Pete Tong to become first DJ to play F1 grid
Pete Tong MBE will become the first DJ to play on the grid at Silverstone racing circuit when he performs at this weekend’s British Grand Prix.
The historic set will take place on Sunday 7 July ahead of the Formula 1 race– and a day after the legendary British DJ performs on the mainstage for Pete Tong presents Ibiza Classics with Jules Buckley and The Essential Orchestra.
Tong’s Saturday set is part of a four-day live music offering also headlined by Kings Of Leon (Thursday 4 July), Stormzy (Friday 5) and Rudimental (Sunday 7).
Additional acts include The Snuts (Thursday), Self Esteem (Thursday), Jordss (Friday), Ghetts (Friday), Arielle Free (Saturday) and Anna De Ferran (Sunday).
The famous motor racing circuit this year has reconfigured its music arena for an increased capacity of 60,000, plus enhanced viewing and a bigger stage.
“It’s fair to say the 2024 British Grand Prix is going to be bigger and better than ever before”
Last year’s British Grand Prix attracted record crowds of 480,000 people and featured performances from Calvin Harris, Tom Grennan, Cat Burns, Jess Glynne, Black Eyed Peas and Jax Jones.
The live music offering is provided at no extra cost to British GP ticket holders.
“Our long-term ambition has always been to attract the biggest and best artists in the world to Silverstone to put on a spectacular show for the British fans,” says Silverstone’s commercial director Nick Read.
“With Kings of Leon, Stormzy, Pete Tong and Rudimental on this year’s line-up, it’s fair to say the 2024 British Grand Prix is going to be bigger and better than ever before! We knew we had a massive job on our hands following the great success of last year’s music offering, so we are thrilled to be able to take things up another notch.”
The 2024 British Grand Prix’s entertainment offering also includes a comedy stage on Friday and Saturday night, with Russell Kane, Troy Hawke, and Al Murray confirmed to perform.
A 10,000-capacity Big Top stage will feature immersive family entertainment, while a new 2,000-capacity fan zone will broadcast England and selective Euros matches.
Formula 1, which was acquired by Live Nation shareholder Liberty Media in 2017, has increasingly utilised live music as part of its Grand Prix weekend festivities.
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UK festival Boardmasters granted capacity increase
UK festival Boardmasters is set to increase its capacity to 58,000 this year after its licensing application was partially accepted.
The Cornwall Council approved the Newquay-based festival’s capacity rise by 5,000 to 2026 following an extensive hearing with the licensing committee.
“Thank you to Cornwall Council, the residents who took time to provide their valuable feedback and to all of the relevant parties who have supported us on this journey,” says festival founder Andrew Topham.
But the capacity for the music and surf festival will remain at 58,000 — including staff, performers and non-ticket holders — through 2026 after council members voted to curtail further capacity increases.
The Superstruct-backed event’s initial planning application proposed increases up to 66,000 by 2026, which sparked concerns over traffic congestion and public safety.
“I certainly appreciate the economic impact that this event does bring to the county, but I have to look at safety”
“Is there any point in increasing the numbers until we know that these new plans will work?” asked local councillor Joanna Kenny.
The annual event has perennially expanded, hosting 14,000 attendees in 2014, with Topham telling the committee the team has continuously “invested into the safety and infrastructure of the festival”.
“We want to add more and more layers of security, traffic management and anything that enhances the festival operation but to do that ultimately means more capacity,” Topham says.
In 2022, the five-day event, headlined by George Ezra, Disclosure, and Kings Of Leon, brought in £40 million (€46m) into the local economy.
“I support any business that wants to expand as long as it’s done at the right time and in a safe way. I certainly appreciate the economic impact that this event does bring to the county, but from my perspective, I cannot focus on that — I have to look at safety,” says Ann Marie Jameson, council health and safety officer.
The 2024 edition is set for 7-11 August 2024, with Stormzy, Sam Fender, and Chase & Status topping the bill. Courteeners, Overmono, Royel Otis, Kate Nash, Holly Humberstone, Wunderhorse, Hedex, and Ewan McVicar add to this year’s lineup.
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Stormzy to perform at Gaza & Sudan benefit concert
Artists including Stormzy, Clairo, Faye Webster and Omar Apollo are set to appear at a benefit concert in the US to support humanitarian efforts in Gaza and Sudan.
