A 30-year delay in resuming his gap year has allowed Nottingham impresario George Akins to take a family-run venue and build a business that is now one of the UK’s most important independent live music groups. Looking back on a remarkable three decades, the DHP chief tells IQ about his strategy for growth and future plans for the company…

When your father is a titan of the business community, getting a job in the family firm might be inevitable, but for George Akins Jnr, his baptism of fire could not have been more badly timed.

“I was six weeks into a year-long break, in Australia, when my dad sacked everyone at Rock City,” recalls Akins. “So, when I made my regular call home, I was told, ‘You need to come back and run Rock City.’ A few days later, I caught a flight back… I thought I was only going to be there for a few months until things got sorted out. But 30 years later, here we are…”

One of Nottingham’s 20th century legends, Akins’ late father – George Akins Snr – built and operated an empire that included casinos, betting shops, amusement arcades, and an extensive property portfolio. “Rock City was a bit on the side for him, really,” says Akins, who at the age of 18 found himself in the position of being the venue’s boss. “I’d sort of been involved because I was into music, while music wasn’t really dad’s thing, so Rock City was not his core business.”

However, the teenager’s impact was immediate. Within a year, he had refurbished Rock City’s basement to create a 700-capacity space called The Rig. And his expansion of the business, year-on-year, has been pretty consistent ever since.

“It wasn’t really until maybe the late ‘90s that I started looking at proper expansion of the music side, because I’d also been doing sports bars. But at that point, it became clear to me that I needed to stick to what I was good at – the music-led stuff. So rather than identifying sites where I could sell alcohol, my mindset changed toward ‘How can I turn this into a music venue?’”

“Anton was the local indie promoter in Nottingham, working with acts like White Stripes and The Strokes”

George Akins Snr acquired the Rock City premises – then a variety club called Heart of the Midlands – in 1980. He co-founded Rock City with promoter Sammy Jackson, who had been running the Porterhouse in Retford, which was already established on the tour circuit.

“Sammy was there for about a year before Paul Mason was promoted and took over. But Paul was then poached by The Factory guys to run the Hacienda [in Manchester],” Akins tells IQ. “In the late 80s, Andy Copping ran things, and when I took over, he was still working for us as a consultant. Andy was great – someone I could call for support, and he was sort of my mentor for booking. I’d book the indie stuff, and he handled the rock stuff, right up until just before we opened the Rescue Rooms.”

Another key move in DHP’s growth was when Akins hired Anton Lockwood. “Anton was the local indie promoter in Nottingham, working with acts like White Stripes and The Strokes, so it was really important to bring him in the fold when we opened the Rescue Rooms. From then on, we started opening more places and doing more shows.”

Akins and his team had converted what was one of his sports bars into the Rescue Rooms, providing DHP with a springboard to work with acts at different stages of their career development.

Coincidentally, 2002 also marked the first time that the company promoted a show in an external venue, when they took System of a Down to Nottingham Arena.

Adding to the DHP Nottingham portfolio, dance music venue Stealth opened its doors in 2004, while the following year, Akins inked a deal with Heavenly Records to buy The Social, which would be renamed The Bodega Social Club.

“On Thekla’s opening night, we nearly sank”

Having four venues in his native Nottingham was close to saturation point for DHP’s boss. But rather than sit on his laurels, Akins’ ambition for growth saw the company looking at venues else- where in the UK to facilitate expansion.

“If I did anything else in Nottingham, it felt like it was going to be robbing Peter to pay Paul. We already had, at that stage, Rock City, Rescue Rooms, Stealth, and Bodega.”

All At Sea
The next path for expansion emerged in ship-shape fashion, in the form of Thekla – a boat in Bristol’s harbour, which was a legendary venue in the city. Adding to the task of fitting out a new live music venue, many others would have dismissed outright using a boat to stage gigs. “I was young, so everything was fucking possible,” laughs Akins. “It was all an adventure.”

He continues, “I’ve done everything imaginable in a venue: I’ve DJ’d, I’ve done the lights, I’ve done the cloakroom, I’ve even had a blast at sound engineering – I’ve never really been frightened of anything, so a boat didn’t faze me.”

That viewpoint was soon to change. “On Thekla’s opening night, we nearly sank,” he recalls. “The original owners had been pumping toilet waste into the harbour, and there was a hole where they pumped it out. Of course, when we put it into dry dock to do all the works, that hole was supposed to be sealed up. But it wasn’t. And we put water tanks on the roof, so as those tanks were filling up, the boat started listing, and when it hit the water line, it started filling up through the hole for the toilet waste.”

