheap for a building big enough to swallow a football pitch (a clever solution was eventually found by contractor BAM, together with acoustic consultant Arup).

The sheer size of the roof presented a number of unique issues, too. A single-span design, 70 metres across at the widest point and supported by 14 seven-metre-deep trusses, meant that concreting was a delicate, yet intensive, operation. BAM discovered that the biggest concrete pump in the UK had a reach of just 63 metres, which was not long enough to cover the whole roof (lots of piping was installed just to get the concrete up, a significant undertaking itself). And the wet mix needed for the fibre-reinforced cement couldn’t cope with the roof’s slope; steel mesh was used instead, allowing for the use of a less viscous concrete. All in all, some 2,500 tonnes of it were required to finish the job.

“The arena embodies our Yorkshire roots”

Friends in High Places
In total, though, construction took just a year; ground was broken in May 2012, with the building officially completed the following May and delivered to ASM Global, who have run the venue since day one. The same month, telephone and Internet bank First Direct were announced as the arena’s sponsor, its name officially becoming the first direct arena (stylised as first direct arena) – an association that continues to this day. Such deals are commonplace now but weren’t so much back then. So, what prompted this relationship?

“The arena embodies our Yorkshire roots, and the first direct arena partnership gave us the opportunity to show up in an ‘un-bank’ way, meaning in a place you wouldn’t usually expect to see a bank,” says Sloane Cross, First Direct’s head of marketing. “At the time, our marketing was based around the idea of being an ‘unexpected’ bank, so it was a really good fit. The partnership also allowed us to be part of something that our customers are really passionate about – live music and entertainment – and solidified our heritage as a proud Yorkshire-based bank.”

The bank has its branding all over the arena itself and is visible across various other platforms, including digital and print advertising, the arena’s website, and social media channels; all aspects that Cross feels are important. “As a digital bank, the first direct arena is our only physical asset, and it means we have a visible presence in the centre of Leeds, the home of First Direct. It allows us to increase our brand awareness and for a much wider audience to know who we are.”

Such sentiments are echoed by Lauren Tones, the arena’s head of sponsorship and branding. “It’s appealing for online brands to use a live entertainment venue as their only physical touch-point for customer engagement,” she says. “It becomes a space where they can bring their brand and values to life, as well as reward loyal existing customers and acquire new ones. Plus, it’s beneficial for both the venue and the naming rights partner to have a strong workforce based locally.”

“We can ensure that there’s sufficient opportunity for our existing partners to fully activate and engage with our visitors”

As such, First Direct can offer perks for employees at the venue and use it as an exciting option outside the office to engage with clients and prospects. They also reward their own customers. “We engage them with offers and promotions and regularly offer tickets through prize draws,” adds Cross. “And our customers who attend any event at the arena can claim a VIP lanyard that gets them free chips, water, and ice cream.”

Of course, First Direct aren’t the arena’s only commercial partner, but they do set the standard of what’s required in terms of commitment and values. “Each of our partners enhances the experience of visiting a live entertainment venue,” says Tones. “Whether it’s First Direct offering free chips and ice cream to customers, Sky offering a free premium pre-show experience in their Sky VIP lounge, or [telecoms provider] Three giving fans the chance to gain early access to tickets, they each do something to elevate the fan experience.”

“That’s why our approach is to prioritise quality over quantity when it comes to sponsorship,” she adds. “Every time, we ask: ‘How much value is this partnership going to bring to the customer experience?’ If we avoid a cluttered landscape, we can ensure that there’s sufficient opportunity for our existing partners to fully activate and engage with our visitors without having to compete with many other brands for attention.”

Bossing It
The very first performance was, as mentioned above, Bruce Springsteen, on the 24 July 2013 – a very special show indeed. “That event was amazing!” says Kerryn Duckworth, head of operations. “Meeting those first fans who came to the arena gave me goosebumps and is a memory that will stay with me.” But the official grand opening came later, on 4 September of that year, with an equally special guest – Sir Elton John, playing to a packed house.

Since then, the venue has gone from strength to strength and has more than proven its worth to the city of Leeds on both an economic and cultural level. “Strong demand from the public is evident
in the number of tickets we sell annually – over 600,000,” says McInulty. “However, the majority of our customers live within a 25-mile radius.”

