‘A festival nowadays is a very risky business’

The litany of obstacles facing the festival sector formed the basis of the opening panel of this year’s International Festival Forum (IFF).

Held today (25 September) in London Bridge, The Festival Season 2024 was moderated by IQ magazine’s James Drury, featured high-profile agents Summer Marshall of CAA and Primary Talent International’s Matt Bates, plus Serbia’s Exit Festival co-founder Dusan Kovacevic and Goodlive’s Fruzsina Szép, MD of Munich’s Superbloom and festival director of Lollapalooza Berlin.

The session began with a presentation of ROSTR x IQ’s analysis of the European festival summer by ROSTR co-founder and CEO Mark Williamson.

A key talking point related to gender equality, as 69% of all artists across all lineups were men, while 97% of every band and every solo act that played a headline slot were male (the full analysis appears in the new issue of IQ).

“There’s still a lot of big female artists out there, but rather than playing at festivals, they’re staging their own outdoor shows,” offered Bates, who added the trend was not exclusive to women performers. “When you’re a huge artist nowadays, there’s a tendency to do your own thing rather than performing at a festival which would’ve been the norm 10 to 15 years ago,” he said.

“A major positive about headliners doing their own thing is that festivals now have a better opportunity to help break through emerging acts and mid-level artists”

Bates considered the shift could yet be a blessing in disguise for festival organisers.

“A major positive about headliners doing their own thing is that festivals now have a better opportunity to help break through emerging acts and mid-level artists,” he explained.

Kovacevic agreed with the sentiment, pointing out that, in Exit’s case, it forces the festival itself to become the headline act rather than a select number of big names. “This will force other festivals to not rely too much on headliners, but to focus on the overall experience instead,” he said.

Szép added that increased awareness of the types of brands sponsoring festivals and rising costs have made festival-goers more cautious when it came to expenditure.

“The younger generation are a lot more sensitive to what they’re spending their money on, which mirrors what artists are questioning when it comes to choosing what festival they’re willing to put their names on,” she explained.

“It’s a very personal decision for each artist, and as an agent, if you’re presented a deal a year in advance but the sponsors haven’t been confirmed yet, it becomes a tricky situation”

The session also touched upon navigating the controversial issue of artists pulling out of festivals due to sponsors affiliated with various political situations.

“It’s all about communication,” Marshall said. “It’s a very personal decision for each artist, and as an agent, if you’re presented a deal a year in advance but the sponsors haven’t been confirmed yet, it becomes a tricky situation.”

“As an agent, we’ll be quite careful not to have our own opinion, so we really have to stay neutral all the time,” Bates added. “Some of the situations involving artists pulling out of slots aren’t just due to political reasons. I’ve had acts that refused to play because they didn’t like the brand, which they might find to be damaging to their own reputation. It’s always a balancing act.”

Furthermore, the panel agreed that festivals would have to cater for audiences that are more socially and financially conscious than in the past.

“We can’t continue raising ticket prices every year, so it’s important to keep thinking of creative solutions to keep the younger demographic coming to festivals,” said Szép, who cautioned: “A festival nowadays is a very risky business.”

And despite the issues that have threatened the festival business since the pandemic, the panellists remained optimistic about the direction of travel.

“It’s absolutely vital that festivals focus on spotlighting emerging artists and continue to create the headliners of tomorrow,” Kovacevic said, with Szép adding that this is a “great way to minimise costs that would usually increase significantly with major headline acts”.

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Our House… 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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Primary Talent’s Peter Elliott to retire

Legendary live agent Peter Elliott has announced his retirement and will depart Primary Talent at the end of the month after 28 years at the agency.

Elliott joined Primary in 1995 from the Manchester-based Blast Hard agency. In the following 28 years, he has worked with some of the most successful music artists in the world.

During his illustrious career, his roster has included Daft Punk, Basement Jaxx, The Streets, Plan B, Royksopp, Dizzee Rascal, Lana Del Rey, Phoenix, Loyle Carner, Morcheeba, Lemon Jelly and Zero 7.

In 2007 he became the managing director of Primary Talent, running the company for 14 years before stepping down from that role in March 2021.