Despite that near disaster, the risky move turned out to be pivotal for DHP, expanding their remit and providing a catalyst for the company’s later expansion into London.

“I suppose I take after my dad in that way – my entrepreneurial attitude to things. I see opportunities, and I pounce on them”

Indeed, in 2024, DHP runs eight venues, having also taken on The Garage in London, and opened the adjacent The Grace, as well creating Oslo in a former Hackney railway building.

Akins observes, “I suppose I take after my dad in that way – my entrepreneurial attitude to things. I see opportunities, and I pounce on them.”

Looking back on three decades of what he thought was going to be a temporary job, Akins says, “DHP’s timeline for growth has sort of been venues, venues, venues; then a bit of festivals; then sort of building concert promotions and expanding that nationally, as well.”

Indeed, DHP’s first festival was in 1997. “It was City in the Park, which was a reference to Rock City. The first year was Saw Doctors, where we did 9,000 tickets, and the second year was The Corrs, which did 30,000 people. But we couldn’t make money – the ticket prices were not enough to allow you to make money on the infrastructure and the artist costs. But it was an opportunity to build a relationship with Nottingham Council, so it was definitely worthwhile.

“Then I tried to do a rock event called Distortion, which had sort of spawned from another event called Extreme 2000 – a pop-punk festival I had in 2000. We had Less Than Jake in the first year, then Green Day in 2001, and neither of them made money, but I could see the sprouts of an idea. But when I tried to get The Offspring for 2002 and couldn’t, I realised there just weren’t enough acts in that scene to make that happen. So I shelved it for a few years until Nottingham City Council had ambitions to bring an international class festival to the city and were ready to bankroll it.”

The company’s festival stable now includes the likes of Splendour, Bearded Theory, Dot To Dot, Beat The Streets, Society Exists, and Foolhardy Folk Festivall, while Akins admits he’s looking at other existing events for DHP to acquire.

“The real problem post-pandemic is inflation and opening a venue from scratch”

“With festivals, unless you have incredibly deep pockets, it’s very hard to create something from scratch. And it’s now the same with venues. But there will be opportunities elsewhere to become involved in existing businesses, and that’s what I’m looking for,” he reveals.

“Our growth since the pandemic has really been the festival stuff. Venue wise, there have been some opportunities, but the real problem post-pandemic is inflation and opening a venue from scratch. We had a building in Birmingham that we seriously looked at, but the construction costs just became insane and wouldn’t make financial sense.”

In terms of DHP’s promoting credentials, Akins cites Anton Lockwood’s partnership with NME that saw him booking acts for the Club NME tours as an eye opener for the company. But he reveals that the late Dave Chumbley, as well as fellow agents Paul Boswell and Ian Huffam, had helped persuade DHP to expand to national touring. “They recognised that there was a need to see some competition to the status quo. So, through Dave Chumbley, we did a national tour with Dropkick Murphys where we ended up doing a Brixton Academy-sized tour across the country. Then I did Human League with Paul Boswell, and shortly afterwards, Turin Brakes with Ian Huffam.”

Acts like Lana Del Rey, Nick Cave, New Order, and Flaming Lips would follow, cementing DHP’s credentials as a full UK promoter.

When it comes to his strategy for growth, Akins once again channels his father’s outlook.

“My whole career has been about just seeing opportunities that fit with me. If I see an opportunity, I jump on it. It doesn’t always stick. For instance, we had a good run with artist management – we represented Dog Is Dead and another artist called Indiana – and it was pretty successful, but it was just too time and energy intensive; it really is a 24/7 job.”

“We can grow in so many different ways – as a concert promoter, as a festival operator, as a music venue operator”

Noting that he always has numerous projects on his mind, he adds, “DHP is just very good at doing all the elements. I think that’s what sets us apart from our competitors. We don’t only do gigs, leaving someone else to do the club nights – we’ve got to do the club nights ourselves; we’ve got to do the gigs ourselves; we’ve got to do the bars ourselves. We don’t outsource anything. Our speciality is all those elements.”

With the company payroll now covering 400 people, DHP has inevitably attracted the interest of some of the corporate behemoths. “The problem is, if you sell to them, you’ve got to work for them. And I’m unemployable. I’ve worked for myself essentially since I was 19 years old,” states Akins.

