Tom Schroeder on Raye’s unique live journey
Wasserman Music agent Tom Schroeder has opened up to IQ about Raye’s unique, near decade-long journey to the top.
The UK singer-songwriter, who dominated the 2024 BRIT Awards with a record-breaking six wins from seven nominations, played her biggest headline show to date at The O2 in London in March.
The background to the concert – announced just five weeks ahead of time – was a story in itself.
“We found out about The BRITs nominations, and Paul [Keen], her manager, said, ‘How do you think we react in terms of live?’ I just immediately said, ‘We’re going to do an O2, dead on top of the BRITs,'” recalls Schroeder.
“Obviously, I then panicked and had to go and have a think about it – but I called Kelly [Chappel, Live Nation promoter] and asked her to back me, and she did immediately. I called Raye, congratulated her and explained the idea. She said something like, ‘You are mad, but I’m in’ – and so we did it.
“It was her first arena, with only a few weeks onsale, but I knew she would sell it out instantly. Her moment was now, and she had the show to pull it off – and that’s what she did. Raye can do whatever she wants now – from global arenas to jazz clubs, to rowdy festivals full of wonderful youngsters.”
“She definitely had a journey to go on to work stuff out and I think artists need that time”
Famously, Raye was signed to a major label before eventually finding success as an independent artist. Schroeder has been by her side on the live scene for eight years and counting, and believes playing the long game has paid off for all concerned.
“She definitely had a journey to go on to work stuff out and I think artists need that time,” he says. “There are lots of examples of it – Charli XCX being another good one – sometimes things take time. But Raye played lots of shows during that time, from arena supports to festivals to small headlines, and all artists get better and better when they do shows. It’s just so tough how immediate the demands on them can be.”
The 26-year-old BRIT School graduate has been on the crest of a wave since releasing her debut album My 21st Century Blues last year, and Schroeder considers Raye to be a total package as an artist.
“Where do I start? The voice, the performance, the songwriting, the vision – she just has all of it,” he says. “But I think it is much more than that too. She isn’t just a once in a generation talent, she is wonderful company: confident but humble, open and honest – and she is in charge, which I think is hugely important.”
As a case in point, Schroeder, who was named top agent at this year’s Arthur Awards, discloses how her latest live campaign came to life.
“We had a small headline tour booked in London and through several European cities, all sold out,” he recalls. “Right timing, right venues, all good. Then Raye calls me one day and she’s like, ‘Tom, the tour’s all wrong.’ As everyone knows, agents are always right, so I was a bit taken aback and asked her to explain. She wanted the shows seated – just her and a piano, and two-and-a-half hours long.”
“Listening to an artist’s vision is everything right now”
He continues: “It was the worst idea in my mind, and we had sold everything as standing, etc. Anyway, she was so eloquent, so passionate – explaining that she needed to explain to her fans what had happened with the label, why the musical direction was going to change, and why she needed to play some songs for the last time.
“So we turned everything on its head and made it all work, and I sat, dumbfounded, through one of the most incredible shows I had ever seen. She was right, I was wrong – and I think understanding and listening to an artist’s vision is everything right now. That moment changed her career, and mine too.”
Raye, who will join artists including Girls Aloud, D-Block Europe and Kylie Minogue by performing her own O2 Priority gig at O2 Shepherd’s Bush Empire in London on 23 September, completed her run of European festival appearances at Kalorama in Spain and Portugal this weekend.
Her summer schedule has also included slots across Europe at the likes of Reading & Leeds, Montreux Jazz Festival, Electric Picnic, Metronome Festival, Flow Festival, Rosendal Garden Party and Bergenfest.
“She has won,” concludes Schroeder. “She is the standout artist of summer 2024, pulling massive crowds everywhere she has gone. There are very few acts that can win at Montreux and Reading in the same summer, but that’s exactly what she has done.
“She is one of the UK’s most exciting exports, and a wonderful person to boot. We should all be very proud of her – I certainly am.”
