Spurred on by neighbouring Singapore’s success with Taylor Swift, Malaysia is offering financial incentives for promoters to bring international stars to the country.

In a bid to boost event tourism, the Malaysian government has pledged a RM10 million (€2m) annual grant to support “high-impact” concerts and large-scale events (defined as over 15,000-capacity). A 30% production rebate will also be made available to organisers who book at least 30% domestic talent.

The Concert and Event in Malaysia Incentives (CEMI) scheme will be managed by government-backed investment arm MyCreative Ventures with support from the Ministry of Communications.

“This move will not only elevate Malaysia’s image as a regional entertainment hub, but also stimulate the tourism sector through the increase in domestic and international visitor arrivals,” says Music Malaysia chair Freddie Fernandez.

Dato’ Alan Foo, chair of national trade body ALIFE, says the initiative is a “pivotal moment” for the Malaysian live scene.

“We are deeply encouraged by the government’s recognition of the live events industry as a vital contributor to Malaysia’s cultural economy,” says Foo. “This grant — paired with a rebate mechanism that rewards organisers for hiring Malaysian talent — is a powerful step forward. It empowers organisers, attracts international acts, and ensures meaningful participation for our local ecosystem.”

The government says the scheme is in recognition of the knock-on benefits for airlines, hotels and other businesses, as well as increased employment opportunities within the concert industry.

Singapore’s reported exclusivity deal with Taylor Swift to make the island nation her only Eras Tour stop in south-east Asia, which saw the singer perform six nights at Singapore National Stadium in 2024, was estimated to have generated up to US$500 million in economic impact.

“It is a timely move, given past incidents that were unfortunate and could have been avoided”

However, the Malaysian authorities have revised their guidelines for international artists playing in the country in an effort to avoid a repeat of The 1975’s infamous set at the 2023 Good Vibes Festival.

The 1975’s opening night headline set in Sepang was cut short and the remaining two days of the event shut down by the authorities after the group’s frontman Matty Healy launched a “profanity-laden speech” against Malaysia’s anti-LGBT laws and kissed a male bandmate on stage.

The measures include the formal adoption of a “kill switch” to instantly terminate performances by international artists that breach government regulations.

“This is an important measure to ensure the safety and smooth operation of events,” says communications minister Fahmi Fadzil, as per Free Malaysia Today. “It is a timely move, given past incidents that were unfortunate and could have been avoided.”

Overseas acts must apply for a permit through the Central Agency for Application for Filming and Performance by Foreign Artistes (Puspal) before they are granted permission to perform. Fernandez says the amended regulations will also expedite the application process for promoters in obtaining approval from the authorities.

“This update will be particularly beneficial for small-scale performances and promotional events, with the processing time reduced from 14 days to just seven days,” he says. “This will streamline organisers’ operations and ensure smoother event implementation.”

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The UK’s Glastonbury Festival has announced two first-time headliners, alongside a swathe of other artists for the 2025 edition.

British pop-rock group The 1975 will top the Friday night billing on the Pyramid stage, while US pop-punk songwriter Olivia Rodrigo will close the stage on Sunday night, becoming the second-youngest Glastonbury headliner ever.

It comes shortly after festival heads at ILMC 37 told delegates that their 2025 editions are topped by young and new headliners.

Saturday night at Glastonbury will be headlined by Neil Young and his band The Chrome Hearts, who previously topped the bill in 2009. On 1 January, Young declared, out of the blue, that he was withdrawing from this year’s festival owing to his perception that it was under broadcast partner the BBC’s “corporate control”. Two days later, he said he had received “an error in information” and that the festival was “back on our itinerary”.

The 27-year-old soul-pop singer Raye will take the stage before Young, reaping the rewards of critical and commercial success with her debut album, My 21st Century Blues.

The festival previously revealed that Rod Stewart would take this year’s Sunday teatime Legends slot – his first performance at Worthy Farm since headlining the Pyramid Stage in 2002.