“The nature of the venue’s shape lends itself to being more user friendly – it feels right for both artist and the fan”

The building was named Best New Venue in the World in 2014 by the Stadium Business Awards, and the list of those who’ve graced its stage is impressive: Leonard Cohen, Prince, Kylie Minogue, Fleetwood Mac, Ed Sheeran, Chris Rock, Whoopi Goldberg, and Cirque du Soleil, are just a few of the A-list stars to have performed there. Proving its flexibility and diversity, it’s also played host to Strictly Come Dancing, the Harlem Globetrotters, Disney on Ice, the MOBO Awards, the BBC Sports Personality of the Year Award, and even the 2014 Tour de France Grande Départ Team Presentation.

Indeed, sport has become an important part of what makes the venue so cherished. “Some of my favourite memories have been hosting our very own World Champion boxer, Josh Warrington, the Leeds Warrior,” says Kevan Williams. “The venue wasn’t designed specifically for sport, but the atmosphere that’s generated during the walkouts sends shivers down my spine and will live long in my memory.”

But it is, of course, music where the first direct arena has really made its mark. “The room is flexible and allows for multiple configurations, which is really helpful when looking at different types of artists,” says Andy Smith of Futuresound. “I’ve promoted artists like Lewis Capaldi, Dermot Kennedy, Ben Howard, and Bon Iver, where the super theatre-type layout really suits the artist and their audience, but we’ve also promoted acts like Catfish and the Bottlemen, Fall Out Boy, and Sam Fender, who work equally as well. Plus, the sound clarity for Bon Iver was like nothing I’ve ever heard before – even in the hard-to-reach places in that room.”

Steve Homer of AEG Presents agrees. “The nature of the venue’s shape lends itself to being more user friendly – from 3,000 people upwards, it feels right for both artist and the fan,” he says. He also adds that its flexibility means it’s a fantastic place for both bigger and smaller acts, so adding it to itineraries becomes much easier.”

“Once you get past the spine of the country and look to add other arenas to a tour, Leeds is currently the next one on the list, which is a great statement for the venue. But it’s also great to use in its smallest format and convince artists it will still be an intimate experience, which is definitely one of its appeals – it’s easy to grow shows.”

“We’re committed to staying at the forefront of food and beverage in this space”

Having emerged from the pandemic with the core team intact and with a greater appetite than ever before – from both fans and artists – for world-class events and shows, the arena and ASM Global team are firmly fixed on the future. First up this year was the renewal of the naming rights deal.

“At ASM Global, we value our long-term relationships,” says Tones. “Our priority was to explore renewal with First Direct before considering alternative options – we’ve had a strong ten years with First Direct, and their team feels part of our own. So we are keen to explore more ways to make a visit to this arena more memorable with First Direct.”

“Also expanding was the food and beverage offering. They refurbished all their bars to give them a much more contemporary feel and have invested heavily in cutting-edge technology to prepare amazing quality food. “In the last year, we’ve opened The Mixer, two Gallery areas, Sky VIPs lounge rollout, and a completely new food offering in our 11 retail bars,” says Marcus Sheehan, head of food and beverage.

“And we’re committed to staying at the forefront of food and beverage in this space. Coming up soon is a really exciting range of projects, including cocktails and a new range of hot snacks and many other initiatives, such as working with local food businesses in our retail areas to continue to bring authentic food and drink offers that also help support our local grassroots food suppliers and producers.”

It’s a similar story with premium experiences. With a variety of them on offer at the venue – and a huge range of show-by-show premium packages – they opened both The Mixer and The Gallery in 2022; “Both delivered on time and on budget,” says Lisa Turton, head of premium experience, with pride. “We’re always on the lookout for the next space that can be transformed into a new premium area, and I think technological developments will improve and change the way premium is sold and fulfilled over the next ten years.”

“There is no ‘us and them’ scenario – everyone in the venue is one team, and that has contributed to its great success over the last decade”

Technology is a common touchpoint with the team of future developments. The introduction of 5G throughout the venue is opening up the potential for greater development, particularly around increasing the speed of service on the arena concourse (it’s now the first fully enabled 5G venue in the UK, thanks to a partnership with Boldyn Networks), while a brand-new Wi-Fi solution was recently installed. And there’s also the introduction of new digital screens across the concourses and two large digital screens to be installed externally above the front doors. “This will allow us to give our partners more brand presence and to add targeted OOH media packages to our offering,” says Tones.