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Stars line up for Stephen Lawrence memorial gig
A second wave of artists has been announced for More Life – Pass The Mic, a memorial concert marking what would have been Stephen Lawrence’s 50th birthday.
Lawrence was a black teenager from south-east London who was murdered on 22 April 1993, at the age of 18, in a racially motivated attack.
The one-off concert is set to take place on Friday 13 September at The O2 in south-east London – close to where Lawrence lived.
AJ Tracey, Cat Burns, Clavish, Corinne Bailey Rae, Ezra Collective and George The Poet are the latest artists to confirm their participation, joining the previously announced D Double E, Ghetts, The Kanneh-Masons, Mahalia, Nao and Wretch 32.
The event is touted as a ‘celebration of the power of Black culture, community, and allyship’ to honour Lawrence’s remarkable legacy.
Tickets are on sale now, with all profits going to the Stephen Lawrence Day Foundation (SLDF).
“This generation of artists has come together as a community to lend the power of their voices to amplify Stephen’s legacy”
“Art has always been an essential thread of social justice, with music serving as the enduring voice of each generation and a conduit for the stories that define the times,” says CEO of the SLDF, Jessica Neil.
“Artists are the storytellers who connect us to our collective past, carrying forward the narratives that shape how we imagine the future. This generation of artists has come together as a community to lend the power of their voices to amplify Stephen’s legacy. More Life – Pass The Mic is their platform to have a vital conversation with the next generation about reclaiming our legacies and redefining the narratives around our community. It will be an honour and a privilege to witness this unprecedented gathering of legends on September 13th and a beautiful, powerful tribute to Stephen.”
SLDF is working in partnership with Live Nation, Metropolis, AEG Presents and The O2 to organise and promote the event. Additional support comes from labels Sony Music, Warner Music Group, Universal Music Group, 0207 Def Jam and media partners, BBC 1Xtra, Spotify and YouTube.
Trevor Williams of TML Worldwide serves as production director; Kojo Samuel of Kojo Music is musical director; Amber and Bronski of TAWBOX are creative directors; ticketing and promotion directors are Raye Cosbert of Metropolis Music and Lucy Noble of AEG, and impact and experience director is Kobi Prempeh of Flynn Studio.
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LIVE announces new round of partners for 2024 talks
Trade umbrella organisation LIVE (Live music Industry Venues & Entertainment) has announced a new round of ‘committed partners’ for its 2024 programme of LIVE Talks.
Launched two years ago, LIVE Talks is a series of free online workshops and conversations supporting EDI, wellbeing and sustainability issues affecting the live music industry.
This year’s programme will be supported by The Royal Albert Hall, OVO Hydro, See Tickets, Skiddle and The O2, which join previously announced supporters AEG, Live Nation, SJM Concerts and Kilimanjaro.
Two new events for 2024 – which are open to all and free to sign up – have also been revealed.
Menstruation and Menstrual Health in the Live Music Industry will take place on Wednesday 14 August between 12:00–13:00 in partnership with The Musicians Union & Hen Picked: Menopause in the Workplace.
“We believe that coming together to discuss and listen can positively contribute to people’s experiences of working in the live music industry”
From Melas to Stadiums: Exploring Opportunities within South Asian Live Music will take place on Thursday 24 October between 12:00–13:00 in partnership with award-winning DEI Specialist & Cultural Consultant Sania Haq. Anyone who wishes to register their interest in attending can email: [email protected].
“We are very appreciative of the support we receive from our committed partners who have fully engaged with what we are trying to achieve with LIVE Talks,” says Gaby Cartwright, head of partnerships at LIVE. “Since we launched this initiative in 2022, we have hosted 15 free talks covering a wide range of topics and issues and believe that coming together to discuss and listen can positively contribute to people’s experiences of working in the live music industry. With that in mind we are always looking to open this platform to other fantastic organisations who can share their insights and expertise and look forward to announcing more events in the near future.”
There have been 15 talks to date since LIVE Talks’s inception, all of which can be accessed via the LIVE website.
