For the International contemporary Live Music Industry issue 203 December 2016 UK £6.25 Europe €9.40 ROW $12.25

Shaking it up Festivals beckon for PJ Harvey

LiveStyle change for SFX More festivals for Live Nation New management at Mojo

These days agents are as important in developing an artiste’s career as managers and record companies

Paperclip Agency founder Rob Berends Keeping Launching on a wave of idealism, as most booking agencies did in the 1970s and 1980s, and being the ones to bring Nirvana to Europe, dealing with the following success put pressures on Paperclip that almost tore it apart. But it has long since settled back into a it comfortable routine of applying its early philosophy of music first. together

t was 1989, Paperclip Agency founder Rob “They got a Saturday night at the local venue, Berends in the ’ was at the then Doornroosje [Sleeping Beauty], to play records 400-capacity Gigant venue in Apeldoorn, and book bands and they asked more friends, watching an up-and-coming but still relatively including me, to join the collective,” Berends Iobscure band on the label at the remembers. start of their first ever European tour. “The so-called punkkommissie [punk com- He was blown away and sensed great things. mittee] was born and was very successful for Here, he thought in his youthful enthusiasm, several years.” was a band that could be the future of rock ‘n’ The punkkommissie posse not only booked roll – a suspicion only strengthened by his love bands through agencies, they would book them of their just-released debut album. directly if they had no official representation. That album was God’s Balls and the band was Berends was “the main man on the phone”, and Tad. And when their set finished, label mates in 1981 Belgian band Siglo XX asked him to be-

keeping it together keeping and touring partners Nirvana – also booked by come their Dutch booking agent. Paperclip – came on. “They were not very im- “These days agents are as A hobby was on the way to becoming a career. pressive”, remembers Berends. important in developing an Soon after, his brother Ruud joined the opera- 16 If history shows he would probably have lost tion and they began to build a roster, consisting his money backing one of these two bands to artiste’s career as managers mostly of Belgian and Dutch bands, plus UK acts go on to conquer the world, then the story itself and record companies” the Suns of Arqa from Manchester and London- demonstrates something else – it shows a man based band Creation Rebel. who is honest, loves music and is happy to back Rob Berends In 1982, Berends acknowledged that he had his instincts. almost accidentally formed what could only be The big bang that helped create Paperclip In his home town of Nijmegen, in the west of described as a business, and it needed a name. was the punk explosion of the late 1970s. the country near the German border, there were “Ruud and his former wife planned to start a “It wiped the slate clean for me,” says Berends. not many shows by punk/new wave bands, to clothes shop and he thought it and the agency “There isn’t a god, but if I had one it would be put it mildly, so, in 1979, five friends decided to should have the same name,” Berends says. “I was Johnny Rotten.” do it themselves. allowed to choose the name, but only out of two