“All in all, it’s been a damn fine journey”

“I have had great fun working alongside good and dynamic people,” says Peter Elliott. “We grew Primary with a ‘family’ ethos, driven by a desire to work with the most creative people and talent, and in my role as an agent I have been privileged to work with and help develop many wonderful musicians, creatives and great genre-defining artists. All in all, it’s been a damn fine journey.”

Primary Talent International CEO Matt Bates says: “I have spent the majority of my career working alongside Peter here at Primary. His drive and passion are deeply ingrained into everything we do and what the company stands for. He has helped mentor a new generation of great agents here and leaves a great legacy and amazing foundations to continue building from.”

Earlier this year, Primary returned to being an independent music talent agency following a management buyout. The UK-based booking agency was sold to ICM Partners in 2020, which was subsequently acquired by CAA.

Primary’s roster includes almost 460 clients including The 1975, The Cure, Lana Del Rey, Noel Gallagher, Jack Harlow, alt-J, Dropkick Murphys, and Patti Smith.

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Primary Talent welcomes agent Dotun Bolaji

Primary Talent International has hired agent Dotun Bolaji, who will be based out of the company’s London offices.

Bolaji joins the agency from Runway Artists and brings a roster that includes Agajon (DJ), B-ahwe, Jay Prince, Jords, Karl Benjamin, and Planet Giza.

He has been part of the Watford-based live music showcase Superlative and has a background in club promoting, staging nights with the likes of Giggs, DJ EZ, Section Boyz and AJ Tracey.

The young agent was on ILMC’s Futures Forum 2022 committee, which champions the next generation of live music industry leaders.

“I’m pleased and excited to have Dotun join our team here at Primary as we continue to expand our roster of agents and clients,” says Matt Bates, managing Partner and CEO of Primary Talent International.

“As fans embrace diverse sounds, I’m dedicated to amplifying [music of Black origin]”

“He has extensive knowledge of what’s going on in the UK market and shares our enthusiasm for the future of the live experience.”

Bolaji adds: “I’m thrilled to join the team at Primary Talent, with note to their stellar reputation. In this digital age, music of Black origin and Black artists who make music beyond conventional expectations are reaching unprecedented heights.

“As fans embrace diverse sounds, I’m dedicated to amplifying these voices, bringing new and creative experiences to broader audiences. The future of live music is bright.”

Primary Talent International is a leading independent international live music booking agency, boasting a roaster of nearly 460 clients.

Clients include The 1975, The Cure, Noel Gallagher, Jack Harlow, alt-J, Dropkick Murphys, Patti Smith, Imanbek, Mitski, Rina Sawayama, The Streets, Two Door Cinema Club, Wolf Alice, and Ziggy Marley.

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The 1975 reveal most extensive N.America tour to date

The 1975 will play more than 30 arenas across the United States and Canada this autumn as part of the band’s most extensive North American tour to date.

The ‘Still … At their Very Best’ outing will kick off on 26 September at Sacramento’s Golden 1 Center (cap. 17,608) after a handful of festival appearances including Lollapalooza, Outside Lands, Music Midtown and Life Is Beautiful.

Stops on the tour include Madison Square Garden, The Hollywood Bowl and Scotiabank Arena

Stops on the Messina Touring-promoted jaunt include Madison Square Garden (20,000) in New York, The Hollywood Bowl (17,500) in California and Scotiabank Arena (19,800) in Toronto.

Highlights of The 1975’s winter arena tour of the UK and Ireland include a $839,264 gross at Manchester’s AO Arena on 20 January, which sold 14,709 tickets, according to Pollstar.

The 1975 are represented by Primary Talent CEO Matt Bates, worldwide.

The ‘Still … At Their Very Best’ North America 2023 tour dates are:

SEPTEMBER
26 – Sacramento, CA, Golden 1 Center
28 – San Jose, CA, SAP Center
30 – San Diego, CA, Pechanga Arena San Diego

OCTOBER
2 – Los Angeles, CA, Hollywood Bowl
5 – Glendale, AZ, Desert Diamond Arena
7- Greenwood Village, CO, Fiddler’s Green Amphitheatre
12 – New Orleans, LA, Smoothie King Center
17 – Miami, FL, Kaseya Center
18 – Tampa, FL, Amalie Arena
20 – Charlotte, NC, Spectrum Center
22 – Nashville, TN, Bridgestone Arena
23- St. Louis, MO, Enterprise Arena
25 – Kansas City, MO, T-Mobile Center
26 – Minneapolis, MN, Target Center
28- Milwaukee, WI, Fiserv Forum
31 – Detroit, MI, Little Caesars Arena