Artists for Aid will take place at Newark Symphony Hall in New Jersey on 4 January.
The event is being organised by Sudanese-Canadian poet and singer-songwriter Mustafa Ahmed, who will also perform on the night, with proceeds going to Canada-based not-for-profit relief organisation Human Concern International.
“We worked tirelessly to bring this to you, but our fatigue is not even a splinter of what we’ll be singing for,” says Ahmed on Instagram. “In the last few years I visited both my homeland, Sudan, and Palestine. My visit to both had a principal intention, to connect with artist communities, with young organisers – for parallels of sorrow and hope and faith. The violence in both nations seized the dream.
“Here it is revived for me in someway. The intention remains, on this evening we give our voices to make room for theirs.”
Human Concern International says that donations will be split 50/50 between Sudan and Gaza
Other acts lined up to perform include 6LACK, Charlotte Day Wilson, Daniel Caesar, Mohammed El Kurd, Nick Hakim, Ramy Youssef and 070 Shake. Tickets are priced $150.
“I want to thank each artist performing from the deepest part of me, for your time and effort,” adds Ahmed. “None of you hesitated when asked. We’ll remember.”
A post by Human Concern International says that donations will be split 50/50 between Sudan and Gaza.
“We are excited to be the charity partner for this event and will make sure your support is delivered to the people of Gaza and Sudan,” it says.
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Metronomy, Stormzy latest acts to call off tours
Tour cancellations are mounting, with Metronomy and Stormzy becoming the latest artists to scrap plans.
In the last couple of months, Santigold, Arlo Parks, Shawn Mendes, Sam Fender, Russ, Wet Leg and Disclosure have all cancelled dates due to mental health concerns, while Placebo, alt-J, Pale Waves and Anthrax have scrapped appearances due to “logistical issues”.
Yesterday (29 September) English electronic group Metronomy followed suit, pulling the plug on their upcoming tour of North America.
“Touring America is one of the most expensive and exhausting things a band can do,” wrote the band in a post on Instagram.
“When you’re a young band, that time spent touring the states is the only way that you would want to spend it. But, when you’re a little older and a little wiser, you start weighing up the time you spend on the road against the time you spend with loved ones at home,” it continued.
“Right now, it doesn’t make sense for us to come I’m afraid. We’ve had an incredibly busy year of gigs and festivals and now need to afford some of the same time and attention to our home lives.”
The tour was due to kick off this October but the majority of shows have now been postponed until May 2023. The band will still play their Los Angeles show at The Wiltern on 27 October and at the Pepsi Centre in Mexico City two days later as planned.
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Meanwhile, Stormzy has called time on his Australia and New Zealand tour due to “circumstances beyond my control”.
“It is with the heaviest of hearts that I have to inform you guys that due to circumstances beyond my control, I must cancel international commitments for the remainder of the year which includes my Australian and New Zealand tour,” a statement from the rapper reads.
“You guys have waited so patiently and I am so sorry that this has to happen after all these ups and downs. I love you guys and I promise I will be back as soon as I can with a show that’s bigger and better than ever.”
Stormzy was set to perform at Spilt Milk festival as well as headline shows at HBF Stadium in Perth, two nights at the Hordern Pavilion in Sydney, Riverstage in Brisbane, John Cain Arena in Melbourne and AEC Theatre in Adelaide.
The shows were originally scheduled for 2020 before being halted by the pandemic. Many fans have waited close to three years for the shows after buying tickets. It was set to be Stormzy’s first appearance in Australia in five years.
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Stormzy signs with WME
WME has signed Stormzy for representation in all areas.
The grime artist, real name Michael Omari, inked a worldwide deal with CAA only last year, having previously been a client of Primary Talent International.
The move, announced just days after the completion of CAA’s $750 million acquisition of ICM Partners, covers touring and brand partnerships and reunites the 28-year-old with his former agent at Primary, Craig D’Souza, who joined WME as partner in 2021.
“Stormzy is one of the UK’s most inspiring artists who has consistently stood up to address social injustices”
D’Souza, who brought a roster including Dave, Krept and Konan, J Hus, Jacob Banks and Headie One to WME’s London office, guided Stormzy’s live career from 250-capacity club shows in 2015 through to his 2019 Glastonbury headline performance and a sold-out world tour. He will represent the star alongside WME co-head of music Lucy Dickins and agent Whitney Boateng, reports Music Week.