AUDIENCE • Issue 203 • December 2016 www.audience.uk.com

AUD203_16-21_Feature Paperclips.indd 16 22/12/2016 13:21 We were blessed

Paperclip was initially a family Nirvana, and TAD at business. Rob established it, but the Astoria [London, UK].” his brother Ruud soon joined Like Rob, he is also proud not him in the fledgling operation, only of the tours Paperclip made and shared his passion for music. possible and the artistes they Working under the radar of helped break, but also that they the big London agencies who helped create a pan-Europe in- The Nomads at Sjock 2016 tended to focus on more com- frastructure that benefited the mercial artistes, Paperclip was entire live sector. Keeping possibilities, Lollypop or Paperclip. Sub Pop and Mudhoney was the able to move freely across the “I certainly think our influence “I’m okay with it, it expresses that first band of theirs that we booked continent, finding like-minded and importance was there, and I we’re sharp and that we’ve got our a European tour for. The legendary promoters. believe we helped create a club stuff and our clients’ stuff sorted.” TAD/Nirvana double bill followed “Nobody was touring the acts circuit for the smaller acts in Berends remembers the Creation in 1989.” we listened to, that our genera- most European countries and Rebel tour as a particularly pointed Asked why Paperclip got the tion loved and that we wanted that brought major change in spike in Paperclip’s early learning jump on the already powerful to see live,” says Ruud. “So we our industry.” curve. “It was a big lesson: organising London-based agencies in booking started to bring After helping to vans, backline, PA and our first steps the vanguard artistes of one of the them over ourselves. introduce to into Germany. Don’t forget, no one late 20th century’s most important In the early days it Europe, the late ‘90s in Holland had ever done what we music movements, Berends says, was Rob and me. were a less happy were starting to do: book European “We plugged into a circuit of ven- Rob Harink followed time for Ruud at it tours for bands. ues all over Europe that was keen soon after.” Paperclip. “There was no one to tell us how to book these bands. Asked to name “In 2000 I got a to do it, no examples. We had no idea “What we did not realise at the some of his favou- burn-out and de- what we were going to run into. But time is that this circuit did not rite tours and shows cided it was time we did it, boldly and collectively.” properly exist before the early ‘80s. from those early for something else,” Ruud Berends In 1986, Paperclip shifted through We just happened to be there at days, he offers a he explains, without at least a couple of gears as it made the right time, and our attitude classic music fan’s sidestep of an too much detail or emotion – al- strong connections with the US and meant we found the opportunities. answer. though he accepts that “it took gained a reputation as an agency “We could deliver well-organised “That’s a difficult one, all of me a while to recover”. prepared to take chances on emerg- tours that were breakeven or close them I guess. But, to name a Now though, he is busy and ing American bands. to breakeven for the artists, while few – Dead Moon, Lemonheads, life is good. His new company “It started when Dutch rock pho- we would still earn enough book- Mudhoney, TAD, L7, Afghan Networking Music has worked together tographer Roy Tee, still a friend, in- ing commission. We were, and are, Whigs, Soul Asylum, Sylvia on Dutch Export activities, troduced me to The Feelies,” Berends a highly efficient outfit with a very Juncosa, Babes in Toyland, for performance royalty soci-

explains. “We already loved the band good name and a lot of goodwill Screaming Trees, Wipers … they ety Buma Cultuur, for show- keeping it together and in 1986 they were the first US act across Europe.” were all amazing and I could case festival and conference to tour Europe via Paperclip. Others Part of that attitude, Berends ad- name many others. Eurosonic Noorderslag, on the from the New Jersey/New York scene mits, was a willingness to take risks. “Looking back, we were European Talent Exchange followed, led by Yo La Tengo. “In the ‘80s and early ‘90s that blessed. In terms of individual Programme, Where Is The Music “This is all pre-grunge, via re- was definitely true,” he says. “We shows I would pick out Dead in Norrkoping (Sweden) and cord companies such as SST and did a lot of production work for the Moon & Cosmic Psychos at he is co-founder and co-owner TwinTone, but also from managers artistes, such as making budgets, the first festival of the International Festival and agents. hiring backline, hiring vans, book- [Netherlands], Mudhoney and Forum event, held in London “We then also got in touch with ing flights etc. L7 at Reading Festival [UK], in September.

Happy Anniversary to Paperclip! Here’s to your independence in every sense of the word From your sisters and brothers in spirit at Charmenko 17