And of course, no modern venue would function without the hard work of its security staff and stewards. “I love working at the first direct arena, as do the Leeds staff base – the team are great and have been over the last ten years,” notes Showsec’s Thomas Bailey.

“I’m fortunate to have been associated with the venue for all those years, and the hard work and dedication of the team has never faltered in all that time. There is no ‘us and them’ scenario – everyone in the venue is one team, and that has contributed to its great success over the last decade.”

Merch Ado
With merchandising, “we’ve just started this journey, and we have lots of exciting projects and investments coming up in the near future,” says Phil Jones, commercial director for national merchandise, the venue’s merchandise partner. “Ensuring there’s an adequate supply across all stands is paramount, and, where possible, for busy shows, we try to ensure presales are done via merchandise units outside the venue. But in the future, merchandise sales will take on more digital means via pre-ordering and post-event delivery, self-service kiosks, and any tech to help speed up and continually improve the customer journey.”

“Leeds fairly quickly became one of the must-play venues on an arena tour, driven by the local population taking the venue to its heart”

Sustainability, now such an important topic, is front of mind, too. “We are working on our sustainability projects and ASM Acts initiatives, such as working towards achieving Greener Arena status and switching to LED lighting, monitoring energy usage, and trying to minimise food and general waste,” says Duckworth.

But ultimately, it all comes down to music and putting the fan experience front and centre. “It’s important to get a wide variety of shows into the venue – the arena should cater for as many people as possible and have a balance and good mix across the year,” says James Harrison, programming director of ASM Global.

“We’ll need to be mindful of other arenas coming online in the UK in the next few years, with competition for tour dates being stronger than ever, but with such a strong market, a top-class team, and an amazing venue that keeps investing in itself, there’s no reason why the first direct arena can’t continue to go from strength to strength.

Because, as he puts it, “Leeds fairly quickly became one of the must-play venues on an arena tour, and as much as its facilities and layout help, that’s driven by the local population taking the venue to its heart – the local population has been really engaged from day one.”

Local artists, too, for whom the first direct arena didn’t just fill a need – it’s a source of pride, inspiration, and, well, a home. “I love an away day as much as anyone, but having an arena in our home city means we get a homecoming gig on every tour,” says Kaiser Chiefs’ Rix. “We’ve already had a lot of great times in the venue, and I always look forward to the next time. It’s also great to know that huge global superstars like Drake and Mariah Carey get the full Leeds experience, as well as obviously bringing people and money to the city. I picture them all staying at The Queens [hotel] and nipping to the market to get some food at lunchtime.”

 


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Reading & Leeds unveils ‘groundbreaking’ new stage

Reading & Leeds has unveiled details of a ‘groundbreaking’ new stage called The Chevron, featuring the world’s first floating video canopy.

The 40,000-capacity open-air stage will be positioned in the main arena of both festival sites, signalling “the return of the singular iconic main stage”.

The Prodigy, Sonny Fodera and Skrillex are set to headline The Chevron, which will be largely dedicated to dance and hip-hop acts.

Nia Archives, Barry Can’t Swim, Denzel Curry, Bou, Kenya Grace and Digga D will also inaugurate the stage.

The bespoke structure, billed as a “feat of engineering”, will feature a canopy made up of hundreds of thousands of programmable LED lights. With mesh that is 90% transparent, the LEDs appear to be floating in the air.

“This year I saw the opportunity to do something new and truly special, reflecting the audience’s evolving tastes”

The Chevron will also be the new home of the world’s biggest silent disco, which last year was headlined by SIGMA in a live simulcast set across both sites.

“The Chevron is more than just a physical stage; it’s a testament to Reading & Leeds’ continued commitment to innovation and industry leadership,” says Festival Republic managing director Melvin Benn.

“We demonstrated this previously, with the introduction and success of dual main stages in 2021. This year I saw the opportunity to do something new and truly special, reflecting the audience’s evolving tastes and cutting-edge production the show is known for. This elevates our electronic and hip-hop music offerings, while still delivering six main-stage headliners and a strong representation across other genres. I can’t wait for everyone to experience The Chevron this summer.”