“A true spokesman of Black empowerment and social activism, Stormzy is one of the UK’s most inspiring artists who has consistently stood up to address social injustices, encouraging his fans and listeners alike to speak openly about their beliefs and fight for their rights,” says a WME statement.
Managed by #Merky co-founder Tobe Onwuka, Stormzy also headlined Reading & Leeds in 2021, and completed his first UK arena tour earlier this year.
His upcoming tour dates include slots at Weekend Festival Finland (2 July), Madrid’s Mad Cool (7 July), Portugal’s Nos Alive (8 July) and Montreux Jazz Festival in Switzerland (11 July), followed by an Australasian tour booked for November/December.
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Craig D’Souza joins WME as partner
Agent Craig D’Souza, known for his work with UK rap and hip-hop artists such as Stormzy, Dave, J Hus, and Krept and Konan, has joined WME as a partner.
Based out of the company’s UK office, D’Souza brings a roster that includes Aitch, Arrdee, Dave, D-Block Europe, Fredo, Headie One, Jacob Banks, J Hus, Joy Crookes, Krept and Konan, Mist, MoStack, and Young T and Bugsey. His hiring was announced today (3 August) by WME Music co-heads Lucy Dickins, Kirk Sommer, and Scott Clayton.
D’Souza (pictured) began his career at nightclub agency Mission Control, becoming managing director in 2007, and went on to oversee the growth of the business into the live touring market over the next three years. He left to join Primary Talent International in July 2010.
With Primary Talent, D’Souza guided Stormzy’s live career from 250-capacity club shows in 2015 through to his 2019 Glastonbury headline performance and a sold-out world tour. The grime superstar recently signed a global deal with CAA, while Primary has brought on board Anderson Paak agent Beckie Sugden (formerly of X-ray) as its latest hire.
D’Souza, who was Music Week’s UK agent of the year in 2020, moves into his new position at WME immediately. He is the agency’s latest new partner, following the hiring of hip-hop agents Caroline Yim and Zach Iser in the US earlier this year.
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TikTok displays live potential at 2020 Brits
The 2020 Brit Awards took place on Tuesday night (18 February) at the O2 Arena in London in a special, live-focused ceremony.
Performances on the night came from double award-winner Lewis Capaldi (best new artist, song of the year), album of the year winner Dave, Brits rising star Celeste, Mabel (female solo artist), Lizzo, Sir Rod Stewart and international female solo artist winner Billie Eilish, who debuted the new James Bond theme song at the event.
The Brit Awards changed a few things up for 2020, reducing prize categories from 14 to 9, upping the number of live performances and allowing artists more creative freedom.
Another new addition for this year was the partnership with video-sharing social networking platform TikTok.
The partnership, which is part of a wider programme to showcase TikTok’s potential for the live industry, saw the platform transmit key moments from the Brits directly to digital screens at London’s Piccadilly Circus.
“We see this BRITs partnership as one of the major milestones in a big education push we have for the UK music industry this year”
Via TikTok, Lewis Capaldi became the first artist to perform on the Brits red carpet, later singing a duet backstage with male solo artist winner Stormzy. TikTok users were also encouraged to take part in the #RedCarpetReady hashtag challenge – an interactive competition in which users post videos with a specific hashtag – and use the Brits ‘Jump In’ sticker.
To further elaborate on the platform’s compatibility with live, TikTok’s head of UK music operations Paul Hourican is delivering a workshop at the International Live Music Conference in March, explaining how artists, promoters, agents and festival organisers can capitalise on TikTok’s reach.
“On TikTok, artists can reach listeners at lighting speed and build authentic fanbases – it’s a unique connection between artists and fans that we want even more artists and fans to benefit from – as well as the discovery opportunities TikTok brings for success off-platform,” says Rich Waterworth, general manager of TikTok UK.
“We see this BRITs partnership as one of the major milestones in a big education push we have for the UK music industry this year.”