www.charmenko.net

www.audience.uk.com AUDIENCE • Issue 203 • December 2016

AUD203_16-21_Feature Paperclips.indd 17 22/12/2016 13:21 “UK agents, especially the bigger, es- booked a lot of dates for a lot of hot bands. And “We had been equals and now we were not, tablished ones based in London, are a then there were all these agencies in London we were his employers, I was his employer, specific breed, but their way of doing busi- who never gave a s**t about this market until it because Ruud wanted nothing to do with that ness is not necessarily seen as an example became important. Then they suddenly wanted side of things,” Berends says. “We were no lon- by everyone in the [mainland] European to access it, but they couldn’t because we were ger a team, that’s what went wrong.” Lemmens live business.” in the way. left in 1996. Rob’s brother Ruud lasted the longest, but The famous five had a burnout in 2000 [see separate box-out] By now the Paperclip team was up to five, Rob and the team that had built the company was and his brother Ruud having been joined by no more. Rob Harink, Camille Lemmens and Tom van Amidst all the departures and rancour, Hemert. however, there was an arrival, and an early “At that time we were booking some 1,500 signpost on the road back to Paperclip’s found- shows a year and a lot of the upcoming ing principles. and grunge bands from North America were on Hilde Spille joined the company in 1995, ini- our roster,” Berends says. tially responsible for publicity, contracts and “That team of five stayed together until 1996 the neglected company website, she has now and in terms of numbers of shows booked that been with the company for 22 years and no one was our heyday.” aside from Berends has put in a longer shift. That period also saw the onset of disillusion- ment and division. Programme change “The point where it first started to be less fun “An artiste needs to have A music fan with catholic tastes – from was 1989, when instead of working together an audience before it Schoenberg to The Fall – German-born Spille we became five people with individual desks had moved to Nijmegen to study Feminist working on their own things with their own makes sense for us, but Theology and the plan was to return to rosters,” he recalls. still we often step in earlier Frankfurt after a year. The scale of Paperclip’s success also brought because we like the music” But before that year was up she had decided problems, internal and external. to switch her studies to Psychology and stay. “Things changed when Nirvana broke Hilde Spille It wasn’t the last unexpected twist her career through,” concedes Berends. “All of a sudden we would take. Her roster now includes a host of didn’t focus on bands we thought were good, alternative Scandinavian and Canadian bands we were just hunting the next Nirvana; dollar “That’s when three competing London and she is the talent booker for Conincx Pop signs appeared in our eyes. And when I say our, agents came together in a pub on a Friday eve- Festival (cap. 5.000). I mean as an average across the company. For ning and decided to kill Paperclip. They started Berends says, “When Hilde started, she was me, I don’t want this, I don’t like this. to stimulate other colleagues in London to join the only one besides me who applied a broad “But I supported these people in the office be- in. And they did a pretty good job. They start- view to the company. The other four were high- cause I liked them, I thought they are in it for the ed nicking bands from us just to sit on them ly focused on their rosters and, although they same reason as I am, for music, for culture … but and stop us from booking them – but maybe cared for the company, they did not or could maybe they were not, in quite the same way.” they didn’t know what to do with these kinds not look at the complete picture.” of artistes.” Of Berends, Spille says, “There is of course the Unwelcome attention Gradually, Paperclip’s five fell apart. Harink broad musical knowledge and network that Meanwhile, the European club circuit that left first, to pursue a career in photography. At Rob has, but also, with every band he works for Paperclip had helped establish was beginning around the same time, Lemmens decided that he has a vision on how things should work out.” to attract covetous attention. he wanted to be an employee, not a partner. Building an artiste’s live career is a core part “We took a huge chunk of that market and The move didn’t go well. of the company’s philosophy. Creating a network across Europe

As the Paperclip team found itself discovering colleagues also got to know each other better Peter Smidt, who wanted the meetings held at and cultivating new promoters across the con- and, before long, people with a similar mindset the event. The first meeting was held there in

keeping it together keeping tinent, friendships developed with the more from all over Europe were coming together January 2000, with membership rising to 150 reliable ones. twice a year to exchange information and to afterwards. Several years before the UK’s International showcase bands.” In 2004, Network Europe transformed into 18 Live Music Conference and Dutch showcase The first meeting took place in Munich, with a formal association, in order to be part of the convention Noorderslag/EuroSonic Weekend gatherings comprising round table-style dis- European Live Music Forum, a Brussels-basesd were conceived, Rob Berends envisaged a gath- cussions and two nights of showcases featuring European Union lobbying body for the live ering of like-minded promoters. around six to eights acts a night – membership music industry. It failed after about two years He established The Network in 1986 later re- grow to almost 100. as a result of, “bureaucracy and infighting,” says naming it Network Europe. “We made it twice a year so that we could stay Berends. “We were booking more and more full on top of developments, such as tax changes,” Network Europe folded again in 2012, but European tours and lots of promoters and he says. Berends is planning a fresh incarnation in 2017, bookers across the continent became not only It ran successfully for a few years, took a with its original philosophy of “cooperation, good associates, but friends too,” he says. break in the mid ‘90s and was revived in 1999, putting the artistes and music first, and minimal “I thought it would be a good idea if our at the request of Noorderslag/Eurosonic’s bureaucracy,” he says.

AUDIENCE • Issue 203 • December 2016 www.audience.uk.com

AUD203_16-21_Feature Paperclips.indd 18 22/12/2016 13:21 “An artiste needs to have an audience before it makes sense for us, but still we often step in earlier because we like the music,” says Spille. “Manager, label and agency have to form a team around the artiste and work together to get the best for them.” Berends adds: “These days agents are as important in developing an artist’s ca- reer as managers and record companies.” Paperclip is now stripped back to a two-person team and between them Spille and Berends book around 125-200 shows a year, which means they can be selective about the acts they work with. “I have to be able to connect to the mu- sic and to the venues they will perform at,” Spille explains. “I don’t connect to black metal and I don’t connect to the right venues for an improv band.”