R&L takes place 21–25 August at Richfield Avenue, Reading and Bramham Park, Leeds, and is headlined by Fred again.., Lana Del Rey, Blink 182, Liam Gallagher, Gerry Cinnamon, Catfish and the Bottlemen.

Other recently announced acts include 21 Savage, RAYE, Skrillex, Jorja Smith, The Prodigy, Digga D, Spiritbox, Reneé Rap, Fontaines D.C, Denzel Curry, Kenny Beats, Beabadoobee, Kenya Grace, Nia Archives, Two Door Cinema Club, Neck Deep, The Wombats, Ashnikko, David Kushner, Rachel Chinouriri, Hak Baker and The Last Dinner Party.

 


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IQ 124 out now: Year in trends, Memo Parra, Poland

IQ 124, the end-of-year issue of the international live music industry’s favourite magazine, is available to read online now to give you some reading matter over the holiday season.

The December/January edition brings down the curtain on 2023 by wrapping up the key trends and takeaways from the global live music business over the past 12 months, as well as looking ahead to what’s in store for the industry next year.

In addition, we celebrate trailblazer Memo Parra’s 30 years in music, charting his unique journey from stock market trader to director of international talent at giant Mexican promoter Ocesa.

Elsewhere, we crown road warrior Malcolm Weldon as The Gaffer 2023, and Derek Robertson glances back across the first ten years of First Direct Arena in Leeds – speaking to the people who have helped make the last decade such a success.

And in our latest market report, Adam Woods visits Poland to learn about the growing optimism among live music industry professionals.

For this edition’s columns and comments, FanFair Alliance’s Adam Webb highlights the reasons for the UK-based campaign’s relaunch, as ticket touts get ever more sophisticated, while Christina Hazboun, Keychange Project Manager, UK, at PRS Foundation outlines some of the initiatives the gender equality scheme is employing to end the music industry’s patriarchal landscape.

As always, the majority of the magazine’s content will appear online in some form in the next few weeks.

However, if you can’t wait for your fix of essential live music industry features, opinion and analysis, click here to subscribe to IQ from just £8 a month – or check out what you’re missing out on with the limited preview below:

 

 


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ASM hails UK’s ‘first 5G neutral host arena’

ASM Global has announced Leeds’ First Direct Arena as the UK’s first 5G neutral host arena.

Designed and installed by Boldyn Networks, the new 5G multi-carrier wireless network promises to “revolutionise” the visitor experience for fans attending events at the 13,000-cap building, while streamlining operations and commercial activity within the venue.

ASM says benefits for fans will include enhanced ticketing processes, more efficient entry and navigation around the venue, plus faster browsing and ordering from the range of food and beverage options.

Sponsors can also leverage this enhanced network to offer exclusive promotions and experiences, fostering stronger connections with their target audience.

“At ASM Global, we are continually striving to elevate the experience for all of our guests, and collaborating with innovative partners helps us keep our finger on the pulse,” says Chris Bray, EVP Europe at ASM Global. “Soon, guests at the First Direct Arena in Leeds will be able to experience live entertainment with complete connectivity, and not only that, there’ll also be vast improvements operationally, with high-speed 5G allowing our team on the ground to be even more agile in a fast paced environment.”

“The launch of the UK’s first 5G neutral host arena represents a significant leap forward in delivering seamless, high-speed connectivity”

The neutral host network model, implemented by Boldyn Networks, is designed to allow all four UK mobile network operators to join onto the network, minimising equipment and power usage, contributing to a more sustainable and efficient means of delivering reliable mobile connectivity to customers. 5G service will be rolled out as the mobile network operators connect to Boldyn’s neutral host network.

“We are incredibly proud to collaborate with First Direct Arena on this pioneering project,” adds Paul Osborne, chief commercial officer, UK & Ireland at Boldyn Networks. “The launch of the UK’s first 5G neutral host arena represents a significant leap forward in delivering seamless, high-speed connectivity for both fans and venue operators.