The full list of Brit 2020 winners can be found below:
Female solo artist: Mabel
Male solo artist: Stormzy
Best group: Foals
Song of the year: Lewis Capaldi – ‘Someone You Loved’
Mastercard album of the year: Dave – Psychodrama
Best new artist: Lewis Capaldi
International female solo artist: Billie Eilish
International male solo artist: Tyler The Creator
Rising star: Celeste
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Billie Eilish to debut Bond theme at 2020 Brits
Billie Eilish will perform the official theme song to the new James Bond film live for the first time at the Brit Awards 2020 on Tuesday 18 February.
The Paradigm-repped artist, who recently became the second artist ever to take home all four top awards at the Grammys, is debuting ‘No Time to Die’ with her brother and producer Finneas, former Smiths guitarist Johnny Marr and an orchestral arrangement by Hans Zimmer and Matt Dunkley.
Eilish is nominated for the international female solo artist award at the Brits, along with Ariana Grande, Lana Del Rey, Lizzo and Camila Cabello.
Taking place at London’s 20,000-capacity O2 Arena, other performances at the live-focused event will come from Brits rising star winner Celeste, Dave, Harry Styles, Lewis Capaldi, Lizzo, Mabel and Stormzy and will be hosted by comedian Jack Whitehall.
London rapper Dave and scottish singer Lewis Capaldi lead the way with Brit nominations this year, with four apiece for male solo artist, song of the year, album of the year and best new artist.
Billie Eilish will perform the official theme song to the new James Bond film live for the first time at the Brit Awards 2020
Mabel is also nominated for multiple awards, appearing in the female solo artist, song of the year and best new artist nominees. Across the eight categories awarded on the night, the singer is the only woman to receive a nomination outside of the female-only awards, asides from Miley Cyrus’ feature on Mark Ronson’s ‘Nothing Breaks Like a Heart’ in the song of the year category.
Stormzy – who is this year headlining Reading and Leeds, Pohoda and Sziget – is up for male solo artist, song of the year and album of the year.
The Brits is this year partnering with short-form mobile video platform TikTok, which will livestream the arrival of nominees and others on the Brits red carpet, including an exclusive live performance from Lewis Capaldi.
“Our BRITs 2020 partnership is part of a wider UK programme that aims at collaborating with and educating labels, managers and artists to make the most out of the platform, taking advantage of TikTok’s unique creativity to engage with their fans and connect with a new global audience,” comments Paul Hourican, TikTok’s head of music operations, UK.
Hourican will be delivering a workshop on how music industry professionals can make the most of TikTok at the International Live Music Conference (ILMC) on 4 March.
The Brit Awards 2020 is taking place on Tuesday 18 February at the O2, broadcast live on ITV from 7.30 p.m.
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IQ 87: Special end-of-decade issue out now
Optimism about the future of the live entertainment business is high as we enter a new decade, with business leaders predicting further global growth throughout the 2020s in IQ’s end-of-decade issue, which is now available to read online.
Issue #87 sees IQ host a ‘virtual panel’ with some of the industry’s most important execs – including CAA’s Emma Banks, Oak View Group’s Tim Leiweke, Artist Group International’s Marsha Vlasic and Frontier Touring’s Michael Gudinski – as they reflect on the 2010s while offering their predictions for the decade ahead.
Move Concerts’ Phil Rodriguez, another panellist, says he sees opportunities in “consolidation on all fronts – promotion, venues and ticketing”, while Banks is looking to Asia, explaining that while China is “still not an easy market”, the potential for “certain acts” is huge. (If you can’t wait for the online version, read more on page 38.)
Covering the final IQ of the 2010s is Stormzy, as shot at Glastonbury by legendary rock photographer Jill Furmanovsky, who explains the story behind the photo in an online Q&A, published today.
IQ 87 also sees the return of the annual European Festival Report, which finds a mixed picture characterised by increased ticket prices, falling attendances and lower capacities; and The Gaffer award, which goes to John ‘Lug’ Zajonc, production manager for Metallica.
Issue #87 sees IQ host a ‘virtual panel’ with some of the industry’s most important execs
Elsewhere, Derek Robertson goes on tour with Dido to learn about the British star’s touring comeback, while Adam Woods heads to Russia for this issue’s market report.
There’s also everything you need to know about the Game of Live – aka ILMC 32 – ahead of the conference’s return to the Royal Garden Hotel in London in March.
All that, plus your usual dose of news analysis, new signings, emerging tech, comment from industry experts and much more.