Previous topics include: Trans education and inclusion, breaking down barriers for disabled people, ADHD struggles and strengths, supporting parents and carers in music and mental health support for artists and backstage workers.
The importance of representation for Black Event Professionals, understanding sustainability terminology, supporting the music industry’s LGBTQIA+ community and mental health first aid have also been on the agenda.
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The Killers deliver record-breaking residency at The O2
The Killers sold over 105,000 tickets to their six-night residency at The O2 – the highest number for any musical act at the arena this year.
The Las Vegas-hailing band took over the 20,000-capacity London venue on 4,5,7,8,10 and 11 July as part of their Rebel Diamonds tour, celebrating their 20-year legacy.
The record-breaking residency, promoted by SJM Concerts, featured varying setlists and even included a screening of the moment England triumphed over the Netherlands in the semi-finals of the UEFA EURO 2024 on Wednesday 10 July, before The Killers launched into their biggest hit ‘Mr Brightside’.
The run concludes the UK and Ireland leg of the band’s tour, which comprised 16 arena shows (their first UK arena dates since 2017) across June and July.
The Killers are next due to perform at Fuji Rock (JP), Lollapalooza (US) and Outside Lands (US) before commencing their Hot Fuss residency in Las Vegas next month.
‘The six-night residency of The Killer at The O2 has been a phenomenal experience to be a part of,” says Matt Woolliscroft, promoter at SJM Concerts.
“Everything about the show was truly world-class”
“In the 20 years that I have been working with the band, the ‘Rebel Diamonds’ tour has seen, in my opinion, their best performances, best production and best setlists. Every night the audience reaction and energy has been incredible. The night of the Euros semi-final at The O2 was a true once in a lifetime “I was there” moment, and it was a privilege to be in the room for it. Each time they tour the UK, I am left thinking that they can’t get any better live, then the next time they come over they once again reach new heights.”
Kirk M. Sommer, global co-head of music at WME, adds: “The Killers were my first signing more than two decades ago – it was love on first listen – and they continue to break records, warm hearts, and delight fans each and every night. It is a great privilege to be a part of their team and I was so proud to share in the joy of these record-breaking shows at The O2.
“After their monumental second Glastonbury headline performance in 2019, multiple sold-out stadium shows across the world in 2022, and their stunning Reading and Leeds headline sets last year, this six-night, sold-out run at London’s The O2 was the perfect capstone to the wildly successful ‘Rebel Diamonds’ tour in UK. It is exhilarating to see 20 years of hits performed live with conviction and surprises by a band at the top of their game. The audiences were electric. Congratulations to the band and whole team.”
Emma Bownes, vice president of venue programming for AEG Europe, comments: “Everything about the show was truly world-class – from the changing setlist, to the mammoth production, and of course the moment of absolute euphoria when the band transitioned from the England Euro’s win into one of the most iconic songs of all time – Mr Brightside. It’s truly been a residency to remember, and we hope to welcome The Killers back to The O2 in the future.”
The O2 reported its busiest-ever year for residencies in 2023, with runs from Peter Kay (12 shows), Elton John (10), Micky Flanagan (9), Madonna (6) and Chris Brown (6).
“Residencies are something that are becoming more and more important in the way we programme the venue,” Bownes told IQ. Read the full interview here.
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It’s coming home? Venues prepped for Euros final
A number of music venues in England are making special arrangements to show Sunday’s UEFA Euro 2024 Final.
The Three Lions, who are bidding to become the first England men’s side to win a major international tournament in 58 years, go up against Spain in Berlin from 8pm BST.
Organisers of Wireless Festival, which takes place this weekend in London’s Finsbury Park, are bringing forward Doja Cat’s closing headline set to allow the event to finish at 7pm and give fans “plenty of time to travel home” to watch the final.
“The change in running order and curfew is exclusively to accommodate people wanting to watch the football, no artists have been pulled or sets cut because of this,” a spokesperson for promoter Festival Republic tells the BBC.