“This collaboration highlights our shared commitment to working with venues, including through our partnership with ASM Global, to revolutionise the visitor experience and set a new standard for connectivity in entertainment venues.”

Upcoming shows at First Direct Arena, which is celebrating its 10th anniversary this year, include Iron Maiden, The National, Shania Twain, New Order and Fall Out Boy.

 


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Live at Leeds reveals mega lineup for new outdoor fest

UK promoter Live at Leeds has announced the first wave of acts for its new one-day festival, Live At Leeds: In The Park.

Bombay Bicycle Club, Nothing But Thieves, Arlo Parks, Easy Life and Sea Girls are among the acts that have today (10 November) been confirmed for the indie/alternative outdoor festival.

The festival is set to launch on 4 June 2022 at Temple Newsam in Yorkshire – home to a number of major UK festivals including Slam Dunk and Newsam Park.

Organisers say that the event will be an “in the park” version of Live at Leeds In the City – one of the country’s largest multi-venue, inner-city festivals.

Since launching in 2007, the flagship festival has showcased bands across multiple venues in Leeds city centre on the May bank holiday weekend. This year’s event was pushed back to October due to the coronavirus pandemic.

Organisers say that the event will be an “in the park” version of Live at Leeds In the City

The event will again take place in the autumn of next year, on Saturday 15 October 2022.

“We’re incredibly excited to release the first-ever Live at Leeds In the Park lineup,” says Live At Leeds: In The Park, festival promoter Joe Hubbard.

“After the most difficult couple of years it felt amazing to deliver Live at Leeds In the City this year, and following it up with this brand new event for 2022 makes the future feel really positive. Hopefully, everyone loves this lineup as much as we do, and our loyal Live at Leeds crowd enjoy having two festivals to look forward to in 2022!”

Tickets for Live At Leeds: In The Park go on general sale from 10 am this Friday (12 November), with general admission tickets starting from £55. For more information, visit Live at Leeds.

See the full lineup below:

 


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Drive Nation: LN UK unveils 2,100-cap. drive-in shows

Live Nation has announced a series of live drive-in concerts across 12 venues in the UK this summer, featuring acts including Dizzee Rascal, Gary Numan, Beverley Knight, the Streets, Sigala, Lightning Seeds, the Snuts and Kaiser Chiefs.

Drive-in concerts have proved to be a popular feature of lockdown life, with concertgoers getting their live music fix from the safety of their cars in countries including Germany, Denmark, the US, Lithuania and the Netherlands.

Now, the format is allowing the UK live industry to step back into the driving seat. Live Nation’s Utilita Live from the Drive-in series, which kicks off in mid-July, is more live music-focused than previously announced UK drive-in events, hosted by the likes of Mainstage Festivals and Live Nation-owned Ticketmaster.

The 300-carpacity (© 2020 IQ) concerts will be able to accommodate up to 2,100 people, with tickets available for two to seven people per car. Standard or premium tickets, which include guaranteed location in the front three rows and priority exit at end of show, will be available, with prices reportedly ranging from £25 to £100 per car.

Differing from many other drive-in shows and in a similar vein to Italy’s proposed bike-in concerts, concertgoers will be able to enjoy the performance through the full sound system – rather than car radio – in a dedicated area next to their vehicle. Fans are encouraged to bring folding chairs if they wish to sit during the gigs.

“The drive-in format is a thoughtful and fun way to safely bring one million Brits out of ‘entertainment lockdown’”

The shows will take place across 12 sites, including in the grounds of venues such as Birmingham Resorts World Arena and the National Bowl in Milton Keynes; at sports complexes including the University of Bolton football stadium and Cheltenhem and Newmarket racecourses; at airports in Bristol (Filton Airfield), Leeds (Leeds East Airport) and Teesside (Teesside International Airport); and various other outdoor event locations including the Royal Highland Centre in Edinburgh, Lincolnshire Showground and Central Docks Liverpool Waters.

Live Nation also plans to announce the London venues, as well as more artists and dates in due course.

“We are excited to bring Utilita Live From The Drive-In to fans across the UK,” comments Live Nation’s Peter Taylor. “This outdoor concert series was created as a way to reimagine the live music experience during a time of social distancing by allowing fans to enjoy concerts in the safest way possible.