Berends lists four criteria, “One: it has to of Nirvana at in 1991 be music that I like and understand; Two: does the artiste have a sincere story to tell? or still are for Gang of Four, The Fall, Buzzcocks, organisation, loyalty and an eagerness to learn”. Three: can I sell it? Four: do we get along?” Television, Rakim, UK Subs, Tuxedomoon, The At one stage, some of those qualities seemed On top of that Paperclip also works as a Dutch Wailers, 10cc, Afrika Bambaataa and many in danger of being sacrificed to success or worn promoter, and has since the very early days. It’s more,” says Berends. down by internecine strife, but the duo has part of the firm’s DIY DNA. It does what needs Pressed to list the qualities that have been come full circle and now operate according to to be done and does it in large part because it the bedrock of the company for 35 years and the principles on which Paperclip was founded. wants to make great shows happen. will propel it into Year 36 with as much vigour Along the way they have rediscovered the joy “In the ‘80s we were the promoter for UK as any young punk, Berends and Spille talk of and enthusiasm of music fans who just happen bands such as Stump, , Soup Dragons “enthusiasm, commitment, flexibility, a real love to run a company that changed the landscape of and Shop Assistants. In later years we have been for music, transparency, hard work, idealism, European touring.

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AUD203_16-21_Feature Paperclips.indd 19 22/12/2016 13:21 What others say … Rob Berends’ artiste roster Igor Vidmar, Ropot, Slovenia Promotion, and I still keep the instead of sitting at the Westin “I have only secret Rob shared with me.” Harbour Castle hotel for a * Netherlands only, ** Europewide fond memories regular meeting. Rob and Hilde 10cc * of working with Sabine Waltz, are great human beings, full of Rob and Hilde, IBD Booking, Germany principles and ethics that I am The Adolescents * starting in the I started my sure make their lives harder in an Afrika Bambaataa * mid-1980s, own agency industry that can be heartless Antilopen Gang * when I was still called and cruel. I wish there were more Aucan * learning the ropes in my International people like them in the business. ** territory, Yugoslavia. Booking Also, they took risks in booking Brian Borcherdt ** “In those days, border cross- Department in great bands from Portugal, like de brassers * ings, carnets etc. were less of October 1987 Murdering Tripping ”. Buzzcocks * a problem than the exorbitant and from day one, Paperclip was The Cliks ** inflation and economic crises, very supportive and we’ve done Michael Bisping, ASS, Germany Delinquent Habits * dictating very low ticket prices. many tours together. I booked “Hilde and Rob Dub Pistols * Paperclip understood this, so the their acts in Germany and they have proved audience interest was increas- booked my acts in the that Germans Evvol * Graham Gouldman, the band and management team would like to thank ing not only due to the lively Netherlands. I also worked as a and Dutch can The Fall * domestic punk and Laibach tour manager for several of their not only make Fehlfarben * the following promoters for contributing to another extraordinary 12 months: scene, but also through many artists which was great fun.” a great football Heavy Trash * quality club shows provided by match, but & Gods Aldo Lennard (Lennard Promotions, ), Stewart Macpherson (Stetson Productions, New Zealand), Rob Berends (Paperclip Agency, Netherlands), Rob and Hilde.” Steve Parker, a great couple, and great and Monsters ** Tomoko Moore (Mother City, UK) and Hanshin Contents Link Corp (Japan), Lee O’Hanlon (tinyCOW, UK), John Callis (Concerts at the Kings, UK), Miracle Artists, UK agents too.” Elliott Murphy * Graeme Merifield (Wychwood Festival, UK), Kjell Ove Torkildsen (929 Produksjon, Norway), Bent Juul Rasmussen (Art & Music, Denmark), Nick Hobbs, “Of course I’ve known about Musée Mécanique * Cliff Moore (Eventall, UK), Charles Scott (Rock on Windermere, UK), Neril O’Brien (Neil O’Brien Entertainment, UK), Charmenko, Turkeay Paperclip from their heady Jon Barry, CNL, UK Os Mutantes * Neil Butkeraitis (Horizon Events, UK), Kristof van Haegenberg (Greenhouse Talent, Belgium) Dennis Hobson (Coastline Festival, UK), “I’m the same Nirvana days, but I only started “To clock up 35 years in this busi- The New Mendicants * Roland Forster (Roland Forster Künstleragentur, Germany), Danny Betesh (Kennedy Street Enterprises, UK) generation as working with Rob a couple ness is testament to the people The Nomads ** Rob and Hilde of years ago. He has done an in itself – and is a great achieve- (except Sweden) and I remember excellent job of rebuilding 10cc’s ment for a truly independent 2015 15 Apr UK Isle of Man Villa Marina 1 Oct UK Margate Winter Gardens Pretty & Nice * trying to sell career in Holland and cares about practice and mindset. 