Other first-time Glastonbury performers include younger acts such as Noah Kahan, Gracie Abrams, Lola Young, Myles Smith

The Other stage headliners have also been revealed today, with Loyle Carner topping the bill on Friday, Charli XCX closing the stage on Saturday and the Prodigy finishing proceedings on Sunday – their first Glasto performance since the death of their frontman, Keith Flint, in 2019.

After winning best rap album for her mixtape Alligator Bites Never Heal at this year’s Grammy awards, the Florida rapper Doechii will headline the West Holts stage on Saturday.

Other first-time Glastonbury performers include younger acts such as Noah Kahan, Gracie Abrams, Lola Young, Myles Smith, Amaarae, JADE and Shaboozey, and musical icons such as Alanis Morissette, Busta Rhymes, Brandi Carlile, En Vogue, Anohni and the Johnsons, Cymande, Osees and Gary Numan.

Worthy Farm stalwarts scheduled to return include Ezra Collective, Amyl and the Sniffers, Jorja Smith, Wet Leg, PinkPantheress, CMAT, Self Esteem, Wolf Alice, Scissor Sisters, Pa Salieu, TV On The Radio and more.

More acts are yet to be announced in the coming months, with performances rumoured from Chappell Roan and Sabrina Carpenter. See the lineup so far here.

Glastonbury Festival 2025 takes place from 25 to 29 June at Worthy Farm, Pilton. The 210,000-capacity event will then take a fallow year in 2026 to allow the farmland to rest. The last intentional one was in 2018, while the 2020 and 2021 festivals were cancelled due to the pandemic.

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A High Court judge has dismissed part of a lawsuit filed against The 1975 by the promoter of Malaysia’s Good Vibes Festival.

Future Sound Asia (FSA) sued the group and touring company The 1975 Productions LLP in the UK for £1.9 million (€2.3m) in “substantial losses” over the cancelled festival.

The event was scheduled to run over three days at Sepang International Circuit in July 2023 and feature performances by the likes of The Strokes, The Kid Laroi and Dermot Kennedy.

But The 1975’s opening night headline set was cut short and the remaining two days shut down by the authorities after the group’s frontman Matty Healy launched a “profanity-laden speech” against Malaysia’s strict anti-LGBT laws and kissed a male bandmate on stage.

“There is no good reason why the matter should go to trial”

FSA alleged that The 1975 Productions LLP breached its contract and the four band members were in breach of a duty of care. But Judge William Hansen ruled yesterday (24 February) that the musicians cannot be held personally liable for losses sustained.

“I have given that submission careful consideration but ultimately have concluded that the claimant’s case is bad as a matter of law and that there is no good reason why the matter should go to trial,” he said.

The group’s lawyer Edmund Cullen KCC had previously asked the court to remove the individual members from the litigation, arguing that it was “really quite bizarre” they should be held personally liable as FSA’s contract was with the band’s company, The 1975 Productions LLP, only.

The judge allowed the case against The 1975 Productions LLP to move forward, but ordered FSA to pay legal costs of £100,000 (€121,000).

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Members of The 1975 should not be held responsible for the shutdown of the 2023 Good Vibes Festival in Malaysia, according to the band’s lawyer.

The British group are being sued in the UK High Court for £1.9 million (€2.3m) in “substantial losses” by festival organiser Future Sound Asia (FSA).

The 1975 were due to be paid the equivalent of £274,000 for their July 2023 headline slot, but FSA pulled the plug seven songs into the scheduled hour-long set after the band’s frontman Matty Healy launched an “obscene speech” against the country’s strict anti-LGBT laws and kissed a male bandmate on stage.

Homosexuality is a crime in Malaysia, punishable by up to 20 years in prison.

FSA, which was ordered by the authorities to call off the rest of the three-day festival at Sepang International Circuit in the wake of the incident, alleges that The 1975 Productions LLP breached its contract and the four band members were in breach of a duty of care.

Representing the promoter, Andrew Burns KC said in written submissions that the quartet “deliberately behaved in a way to challenge and provoke the Malaysian authorities”, claiming they “planned provocative conduct” in 2023. Other allegations include that the group “smuggled” a bottle of wine on stage and delivered a “second-rate set of songs” to “punish and upset the Malaysian audience and authorities”.