Elsewhere, London mayor Sadiq Khan has confirmed The O2 will be hosting the capital’s “largest screening”, with a ballot closing earlier today (12 July) for the 15,000 free tickets.
In Manchester, the 23,000-cap AO Arena, which will feature “the UK’s biggest HD screen” is charging £7.25 to £20.25 for general admission and from £185.75 for VIP packages, including private suites for up to 14 people.
Bristol Ashton Gate stadium is also showing the match for £6 entry, while Bournemouth’s BIC and HMV Empire Coventry have already sold out their allocations.
England’s dramatic semi-final victory over the Netherlands in Wednesday’s semi-final sparked memorable scenes during The Killers gig at The O2, where the band broadcast the closing moments of the game on the big screen before launching into their biggest hit, Mr Brightside.
Fellow American band Kings of Leon also celebrated the triumph at their AO Arena Manchester show, leading a singalong of Neil Diamond’s Sweet Caroline, which has been adopted as an England football anthem.
England are vying for their first European Championship trophy, while Spain have won the tournament three times before – in 1964, 2008 and 2012.
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AEG Europe reveals BST Hyde Park sustainability plan
AEG Europe has heralded BST Hyde Park 2024 in London as its “most carbon-friendly festival series to date”.
The 65,000-capacity concert series kicks off today (28 June) with All Things Orchestral, followed by concerts with Robbie Williams, Shania Twain, Andrea Bocelli, Stevie Nicks, Kylie, Kings of Leon, SZA, Morgan Wallen and Stray Kids.
As the event launches its 11th edition, AEG has revealed an enhanced set of green initiatives to minimise its environmental impact, including carbon removals and menu labelling, alongside partnerships with Keep Britain Tidy and Lowr.
“Over the course of 10 shows across three weekends, we will have the opportunity to engage with hundreds of thousands of fans,” says AEG Europe’s director of sustainability, Sam Booth. “We are acutely aware of our position and believe we have a responsibility to influence fan behaviour and drive sustainable change and in doing so, we’re helping to not only preserve the planet but also the future of live entertainment.”
The move comes after the promoter hosted the world’s first carbon-removed arena events at The O2, which saw the extraction and removal of 545.9 tonnes of carbon across the four shows by The 1975.
Acting on key learnings from the pilot events, AEG says it’s continuing to reduce emissions at BST Hyde Park while pursuing accurate measurements for the remaining unavoidable ones.
Using Biochar for carbon capture, BST will then fund the removal of all Scope 1 and 2 emissions, making this AEG Europe’s most carbon-friendly festival series to date, it adds.
“We are acutely aware of our position and believe we have a responsibility to influence fan behaviour and drive sustainable change”
The promoter has also worked with A Greener Future to measure the environmental impact of each meal served across the festival and ensure this information is across all menus, with a traffic light system to highlight the most environmentally friendly offerings.
“Not only does this help to educate fans in their food choices, but it also acts as a reminder to traders of the impact their ingredient choices can have on the world around them, helping to encourage traders to think green for all future events,” it said.
AEG Europe said it is committed to sending zero waste to landfill and is looking to build on the principles of the circular economy to all venues and festivals. BST Hyde Park will see the use of 100% compostable serveware across the site, with a limited reusable cup system being trialled in controlled areas. It said waste handling has also been improved, with clearer signage, an on-site waste baler and on-site crews to help fans separate their waste correctly.
Working in partnership with Keep Britain Tidy, BST Hyde Park will also see a new waste reduction initiative this year. In a move to change fan behaviour around the disposal of cigarette butts, portable ashtrays will be handed out to combat the source of litter. An e-cigarette collect-and-recycle scheme will also be implemented across the site for the safe disposal of soft plastics and batteries.
Meanwhile, AEG’s customer engagement teams have formed a partnership with sustainability platform Lowr, which has created a bespoke platform for ticket holders to log their journey to the event and help the festival’s promoters understand and quantify the full carbon impact of their travel. The promoter said the information will be used in subsequent years to help inform policies and strategies for tackling this significant element of the festival’s environmental impact.