NOVEMBER
2 – Indianapolis, IN, Gainbridge Fieldhouse
3 – Columbus, OH, Nationwide Arena
5 – Pittsburgh, PA, PPG Paints Arena
8 – Baltimore, MD, CFG Bank Arena
10 – Philadelphia, PA, Well Fargo Arena
12 – Boston, MA, TD Garden
14 – New York, NY, Madison Square Garden
17 – Montreal, QC, Bell Centre
18 – Toronto, ON, Scotiabank Arena
20 – London, ON, Budweiser Gardens
22 – Grand Rapids, MI, Van Andel Arena
26 – Salt Lake City, UT, Delta Center
27 – Boise, ID, ExtraMile Arena
29 – Vancouver, BC, Rogers Arena

DECEMBER
1 – Portland, OR, Moda Center
2 – Seattle, WA, Climate Pledge Arena

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Matt Bates on Primary Talent’s indie rebirth

Matt Bates has opened up on Primary Talent International’s return to independence, describing the move as “liberating” for the company.

The UK-based music talent agency was sold to ICM Partners in 2020, but went back to being independent in March following a management buyout after ICM’s acquisition by CAA.

In a new interview, Bates, who oversees all aspects of Primary as managing partner and CEO, says the split with CAA was “amicable”.

“There was an understanding that trying to merge Primary into CAA wasn’t necessarily going to work for everybody,” he tells Music Week. “It became obvious that there was scope to try and put something together and buy Primary back. It was always amicable.”

Bates led the deal to re-establish Primary’s independent status alongside former ICM founding partner and COO Rick Levy. Agent Ben Winchester also serves as a board member alongside the duo.

“It’s very liberating to be able to forge our own identity in the music world again,” reflects Bates. “There’s no outside investment, we’re not answering to people who want to see a [specific] profit margin. To be purely independently owned by the agents is such a rarity.”

“This year is going to be bigger, better and busier in every shape or form. It does feel that we are truly back now as an industry, which is wonderful”

The agency elevated current Primary agents Laetitia Descouens, Sally Dunstone, Martje Kremers, Ed Sellers and LA-based Simon Clarkson to partner status in the wake of the deal and went on to hire veteran New York-based agent Peter Nash from ICM as a partner in April. Nash brought with him a roster including Kings of Leon, Pet Shop Boys, Regina Spektor, Steve Winwood, and Travis.

The booking agency, whose roster includes almost 460 clients including The 1975, The Cure, Lana Del Rey, Noel Gallagher, Jack Harlow, alt-J, Dropkick Murphys, and Patti Smith, operates from London, while maintaining a presence in Los Angeles and New York.

“This year is going to be bigger, better and busier in every shape or form,” says Bates. “It’s actually bigger than last year – no one thought that could happen. Talking to promoters, it’s the same across the board. So it does feel that we are truly back now as an industry, which is wonderful.”

Bates also discussed his expansion plans for the firm’s dance division.

“When we first talked about going independent, it was the first department that I identified as wanting to grow,” says Bates. “We’ve always had a really strong footing in the dance world. It’s something that is still thriving, still growing, and I feel very passionate about Primary making it a priority to grow that space.”

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Primary Talent returns to independence

Primary Talent International is returning to being an independent music talent agency following a management buyout.

Primary was sold to ICM Partners in 2020, which was subsequently acquired by CAA. The deal to re-establish Primary’s independent status was led by managing partner and CEO Matt Bates along with former ICM founding partner and COO Rick Levy, who will continue to act as a senior advisor to Primary.

The UK-based booking agency, whose roster includes almost 460 clients including The 1975, The Cure, Lana Del Rey, Noel Gallagher, Jack Harlow, alt-J, Dropkick Murphys, and Patti Smith, will continue to operate from London, while maintaining a presence in Los Angeles and New York.