“The allegations of breaches of a duty of care are not breaches of a duty of care at all”

“This is also a case where they could be argued to have been on a frolic of their own rather than simply acting within the course of their ordinary role as LLP members,” added Burns, as per the BBC. “It is therefore fair, just and reasonable for the duty of care to be imposed and for them to answer for their acts of procuring breaches of contract.”

FSA said The 1975 and its management team had agreed to adhere to its rules for performers, adding that the band had performed at the same festival in 2016.

“The band should be held liable as the loss was caused by their intentional misbehaviour breaching the express assurances that were given which gave rise to their personal duties of care and their responsibility for their own personal behaviour,” added Burns.

However, The 1975’s lawyer Edmund Cullen KC described the lawsuit as an “illegitimate, artificial and incoherent” attempt “to pin liability on individuals”, and asked the court to remove the band members from the litigation.

“The allegations of breaches of a duty of care are not breaches of a duty of care at all,” he said. “They are breaches of Malaysian statutes and guidelines. That is why this claim is completely artificial against my clients.”

Cullen said it was “really quite bizarre” they should be held personally liable as FSA’s contract was with the band’s company, The 1975 Productions LLP, only.

FSA announced the return of Good Vibes in May last year. However, the 2024 edition was ultimately cancelled two months later out of respect for the coronation of the king.

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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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The 1975 have responded to a lawsuit filed against the band by the promoter of Malaysia’s Good Vibes Festival.

The £1.9 million (€2.25m) suit was filed in the UK’s High Court by Future Sound Asia (FSA) over costs relating to the government-ordered cancellation of last year’s event.

Organisers are suing the British band over a violation of performance rules, having pulled the plug on their headline set after The 1975’s frontman Matty Healy criticised the country’s strict anti-LGBT laws and kissed a male bandmate on stage.

In a court filing, FSA said The 1975 and its management team were aware of its rules for performers, having previously performed at the same festival in 2016, but decided to “act in a way that was intended to breach guidelines”.

It cited Healy’s “provocative speech” and “long pretend passionate embrace” with bassist Ross MacDonald, which it alleged had “the intention of causing offence and breaching the regulations”.

The band deny the same-sex kiss was a premeditated act and say they “did not know” it would cause the gig to be cancelled

However, according to Law360, the band deny the same-sex kiss was a premeditated act and say they “did not know” it would cause the gig to be cancelled. In addition, they argue the rules they are accused of breaching were, on the “face of it”, guidelines that “do not impose any obligation” on international acts and were unenforceable.

Moreover, they insist that given Healy’s history of being outspoken on LGBTQ+ matters, promoters should not have booked the band had they known their actions could lead to its licence being revoked. Hence, The 1975 reject the claim that “the revocation of the licence for Good Vibes 2023 was a foreseeable consequence of any conduct of the band members”.

The group’s defence was filed last month but has just been made public.

FSA announced the return of Good Vibes in May. However, the 2024 edition was cancelled two months later out of respect for the coronation of the king.

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Malaysia’s Good Vibes Festival 2024 has been cancelled out of respect for the coronation of the king, organisers have announced.

Last year’s edition was also partly cancelled after The 1975’s Matty Healy hit out at the country’s strict anti-LGBT laws and kissed a male bandmate on stage.

Despite the fallout, the festival was due to return on 20 and 21 July, albeit in a different location than last year and one day shorter.

However, promoter Future Sound Asia today (1 July) announced it received a letter from authorities stating that “large-scale performances involving international artists are not to be held on 20 July and are to be rescheduled to a later date, out of respect for the Coronation Ceremony of His Majesty Sultan Ibrahim, the 17th Yang di-Pertuan Agong of Malaysia”.

It continues: “Due to the nature of Good Vibes Festival (GVF) which involves multiple touring acts over multiple days, rescheduling the festival is not possible.”

“Due to the nature of Good Vibes Festival (GVF) which involves multiple touring acts over multiple days, rescheduling the festival is not possible”

As a result, Future Sound Asia has cancelled the festival, originally scheduled for 20 and 21 July at Resorts World Awana in Genting Highlands.