As always, most content from the magazine will appear online in some form over the next few months. However, if you can’t wait for your fix of essential live music industry features, opinion and analysis, click here to subscribe now.
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‘Nothing beats a photographer who loves music’: Jill Furmanovsky Q&A
In 1972, Jill Furmanovsky attended a two-week course on photography at the Central School of Art and Design in London. A lucky break gave her the chance to be in-house photographer at London’s Rainbow Theatre in the 1970s, shooting concerts and rehearsals by the likes of Pink Floyd, the Faces, Led Zeppelin and Miles Davis.
She went on to shoot for the music press, as well as directly for bands such as the Police, the Pretenders, Oasis and, most recently, Catfish and the Bottlemen. Nearly 40 years on from her first shoot, she is one of the most respected rock and roll photographers in the world, and is also the founder and artistic director of Rockarchive.
Following her recent interview at Festival Congress – and as issue 87 of IQ Magazine, whose cover features her photo of Stormzy at Glastonbury Festival, hits the shelves – IQ catches up with Furmanovsky to talk Rockarchive, Instagram, Bowie and more…
IQ: What’s the story behind the cover of IQ’s end-of-decade issue?
Jill Furmanovsky: This is Stormzy at Glastonbury 2019. I thought he put on a superb show (much better and infinitely more human than Kanye West’s a few years earlier). The Eavis family has championed new artists from the word go and taken risks with giving them the best stage in the world – the Pyramid – in front of the best audience in the world: Glastonbury!
Why did you choose it?
I gave IQ quite a choice, but for me this was the right one to celebrate the end of a decade and the beginning of a new one.
What motivated you to set up Rockarchive in 1998?
Well, we don’t have a rock and roll museum in the UK, which is beyond belief. Rockarchive was set up in 1998 as a way for the public to find out about rock and roll photography. We encourage our 60-plus photographers to dig out unseen work that forms the basis of the whole history of the rock and roll era – which is now nearly over, but will be an inspiration to coming generations.
We fund ourselves by selling prints, but barely survive. Really we should be brought into the public arena by the National Lottery Heritage Fund and given a permanent space for fans and scholars.
“We don’t have a rock and roll museum in the UK, which is beyond belief”
You’ve previously mentioned Magnum Photos as an inspiration. Why?
Their support for truth in reportage, copyrights for photographers, and promoting the art of photography. Their business model no longer works as it used to in the analogue era, but it’s good that they’ve survived.
How has concert photography changed since Rockarchive launched?
Less access, more photographers and, of course, the endless phone cameras!
With user-generated content now so excessive, what to you is stand-out concert photography today?
Phone pictures can be good but nothing beats a good professional photographer who loves music and knows how to shoot it. It’s the classic ‘the right moment’ shots that do it for me every time.
Would you ever archive a great photograph from an unknown photographer? For example, a great iPhone photo taken by a fan that you found on Instagram?
I don’t have time to look through Instagram! But I’ve nothing against the equipment and never have. I use a phone to take my personal pictures all the time. They tend to be better in bright light than concert lighting, I find.
“It’s the classic ‘the right moment’ shots that do it for me”
Do you shoot in digital, or film, or a mixture of both? Why?
I mainly shoot digital, as it’s more practical for clients who want the images quickly. However, I do still shoot a bit of film on a Leica M6, mainly B&W, and I love the economy of exposures available and the process of developing and printing images in a wet darkroom.
Looking ahead to the next decade, what’s the future for Rockarchive?
We are working with Manchester University to make our There is a Light That Never Goes Out exhibition remains in Manchester.
I also have my eye on a building I’d like as the headquarters for a Centre of Rock and Roll Culture. It’s in the borough of Camden… will someone on the council there come and speak to me soon?! If we don’t find a long-term solution to keeping Rockarchive going, we are in danger of losing our rock history archives to the US or China, which would be terrible.
For now, just buy a print – each one sold keeps us going for a bit longer, and is a good investment, too!
Who’s the greatest performer you shot live, and the greatest that you wished you’d had?
James Brown, Bob Marley, Jeff Buckley, Kate Bush, Chrissie Hynde, Bob Dylan, Neil Young… I can’t chose just one!
I would love to have shot the Beatles, but I was too young – and more on David Bowie. I only photographed him live once and a bouncer ripped the film out of my camera…
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