And as for future expansion, he concludes, “We can grow in so many different ways – as a concert promoter, as a festival operator, as a music venue operator – and I never really know which it’s going to be each year. But the plan is always music-related, recognising opportunities, and pouncing when we see them.

“It’s redbrick university towns that interest me. I’m not going to be opening venues in secondary university towns where there’s not the audience. It has to be redbrick towns where you know you’re gonna be able to promote a significant number of shows in the city.

“There are always opportunities bubbling. I’ve got probably three ideas running at the moment, but I’m not sure if all three might happen or none of them might happen. But in terms of the next five years, nothing’s off the table.”

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A convoy of 55 Harley Davidson bikers has delivered the ashes of Motörhead legend Lemmy Kilmister to Rock City in Nottingham following the close of this year’s Bloodstock festival.

The specially-created Lemmy Forever memorial urn commissioned by Bloodstock has now taken up residence at DHP Family’s flagship Rock City in Nottingham, where Motörhead played 10 times from 1987 to 2006.

It will remain on public display at the venue before returning to Bloodstock, which is held at Catton Hall in Walton-on-Trent, Derbyshire, each August.

“We are so excited that the Lemmy Bust has arrived at its new home here at Rock City, and are honoured that Bloodstock Festival chose our venue to host the bust here between his annual pilgrimage back to their event each year,” says Rock City programmer Amy Lawson. “It seems fitting that a bust to celebrate such an iconic trailblazer in rock will stay in a venue which is tied so closely to his musical heritage. We can’t wait to welcome his legions of loyal fans to pay their respects to the icon.”

Also in attendance at yesterday’s (12 August) handover were Bloodstock festival directors Adam Gregory and Vicky Hungerford along with Alan Hungerford, Lemmy’s PA.

DHP recently announced it is reopening historic 2,500-capacity Nottingham venue Pryzm, which will be returning to its original incarnation of The Palais

At this year’s Bloodstock, fans were able to view the Lemmy Forever memorial and pay tribute to Lemmy and his legacy. The re-creation of Lemmy’s dressing room featured a host of his personal items including his hat, boots, bass guitar, and hand-drawn pictures, as well as handwritten lyrics, dressing room paraphernalia, and a never-seen-before selection of his personal photos.

Meanwhile, DHP recently announced it is reopening historic 2,500-capacity Nottingham venue Pryzm, which will be returning to its original incarnation of The Palais ahead of celebrating its 100th year in 2025.

The Palais, which first opened 24 April 1925 as a dance hall and billiard saloon, was reinvented as a nightclub in the late 80s, hosting the TV show Hitman and Her and has been known by several names including the Ritzy and Oceana. It is set to reopen from mid-September.

“As a local business deeply rooted in Nottingham’s music scene, we feel it’s only right to recognise the heritage of the venue and revive Nottingham’s original dancehall,” adds The Palais manager Sam Dye.

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Lollapalooza Brazil will no longer be produced and promoted by South America’s leading live entertainment company T4F (Time For Fun).

T4F’s ten-year partnership with Lollapalooza Brazil came to an end after last weekend’s 2023 instalment in São Paulo, headlined by Billie Eilish, Blink 182, Tame Impala, Rosalía and Lil Nas X.

From 2024, the festival will be managed by C3 Presents (promoter of the Lollapalooza franchise) and Rock City (the company behind Rock in Rio) – both of which are majority owned by Live Nation.

According to a statement from T4F, Live Nation enlisted Rock City in a bid to centralise the operation of all its festivals in Brazil.

In addition to Rock in Rio, Rock City is also organising a new 105,000-capacity festival called The Town, set to take place in the same location as Lollapalooza Brazil this September.

“Our partnership with Lollapalooza Brazil has revolutionised the festival market in our country”

Commenting on the end of the partnership, T4F founder and CEO Fernando Alterio, says: “Our partnership with Lollapalooza Brazil has revolutionised the festival market in our country. We are very proud of the path we have travelled together and for having transformed LollaBR into a brand loved by Brazilians.

“It was a pleasure to lead this brand and contribute to its success and growth. I thank Perry Farrell, creator of the festival, Charlie Walker and Charles Attal, managers of C3 Presents, with whom we have always had a professional relationship, but also one of friendship and respect. I wish them and Lollapalooza Brazil success in this new model.