“Each event will comply with all official government guidelines in order to protect fans, artists, crews and staff. We look forward to announcing some of the biggest names across UK music and bringing these fantastic artists to a city near you.”

“As we find new ways to navigate today’s world of social distancing,” adds Utilita CMO Jem Maidment, “we believe the drive-in format is a thoughtful and fun way to safely bring one million Brits out of ‘entertainment lockdown’ this summer 2020.”

Tickets for Utilita Live from the Drive-in go on sale at 10 a.m. on 22 June here. Further information on performers, entry prices, on-sale dates and restrictions can be found here.

 


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TEG MJR unveils refurbed Leeds Warehouse

Building on a legacy that includes past performances by U2, Oasis, the Stone Roses and Soft Cell, famed Leeds, UK, venue the Warehouse is returning to its live music roots, with a busy concert programme planned after it reopens later this month.

Celebrating the 40th anniversary since its opening in 2020, the new-look Warehouse benefits from a £250,000 investment into its production infrastructure, and now boasts three rooms with a capacity of 600 for live music and 1,100 for DJ-led events.

Curated by TEG MJR, the 2020 live music programme will showcase a varied mix of touring artists and local musicians, says the former MJR Group, which  took over programming duties for the Warehouse last year, just prior to its takeover by Australia’s TEG.

The relaunch weekend will kick off with a show by singer-songwriter Badly Drawn Boy on 23 January, followed by two sold out performances from Terrorvision on 7 and 18 February.

“2020 is going to be an exciting year for Leeds”

Dan Ickowitz-Seidler, chief operating officer of TEG MJR, comments: “Live music is a huge driving force in any big city and we wanted the Warehouse to showcase a real plethora of events.

“The venue was built on live music, and what better way to celebrate 40 years of The Warehouse than bringing back its roots?

“We’re looking forward to welcoming a credible selection of performers and club nights and continuing to work closely with local promoters. Twenty-twenty is going to be an exciting year for Leeds.”

For a full list of upcoming shows, visit theleedswarehouse.com.

 


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The MJR Group announces three new venues

The MJR Group, the UK-based promoter and venue operator/owner, has added two new clubs to its venue portfolio, as well as announced plans for a third.

The Bristol-based company has partnered with the Warehouse (600-cap.) in Leeds and Switch (1,500-cap.) in Southampton to develop and deliver their respective live events programmes and operations. Full plans for a new venue in central Birmingham, meanwhile, will be announced soon.

The Warehouse is set to celebrate its 40th anniversary this year, making it one of the oldest venues in Leeds (the building itself being nearly 200 years old). The MJR Group says it will bring live music back to the fore, building on a legacy that includes performances by U2, Oasis, Soft Cell, the Stone Roses and Pulp.

The company  will invest in production infrastructure, with plans for new staging, audio and lighting systems suitable for both touring artists and nightclub events.

Switch, a former cinema, has welcomed a string of international club and party artists, hosting the likes of DJ EZ, Paul Woolford, Andy C and, more recently, Stormzy.

“We are delighted to add these three fantastic venues as part of the strategic expansion of our live music portfolio”

It is also getting a make-over with a view to reintroducing live music events, with new staging, lighting and screens throughout.  Elswhere, an internal redesign will turn the club through 180°, adding a new VIP area, booths and making the balcony a new asset overlooking the whole venue.

Richard Buck, owner and founder of the MJR Group, comments: “We are delighted to add these three fantastic venues as part of the strategic expansion of our live music portfolio. The Warehouse will be a 600-capacity live music venue and attempt to fill the massive void left by the Cockpit’s closure a few years back.

“We are equally as excited about plans to introduce a live music programme to Switch, which will give bands a natural progression to grow audiences when they outgrow our other Southampton venue, the Engine Rooms.”

The MJR Group’s other UK venues include Tramshed (1,000-cap.) and the Globe (350-cap.) in Cardiff, the Mill (1,000-cap.) and Digbeth Arena (3,500-cap.) in Birmingham, Sub 89 (600-cap.) in Reading and Plug (1,600-cap.) in Sheffield.

 


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Making female DJs normal, not a novelty

Red Bull Music’s monthly Normal Not Novelty returned this week, hosting workshops for aspiring female sound engineers, producers and vocalists.