BST Hyde Park 2024 will also see an increased amount of its power supply created by biodiesel generators and batteries. The promoter said that having successfully trialled a new battery system at the event last year, its team has made significant energy efficiencies in a more economical power supply: “These enhancements ensure the entire workflow operates at optimum efficiency to drive down overall fuel usage across the site.”
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LGBTIQ+ List 2024: Sam Oldham, The O2
The LGBTIQ+ List 2024 – IQ Magazine’s fourth annual celebration of queer professionals who make an immense impact in the international live music business – has been revealed.
The ever-popular list is the centrepiece of IQ’s fourth Pride edition, sponsored by Ticketmaster, which is now available to read online and in print for subscribers.
To get to know this year’s queer pioneers a little better, we interviewed each of them on the development of the industry, the challenges that are keeping them up at night and more.
Throughout the next month, IQ will publish a new interview each day. Catch up on yesterday’s interview with Sam Booth (he/him), director of sustainability at AEG Europe.
The series continues with Sam Oldham (she/her), venue director of The O2.
Sam brings a wealth of experience from 20+ years working in venue management. Overseeing all aspects of The O2’s operations, production, guest experience and various contractor management, Sam’s dedication and enthusiasm upholds the venue’s commitment to excellence.
As the former venue director at The Roundhouse, Camden, Sam was responsible for venue operations, events, visitor experience, sustainability, security, technical and production, special projects and H&S. She also sat on the Diversity & Inclusion Working Group.
Sam’s expertise has cemented her place as a trusted voice within the industry and is often invited to share her knowledge on security, safeguarding and H&S-related panels. Earlier in her career, Sam led operations at Mountain High Ski Resort, California, and was operations director at the National Ice Centre & Motorpoint Arena, Nottingham.
Tell us about the professional feat you’re most PROUD of in 2024 so far.
The work we’ve done around accessibility at The O2 is fantastic and I’m really chuffed that first and foremost, we’re doing it well, and secondly that our staff and partners have wholeheartedly thrown themselves into it. The teams at The O2 have really engaged with this project, and we’ve already had feedback from guests who may have previously been nervous or sceptical about attending a large venue, thanking us for making their experience so seamless. The fact that we are making live entertainment accessible and available to all makes me very proud.
“Diversity and allyship within our industry are so important”
What challenges are you facing in the venue business currently?
Recruitment for hourly event staff remains a big challenge for our industry, in particular in the midst of the cost-of-living crisis and off the back of the pandemic. Our event teams are the face of our business, and having a skilled frontline workforce is absolutely key to us delivering a great guest experience.
How do you see the live music business developing in the next few years?
I would love to see more women and members of the queer community get the opportunity to showcase how incredible they are. Diversity and allyship within our industry are so important, and I hope that in the future we are celebrating even more artists like Madonna and Kylie who for years have been firm champions of the community.
“I’m so proud of what we’ve achieved so far”
How do you promote inclusivity in your workplace and bring together queer employees?
Our Pride Employee Network Group is brilliant at this. I am one of the group’s leads, and over the past few years, we’ve run a range of events geared towards allyship, inclusion and education. From more serious talks and webinars about personal experiences of being in the queer community to our latest Drag Bingo night with Miss Aisles earlier this year (which was epic!), I’m so proud of what we’ve achieved so far, and we’ve got lots more to come this year…
Name one thing the industry could do to be a more equitable place.
LIVE does a really good job with talks and seminars and ILMC has some great panels – if more organisations can follow suit we’ll continue to raise awareness and celebrate success.
“I would love to see more women and members of the queer community get the opportunity to showcase how incredible they are”
How do you celebrate Pride?
I might nip into Ye Olde Rose and Crown in Greenwich and sing along to a few show tunes…
Shout out your biggest ally in the live music industry.
Helen McCabe and Jay Bourley. They’ve both been fierce allies to me throughout my career and have really had my back.
Shout out any LGBTIQ+ cause(s) you support.