“Time For Fun will continue with an intense performance in the festival sector. In addition to its own brands, the company, which has solid credibility with the national and international market, will establish new partnerships and collaborate with the construction and consolidation of other events and brands dear to the Brazilian public.”

The Lollapalooza brand has grown to eight countries on four continents, including editions in the US, Chile, Brazil, Argentina, Germany, France, Sweden and India.

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A Chilean edition of Brazilian mega festival Rock in Rio is in the works for 2021, confirms festival founder Roberto Medina.

Rock City-promoted Rock in Rio, founded by Medina in 1985, is the second highest-grossing festival in the world and the largest in South America. Rock City, in which Live Nation recently upped its shareholding to a majority stake, also operates a sister event in Lisbon, and formerly in Las Vegas and Madrid.

The Santiago de Chile edition marks the first expansion of the Rock in Rio festival brand within the Latin American region. Medina estimates investment needed for the new festival to be “nearly $150 million”.

The four-day event is billed for October 2021, just after the flagship Rio de Janeiro festival, with “practically the same line-up”. Drake, Foo Fighters, Bon Jovi, Iron Maiden, Pink and Muse are among those playing Rock in Rio this year.

“Chile is a calm country with a stable economy, it seems like a logical step,” Medina told Chilean newspaper La Tercera. “800,000 people live in Lisbon, whereas Santiago has five million inhabitants in a country with a much bigger economy than Portugal.”

“Chile is a calm country with a stable economy, it seems like a logical step”

Medina also cites “great political and economic stability” in neighbouring Argentina as a major deterrent for a potential Argentinian branch.

“[Chile’s] proximity to Brazil is a positive,” states Medina, saying “almost 200,000 people” miss out on tickets for the Rio edition each year. Fans now have the option to attend the sister event a four-hour plane ride away. According to Medina, acts have traditionally played solo concerts in Santiago after their Rock in Rio appearance.

Medina also cites the positive economic impact the festival would bring to Santiago, estimated to be US$500 million over the four days.

Lollapalooza Chile, which has taken place in Santiago since 2011, is not viewed as competition for the Rock City festival. “The scale and approach [of the two events] are different,” explains Medina.

Rock in Rio takes place from 27 to 29 September and 3 to 6 October in Barra Olympic Park. Tickets will be available soon via Festicket.

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German event management company Production Office has applied to stage the first Rock in Rio Germany next year, according to local media.

Production Office has written to the city’s lord mayor, Thomas Geisel, to ask permission to hold a Rock in Rio ‘mega-event’ in the new D.LIVE Open Air Park in August 2019, according to the Westfälische Rundschau. Rock in Rio was acquired by Live Nation – which has also produced domestic German editions of several of its other festival franchises, including Lollapalooza and Wireless – in May.

However, Production Office/Live Nation are likely to face stiff opposition from Dusseldorf city councillors, who recently succeeded in forcing the relocation of a planned open-air show by Ed Sheeran in the city over environmental concerns.

To the “amazement” and “boundless disappointment” of promoter FKP Scorpio, city officials from across the political spectrum, from conservative Christian Democrats to left-leaning Green and the Left party members, declared the concert at D.LIVE – which would have necessitated the chopping down of 104 trees – off limits, causing FKP to relocate to the Veltins Arena stadium in Gelsenkirchen.

Even if the new festival were to be greenlit, Michael Brill, the CEO of D.LIVE, is doubtful whether organisers could meet the August 2019 deadline, reports the Rundschau.

The festival is likely to face stiff opposition from Dusseldorf city councillors, who recently forced the relocation of a planned open-air show by Ed Sheeran

“Due to the presumed duration of the [approval] process, it is unlikely that it [the venue] will be available before summer 2020,” he says.

Opponents of the Sheeran show are also digging in their heels, with local Left leader Angelika Kraft-Dlangamandla confirming her party is still against any events that would lead to tree felling. While Production Office has reportedly offered to plant new trees, and assured the mayor all its events are “carbon neutral and sustainable”, “small trees do not” offset the damage caused by uprooting larger ones, according to Kraft-Dlangamandla.

Should it be approved, Rock in Rio Germany would take place in 2019, 2021 and 2023, alternating with Rock in Rio Lisbon, according to the application.

In addition to Rock in Rio Lisbon and its flagship event in Rio de Janeiro and, promoter Rock City formerly operated sister festivals in Spain and Las Vegas.

At press time, Live Nation had not responded to a request for comment.

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