It added that all ticket purchasers for GVF will automatically receive full refunds to the payment method used for their purchase.

The 2024 edition would have featured J Balvin, Peggy Gou, Joji, BIBI and more, as well as returning Malaysian acts who had their performances cancelled from the 2023 event.

Last year’s 10th-anniversary edition was axed after The 1975’s Healy kissed a male bandmate on stage.

The set was cut short, and promoters Future Sound Asia (FSA) were ordered by the government to call off the rest of the three-day festival at Sepang International Circuit.

FSA described Good Vibes Festival’s cancellation as a “catastrophic financial blow” and demanded £2 million in compensation from The 1975. Legal proceedings are ongoing.

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Malaysia’s Good Vibes Festival (GVF) is set to return in July after the controversy surrounding The 1975’s set during last year’s edition.

The British band were headlining the first day of the festival’s 10th-anniversary edition when frontman Matty Healy hit out at the country’s strict anti-LGBT laws and kissed a male bandmate on stage.

The set was cut short, and promoters Future Sound Asia (FSA) were ordered by the government to call off the rest of the three-day festival at Sepang International Circuit.

FSA described Good Vibes Festival’s cancellation as a “catastrophic financial blow” and demanded £2 million in compensation from The 1975. Legal proceedings are ongoing.

Today (8 May), Good Vibes has announced its comeback, albeit in a different location than last year and with one less day.

“Immediately after what happened last year, we thought the world was ending”

Set to take place on 20 and 21 July at the Resorts World Awana in Genting Highlands, the 2024 edition features J Balvin, Peggy Gou, Joji, BIBI and more, as well as returning Malaysian acts who had their performances cut from the 2023 event.

“Immediately after what happened last year, we thought the world was ending,” Future Sound Asia’s Wan Alman told NME in a new interview. “We were left thinking about what was going to happen, were we still going to be working in this industry and things like that. But as time went on and we dealt with the situation, our heads became clearer.

“Towards the end of last year, we realised that the government was not going to ban us and we’ve got a good thing going here – we’ve been doing this for 10 years.”

According to Alman, the government has supported the return of Good Vibes: “They want to work with us hand-in-hand to make sure that that sort of thing doesn’t happen again and that the live music industry and the festival industry isn’t adversely affected by what happened.”

FSA and the government have also been working with PUSPAL (Central Committee for Application for Filming and Performance by Foreign Artistes) to refine and improve its guidelines and standardise responses to incidents.

“The kill switch is always a nuclear option, it’s the very last resort”

Alman says that the incident has not put booking agents off the festival, but that domestic promoters are “more careful in which acts they want to book and probably more diligent in clearly informing the artists that these are the things you can and cannot do when performing in Malaysia”.

In the months following the controversy, promoters were ordered to install a “kill switch” to end performances by international artists that breach government regulations. Alman says the kill switch has not been standardised and says each promoter and organiser has their own version of it.

“For us, the kill switch is a system where we can immediately cut off audio, video and lights on the stage,” says Alman. “Of course, this is always a nuclear option, it’s the very last resort. We have other protocols in place about who can call for stage closure and when we can call for it.

“We’re not going to call for it if an artist starts smoking a cigarette onstage; we’re just going to stop them and tell them they can’t do that. There will be various scenarios and degrees of severity, and what happened last year would be the most severe, where we cut everything off.”

Ticketholders for last year’s event could either defer their tickets or donate the money to the festival. As the festival is shorter this year, those who opted to defer 2023 tickets will be entitled to two full festival passes for 2024 plus a RM100 F&B voucher. See the full lineup here.

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The O2 in London has announced that more than 545.9 tonnes of carbon were extracted across The 1975’s four headline concerts in February.

The shows marked the world’s first carbon-removed arena events and took place in collaboration with carbon removal experts CUR8 and sustainable event specialists A Greener Future (AGF).

Using a portfolio of “scientifically verifiable” carbon removal methods (including enhanced rock weathering and biochar), The O2 (owned by AEG Europe) and CUR8 physically extracted the 136.46 tonnes of carbon generated by each event from the atmosphere and durably store it out of harm’s way.