Stonewall. They’re an amazing charity who I try and support in any way I can. They’ve played such a huge role in shaping the history of our community and continue to influence hearts and minds across the world. So inspiring.
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LGBTIQ+ List 2024: Sam Booth, AEG Presents
The LGBTIQ+ List 2024 – IQ Magazine’s fourth annual celebration of queer professionals who make an immense impact in the international live music business – has been revealed.
The ever-popular list is the centrepiece of IQ’s fourth Pride edition, sponsored by Ticketmaster, which is now available to read online and in print for subscribers.
To get to know this year’s queer pioneers a little better, we interviewed each of them on the development of the industry, the challenges that are keeping them up at night and more.
Throughout the next month, IQ will publish a new interview each day. Catch up on yesterday’s interview with Ross Patel (they/them), CEO, board director, consultant, talent manager, and DJ for LIVE, Whole Entertainment, RossPatelCo, MMF, UMA Ent, and Polyamoross.
The series continues with Sam Booth (he/him), director of sustainability at AEG Europe.
Sam Booth started his career as an event producer working on wildly diverse projects, from Adidas fashion shows in New York to floating wine bars on Clapham Common. However, he’s always been concerned about the environmental impact of the work he was producing, so during the pandemic he studied at the Cambridge Institute of Sustainable Leadership to help provide more rigor to the decisions he was making. This opened his path to working first in sustainability consulting, and then at AEG, where he can happily bring together my two big passions – events and sustainability.
Tell us about the professional feat you’re most PROUD of in 2024 so far.
Developing and leading the launch of the world’s first carbon-removed arena shows at The O2 with The 1975 is definitely the highlight so far! The intention of these shows is to work with all stakeholders at an event (from catering through to the artist and fans) to raise funds which will be used to remove the equivalent amount of carbon generated by the shows from the atmosphere. These aren’t usual offsets but genuine, science-based techniques that durably store carbon out of harm’s way and are key to achieving global net zero. It could be a real game changer and we’re so excited to see how the model develops!
“I’m a huge believer in the power of education to break down barriers”
What’s your next big sustainability project at AEG Europe?
This year is all about firming up our path to net zero. We need to undertake some detailed work around our gas usage, figure out our approach to dealing with fan travel and continue working with brand partners to address the emissions of the products we sell in the arena. We’re also rolling out training to all our employees to ensure they know how to make more sustainable choices in their day-to-day roles.
You’re a member of the PRIDE group at AEG Europe, what kinds of things do you get up to?
The PRIDE group covers a lot of ground – from queer history walking tours of Soho to trips to ABBA Voyage and drag bingo. Allies are welcome to join any of our activities and we’re keen to bring more education and awareness-raising sessions into the business too.
“Each and every member of the community continuing to live proudly and loudly makes that equitable future ever closer”
Name one thing the industry could do to be a more equitable place.
I’m a huge believer in the power of education to break down barriers. This can take many forms, from publicising the stories of industry leaders from diverse backgrounds to in-depth seminars or discussions on a particular topic like trans rights. Also, each and every member of the community continuing to live proudly and loudly makes that equitable future ever closer, every day!
Shout out your biggest ally in the live music industry.
This has to go to my boss, the COO of AEG John Langford. He campaigned for a sustainability role at AEG, supported my onboarding and consistently champions the causes of the LGBTQI+ community and sustainability. A leader to look up to!
Shout out any LGBTIQ+ cause(s) you support.
Although not a specific LGBTQI+ cause, I volunteer with SHOUT, a mental health text support service. We regularly get members of our community texting in during their times of need, and it’s a real pleasure to help them when they need.
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AXS doubles down on accessible ticketing
AXS has announced a collaboration with Nimbus Disability, the social enterprise company run by disabled people for disabled people.
The introduction of the Access Registration Scheme – powered by the Access Card is set to first launch at The O2 and will then be accepted across all of AXS’ venues, events, and festival partners.
Guests buying accessible tickets online via AXS, The O2 and O2 Priority will be required to enter their Nimbus Access Card ID which details their specific accessibility requirements from wheelchair access to an essential companion.