“The pandemic changed the landscape of the music touring business, and we felt it was beneficial to return to our roots”

“The pandemic changed the landscape of the music touring business, and we felt it was beneficial to return to our roots as the UK’s largest independent music talent agency,” says Bates. “Adding to the strength and experience of the original Primary agent team, we are excited to bring aboard the next generation of talented agents to join as founding partners. In this new incarnation, Primary will be even better positioned to support the evolving careers of our artists and guide them wherever needed.”

Under the new set-up, Bates will oversee all aspects of the agency, and serve as managing partner and CEO. Agent Ben Winchester will continue to serve as a board member along with Bates and Levy.

The agency has also elevated current Primary agents Laetitia Descouens, Sally Dunstone, Martje Kremers and Ed Sellers, to partner status. They will be joined by veteran agent Simon Clarkson, who will be based in Los Angeles. The firm currently has 35 employees and expects to announce further additions to the team in the coming weeks.

Other clients on the company’s books include Imanbek, Mitski, Rina Sawayama, Two Door Cinema Club, Wolf Alice, and Ziggy Marley.

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Beckie Sugden moves to ICM Partners/Primary Talent

Beckie Sugden has joined ICM Partners/Primary Talent International as a concerts agent in the company’s London offices.

Sugden moves to ICM/Primary from X-ray Touring, which she joined in 2014.

Over the last seven years, she has built a roster including Anderson Paak & The Free Nationals, Russ, Noname, Mick Jenkins, T-Pain, Ghostemane, Mac Ayres, Soulection, Joe Kay and more, which will move with her to ICM/Primary.

“Beckie is an agent whose reputation in the industry precedes her,” says Matt Bates, managing director, Primary Talent International and ICM Partners head of International/Europe, who announced the news today. “She has an exciting and diverse roster and we are excited to welcome her into the ICM/Primary family.”

“Beckie is an agent whose reputation in the industry precedes her”

Sugden added: “I am absolutely thrilled to be joining the team at ICM/Primary, bringing my 15 years of experience to an already stellar international team. As we all begin to rebuild from the ashes of the pandemic there feels like no better time to join such a progressive, representative and forward-thinking company.

“I’m extremely proud to represent some of the most exceptional and groundbreaking artists around and I look forward to continuing our work together utilising the incredible breadth of resources ICM has to offer as artists’ careers become more multi-dimensional than ever.”

Prior to X-ray Touring, Sugden spent five years at The Agency Group (UTA), and she worked at WME before that. She began her career in live music from her bedroom as founder of her own agency, Mixedtape.

The recruitment of Sugden follows the appointment of Sally Dunstone earlier this year.

Primary Talent International joined forces with ICM Partners in March of 2020 and Matt Bates was named head of international/Europe of the combined entities in February 2021.

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Matt Bates named head of international for ICM Partners

Primary Talent International director Matt Bates has been named head of international and head of Europe for ICM Partners in a leadership reshuffle following the recent resignation of ICM’s head of worldwide concerts, Rob Prinz.

Prinz, who stepped down voluntarily to return to being a full-time touring agent for ICM, is succeeded by Mark Siegel, with Robert Gibbs becoming the agency’s head of music. The three new appointments were announced by Chris Silbermann, CEO of ICM Partners.

“Mark Siegel, Robert Gibbs and Matt Bates are universally respected within our agency and the music business at large,” says Silbermann. “Through their hard work and dedication to their clients and the team here at ICM, they epitomise the true meaning of leading by example.”

Elsewhere, Steve Levine remains co-head of worldwide concerts, while Peter Elliott continues as managing director of the UK’s Primary Talent, which joined forces with ICM last March. Scott Mantell remains co-head of ICM international, based in Los Angeles.

Siegel is a New York-based ICM partner who has been with the agency for more than 25 years. He was formerly head of music. Gibbs, a 14-year veteran of, and partner in, ICM was previously head of contemporary music.

“Mark Siegel, Robert Gibbs and Matt Bates are universally respected within our agency and the music business at large”

Bates has been in the business more than 20 years (15 of them with Primary) and remains on the London-based agency’s board, alongside Peter Elliott and Ben Winchester.

“We have empowered a talented, diverse and forward-thinking leadership team to best represent our clients and reap the rewards of the investments we have made in the live events business,” continues Silbermann. “We are all looking forward to a booming 2022 and beyond as the audience returns to experience the artists and concerts they love and have greatly missed.