The pilot events have resulted in a blueprint for a more sustainable live event model utilising carbon removals, which is being offered to all incoming promoters at the venue and is being planned to launch across several other AEG venues.

“With the success of this world-first pilot series of arena events, we’ve proven that it’s possible to run an arena-size live show which doesn’t compromise on a great fan experience but still accounts for the impact it has on the environment,” says Sam Booth, director of sustainability at AEG Europe.

“We hope this serves as a wakeup call to the wider industry that carbon removals are a viable solution that can be used to operate live events but they need buy-in from everyone in the live ecosystem in order to be a success – from venues and promoters right the way through to artists themselves. We’re fully committed to continuing to innovate and find even more ways to make our world-class events across AEG Europe more sustainable, as we strive for a low-carbon future for the live industry.”

Mark Stevenson, co-founder and chief impact officer at CUR8, adds: “The real heroes here are the teams at AEG Europe and AGF, who are working to reduce emissions as much as possible and then committing to remove the rest – and in doing so, helping fund the carbon removals operating system that the planet (and every organisation on it) will need to reach net-zero. Importantly, The O2 and AGF have demonstrated the art of the possible. We cannot have a live music industry where the only route to net-zero is to not exist. By using carbon removals to mitigate the complex ‘audience travel’ or ‘scope 3 emissions’ problem, all within the existing business model of live events, these concerts demonstrate a possible future – one that speaks to life well lived on a planet well loved.”

“We hope this serves as a wakeup call to the wider industry that carbon removals are a viable solution for live events”

The O2 has revealed that 75.7% of emissions from the concerts came from fan travel, which was covered by a combination of venue investment and a 90p contribution from fans, incorporated into the original ticket price.

Just 3.95% of the nightly carbon footprint came from arena operations, driven predominantly by electricity usage and staff travel. The low emission figure is thanks to The O2’s significant investment in energy efficiency, with the recent installation of LED lighting and screens across the arena saving over 300,000kwh of energy in 2023 alone.

The O2’s hospitality partner, Levy UK + Ireland, accounted for the removal costs across their operations, with carbon emissions for food and beverages across each show coming in at 7.46%, of which 85% was down to beverages. The overall figure was aided by the introduction of several recent initiatives, including a new food menu which generated 30% less carbon compared to the regular offering, as well as the launch of Notpla serveware. This 100% biodegradable product has a 70% lower carbon footprint than standard serveware and can be processed in The O2’s on-site biodigester and wormery.

In addition, The O2 has invested in a permanent reusable cup scheme and cup-washing machines powered by electricity from renewable resources, further reducing waste and emissions at the venue.

Alongside hosting the pilot events, The O2 and CUR8 each donated an additional 1% on top of the cost for each tonne of carbon removed to EarthPercent, a climate foundation geared towards identifying and funding impactful climate solutions in the live entertainment industry.

The O2’s other green initiatives include launching its own Green Rider in 2023 – a document intended as a blueprint to make incoming tours and productions at the venue more sustainable.

The 20,000-capacity venue was also the first arena in England to receive Greener Arena accreditation, awarded by AGF. Work is now underway at AEG Europe’s Uber Arena and Barclays Arena in Germany to undergo similar accreditation.

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IQ 126, the latest issue of the international live music industry’s favourite magazine, is available to read online now.

The April/May edition goes behind the scenes of The 1975’s Still… At Their Very Best tour, examines the rapid rise of country music around the world, and explores the difficulties facing the mid-tier of the live music touring business.

Elsewhere, the issue marks Mercury Wheels co-founder Barnaby Harrod’s 25 years as a promoter, dives into Switzerland’s thriving industry, and reports on the 36th edition of ILMC.

For this edition’s comments and columns, Pembe Tokluhan shares the inspiration behind launching a company that strives to increase representation of women, trans, and non-binary people working behind the scenes of live events.

In addition, creative comms guru Ella McWilliam (Full Fat) monitors the rapidly changing media landscape and provides tips on how festivals can entice Gen Z to become ticket-buying customers.

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

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

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