The new system will give guests a “highly tailored” service offering ticket locations and other access facilities that most accurately meet their requirements, according to a release.
The O2’s Contact Centre will continue to accept calls from guests who have not yet signed up for the Nimbus Access Card scheme, or who need additional support to purchase the seats that best suit their requirements.
“At AXS we are always looking for ways to make the ticketing process even more effective and want it to be as tailored as possible to the needs of our customers,” says Chris Lipscomb, MD AXS UK.
“[This] will mean that guests who need accessible tickets can get their requirements met even more efficiently”
“In Nimbus, we have a company that will work with us to do just that for disabled people and we are very excited to see this new process launch at The O2.”
Sam Oldham, The O2 venue director, adds “Nimbus has an incredible track record and we are very proud to be working with such a trusted organisation. By bringing in the Nimbus & the Access Card Scheme, it will mean that guests who need accessible tickets can get their requirements met even more efficiently, ensuring their journey continues to be as smooth as possible.”
Guests yet to sign up for the Access Registration Scheme will be directed to do so by the AXS and The O2 websites for a registration process.
The award-winning Nimbus Access Card offers disabled people better access to entertainment venues whilst reducing the amount of administration needed to find the right accessible seats.
Martin Austin MBE, managing director of Nimbus and the creator of the Access Card said, “We’re thrilled to expand online booking options for our several hundred thousand Access Card holders. Moving to a self-serve online booking experience for disabled people is a game changer – to not have to sit in phone queues or wait for registration forms to be processed really opens up true equality of access for disabled customers. We’re also dedicated to making sure that those without an Access Card are able to utilise the same system at no cost by operating a free AXS Access Registration Scheme”
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Paul McCartney unveils European Got Back Tour
Paul McCartney has announced a European tour including his first UK dates since headlining Glastonbury 2022.
The Got Back Tour will land in Europe in December this year for two shows at each of La Defense Arena, Paris, France (4-5 December) and Wizink Centre, Madrid, Spain (9-10), before heading to the UK for nights at Manchester’s Co-op Live (14-15) and The O2 in London, where the run finishes on 18-19 December.
The 81-year-old’s last show in the French capital was at La Defense Arena six years ago and he last played Madrid eight years ago in 2016 at Estadio Vincente Calderon. His most recent gig in London was in 2018 at The O2, while his last Manchester show was in 2011 at the Manchester Evening News Arena (now AO Arena).
Last week, McCartney announced his first 2024 live dates, which will take place in South America this October, visiting Uruguay, Argentina, Chile and Peru.
“It’s going to be an amazing end to the year”
“I’m excited to be ending my year and 2024 tour dates in the UK,” says the Beatles legend. “It’s always such a special feeling to play shows on our home soil. It’s going to be an amazing end to the year. Let’s get set to party. I can’t wait to see you.”
McCartney launched his Got Back tour in 2022, completing 16 shows across the US before performing his acclaimed Glastonbury set in June 2022. In 2023, he played 18 shows through Australia, Mexico and Brazil.
The full list of tour dates is as follows:
Tuesday 1 October – Estadio Centenario, Montevideo, Uruguay
Saturday 5 October – River Plate Stadium, Bueno Aires, Argentina
Sunday 6 October – River Plate Stadium, Bueno Aires, Argentina
Friday 11 October – Estadio Monumental, Santiago, Chile
Wednesday 23 October – Mario Alberto Kempes, Cordoba, Argentina
Sunday 27 October – Estadio Nacional, Lima, Peru
Wednesday 4 December – La Defense Arena, Paris, France
Thursday 5 December – La Defense Arena, Paris, France
Monday 9 December – Wizink Center, Madrid, Spain
Tuesday 10 December – Wizink Center, Madrid, Spain
Saturday 14 December – Co-op Live, Manchester, UK
Sunday 15 December – Co-op Live, Manchester, UK
Wednesday 18 December – The O2, London, UK
Thursday 19 December – The O2, London, UK
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