“This diverse team combines the wisdom of experience with a forward-thinking, next-generation enthusiasm, giving our clients a dynamic leadership team and representation department built not only for success today, but into the future.”

Alongside the new appointments, ICM has established a new ‘Next Gen Concerts Leadership Committee’ designed to pave the way for the next generation of concert department leaders. It initially includes agents Jacqueline Reynolds-Drumm, Yves C. Pierre, Ari Bernstein and Mitch Blackman.

“I am extremely humbled and excited to be given the opportunity to step into a new role within ICM concerts,” comments Siegel. Chris Silbermann and Rob Prinz led the charge over the past year to grow our division and lay the foundation for ICM concerts to be a leader in the industry for years to come.

“The foundation Rob Prinz built in the concert division has left ICM in a formidable position from which to navigate the exciting new world of live music”

“We have created a talented, diverse, and forward-thinking leadership team who I am proud to work alongside in our commitment to best represent our incredible clients. They are the reason we strive every day to be better than yesterday, and I cannot think of a better group of agents, assistants and support staff who display their commitment and passion daily to that end.

“As I step into this new role, I do so knowing I am surrounded by an incredible team, including my partners Steve Levine, Rob Gibbs and Matt Bates, and I am eager to continue the work that has propelled this department forward. I am equally excited to work with Jacqui, Yves, Ari and Mitch as they step into an active leadership role. To Rob Prinz, my colleague and more importantly my friend, thank you for your tireless work and leadership, especially over the past year, which resulted in the tremendous growth of our department. I look forward to continuing to have you as a partner and a colleague for years to come.”

Adds Bates: “Since Primary joined with ICM 12 months ago, the support and vision I have seen from Chris Silbermann has been exceptional, which is reflected in the department’s growth and expansion. The foundation Rob Prinz built in the concert division has left ICM in a formidable position from which to navigate the exciting new world of live music, which is about to open up globally.

“I am looking forward to working alongside Mark Siegel and Rob Gibbs in their new roles and our incredible team of agents, who will lead ICM to the forefront of the live music business.”

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New signings and rising stars (May-June 2019)

Belako (ES)

Agent: Matt Bates, Primary Talent

Hailing from Mungia in the Basque Country, Belako (Josu Ximun Billelabeitia, Lore Nekane Billelabeitia, Lander Zalakain and Cristina Lizarraga) have been playing non-stop throughout Europe for the last two years, including at some of Spain’s biggest festivals.

They won Radio3 and Gaztea awards in 2012; Best New Band awards from Rolling Stone and MIN in 2015; RNE’s Best Modern Music Band gong in 2016; the Best Live Award at both MIN and the Iberian Music Awards in 2017; and last year saw them add MIN’s Best Band, Best Live and Best Video (for ‘Render Me Numb’) to their growing list of accolades.

Belako are high intensity with hypnotic melodies, great riffs, amazing bass rhythms and powerful drums. Every live show goes from the darkness to the light, from the 80s through to the 21st century, from sweet vocals to screams.

With three albums now under their belts, Belako have been honing their stage presence by playing 100+ gigs per year, and with dates across Europe, the USA, Mexico, Russia, Japan, Korea and the Philippines, they have been steadily growing their international fan base, too.

George Gretton (UK)

Agent: Sol Parker, Coda Agency

Art-pop and alternative R&B are just two of the genres that can be applied to George Gretton’s debut Tread Water. Growing up in Nottingham and now London-based, the multi-instrumentalist, singer and producer is sculpting a forward-thinking and trendless sound that’s distinctly his, via atypical arrangements, experimental processing and fitful drum samples.

“Tread Water was written at a time when I didn’t really have a musical identity or lyrics to draw inspiration from. I had just started to teach myself basic production and I had become fascinated with vocal manipulation and using a contrast between organic and artificial sounds to tell different sides of the same situation,” says Gretton.

“I suddenly found that writing with obscure instrumentation gave me a lot of creative freedom, and the lyrics and arrangement came together pretty quickly after that.”

Out of that desire for musical identity, Gretton’s creative freedom flourished, and he is now making music akin to such iconic artists as Ben Khan, James Blake and with echoes of Bon Iver. The genius in the self- produced Tread Water is in its understated simplicity; organic sounds perfectly collide with electronic, pulling focus to the innovative and stellar songwriting.

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