Launched in 2017, Normal Not Novelty aims to educate and inspire the next generation of female producers and DJs, in a subset of the industry that is particularly male-dominated. A recent report revealed that, over the past seven years, only 2% of producers appearing in Billboard’s Hot 100 year-end charts were female.

“Normal Not Novelty provides a space to make women feel comfortable in pursuing a career in music,” says DJ and producer Bamz, who recently led a Normal Not Novelty workshop at London’s Red Bull Music Studios.

“People tend to presume you are a singer or a songwriter. We are trying to lessen this divide so future generations can look at us and see it’s possible to be whatever you want to be,” states Bamz.

For Karen Nyame, who DJs under the alias KG, Normal Not Novelty is integral for “removing misconceptions where women are concerned.”

“I’ve had to deal with a lot of covert misogyny – people assume I don’t have the knowledge based on my gender”

“I’ve had to deal with a lot of covert misogyny – people assume I don’t have the knowledge based on my gender,” explains Nyagme. “They still want to work with me, because I am good at what I do, but they are patronising at the same time.”

For both producers, the networking aspect of Normal Not Novelty is the most important. “Music production shouldn’t be an isolated process,” says KG. “It takes the pressure off to find other women with like-minded goals all in one place.”

The topic of gender-neutral line-ups has been at the forefront of conversation this festival season, and has divided opinions across the music industry. Primavera Sound presented its first gender-balanced billing this year, telling IQ that “the ‘pale, male and stale’ paradigm” needs to change.

“It’s down to laziness and apathy,” says Nyame in reference to male-heavy line-ups. “There are amazing women out there and a strong influx of female DJs coming through, but we’re not getting a look in.

“To compensate, organisers often bunch us all together on female-only stages, which defeats the whole point of integration.”

“There are amazing women out there and a strong influx of female DJs coming through, but we’re not getting a look in”

Rather than setting quotas or shoehorning female artists onto specific stages, the producer believes more balanced line-ups will only result from “bookers and promoters being willing to go out of their way to take risks and remove the predictability from line-ups.”

Looking to the future, Bamz says a change in attitude towards women in the industry “will come from basic education and hearing anecdotes of women who have succeeded in whichever part of the industry they work in.”

Bamz adds that “giving confidence to younger people, providing positive role models and teaching them to be in control of the art they make,” is the key to achieving more equality.

The next Normal Not Novelty sessions are taking place as part of London’s four-week Red Bull Music festival, with a Notting Hill Carnival special on 20 August and an event on 10 September in conjunction with local label Hyperdub, at the Red Bull Studios in Covent Gardens.

Pictured: (left to right, top) Bamz, Tash LC, KG, Katie Tavini, Kamillah Rose (bottom) Valentina Magaletti, Marta Salogni.

 


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Leeds First Direct Arena becomes biggest in Yorkshire

SMG Europe-managed First Direct Arena in Leeds, UK, has announced a “significant” increase in floor standing capacity reportedly making the arena Yorkshire’s largest indoor entertainment venue.

Following a review of capacities and operational procedures, the standing capacity for shows has increased by 16%, to 4,321. This brings the venue’s overall capacity to 13,781.

“Standing floor tickets for concerts at the First Direct Arena are always in high demand and it is great that even more guests can now be accommodated in this area,” says general manager Jen Mitchell. “The entertainment industry is constantly evolving and our operational teams have been working tirelessly to ensure that the First Direct Arena can cater for all event types.”

“Standing floor tickets for concerts at the First Direct Arena are always in high demand and it is great that even more guests can now be accommodated”

“As well as this capacity increase, we have also developed a number of additional configurations using our unique retractable seating and draping systems to provide maximum flexibility,” adds Mitchell.

Since opening in September 2013, major acts including Elton John, Bruce Springsteen, Prince, Fleetwood Mac, Drake and Morrissey have performed at the arena, which extended its naming-rights agreement with British retail bank First Direct in 2017.

SMG Europe’s arena portfolio includes the Manchester Arena (21,000-cap.), the Utilita Arena in Newcastle (11,000-cap.), the SSE Arena, Belfast (11,000-cap.) and the Event Complex Aberdeen (12,500-cap.), due to open this summer.

 


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