28 Oct Australia Perth Astor Theatre 21 May UK All Cannings Rock At The Kings 2 Oct UK Basingstoke Anvil them acts when every detail. Working with him Those guys have been respon- Ruts DC * 30 Oct Australia Melbourne The Palms @ Crown 4 Jun UK Cheltenham Wychwood Festival 3 Oct UK Crawley The Hawth I was at is very reassuring, because the sible for the tours and shows of Andrea Schroeder * 31 Oct Australia , VIC Ulumbarra Theatre 10 Jun Norway Bergen Alvøen 5 Oct UK Tunbridge Wells Assembly Hall Theatre [UK-based] Rough Trade Booking artiste is in very safe hands.” some of my favourite bands from Sean Riley & the Slowriders * 2 Nov Australia Melbourne Frankston Arts Centre 11 Jun Norway Haugesund Concerthuis 6 Oct UK Shanklin, IOW Theatre in the mid ‘80s. They’ve always way back when to the present.” Shonen Knife * 4 Nov Australia Canberra Vikings Auditorium 16 Jun Norway Lillestrøm Byfesten 7 Oct UK St Albans Arena been a pleasure to deal with, Skip ‘’ McDonald * 5 Nov Australia Wollongong Win Ent Centre 18 Jun UK Weston-s-mare Tropicana 8 Oct UK Eastbourne Congress Theatre always polite and amiable Peter Verstraelen, Belgium Attilio Perissinotti, BPM, Italy Speedball Baby ** 6 Nov Australia Sydney (Revensby) Whitlam Theatre 19 Jun UK Windermere Rock on Windermere 10 Oct UK Dartford The Orchard - qualities which can be in short “I started in the “Rob was one of * (in cooperation supply in our business. And business in 1986 the first agents I 7 Nov Australia Gold Coast Twin Towns 24 Jun Norway Trondheim Steinkjerfestival 11 Oct UK Southsea Kings Theatre with Future ) they’ve managed to survive and remember worked with in 8 Nov Australia North Queensland Airlie Beach Festival 25 Jun Denmark Haderslev Klöften Festival 12 Oct UK Northampton Derngate ** doing their own independent Paperclip as the early ‘90s 10 Nov N Zealand Auckland ASB Theatre 2 Jul Norway Nesbyen Hallingmarken 14 Oct UK Skegness Embassy Television * thing and follow what they being like a and even today, 11 Nov N Zealand New Plymouth TSB Showplace 9 Jul UK London Greenwich Music Time 15 Oct UK Doncaster Dome Ultimate Power Duo * believe in.” mentor in the after 25 years, 12 Nov N Zealand Palmerston North Regent 10 Jul UK Rockingham Castle 16 Oct UK Buxton Opera House late ‘80s/early we are good Wussy * 13 Nov N Zealand Wellington St James Theatre 13 Jul Norway Langesund Festival 17 Oct UK Bury St Edmunds The Apex Dragan Ambrozic, ‘90s. It was responsible for friends. I have always respected Zoobombs * 14 Nov N Zealand Napier Municipal Theatre 14 Jul Norway Tønsberg Festival 19 Oct UK Halifax Theatre Exit Festival, Serbia bringing a lot of cool bands to his passion for music and the “I will never Europe for the first time. They attention he has in the care of 16 Nov N Zealand Tauranga Baypark Arena 16 Jul Norway Brønnøysund Festival 20 Oct UK Rhyl Pavilion forget my first were European agents and I organising the tours, as well as Hilde Spille’s 17 Nov N Zealand Hamilton Founders Theatre 29 Jul Norway Hvaler Festival 21 Oct UK Guildford G Live long phone call booked shows for them in the patience to listen and artiste roster 30 Jul Belgium Zulzeeksee Zulzeeksee Feesten 22 Oct UK Stevenage Leisure Centre with Rob in Belgium. I am still thankful for the respect the proposals of us 2016 6 Aug UK Whitby Coastline Festival 23 Oct UK Reading The Hexagon

keeping it together keeping 1993. I had belief they had in me in those promoters. ” 1 Mar Holland Bergen op Zoom Theater de Maagd 12 Aug Norway Askim Kraftfestivalen 24 Oct UK Shrewsbury Theatre Severn And the Golden Choir * done one days and the opportunities they 2 Mar Holland Heerlen Heerlen Theater 13 Aug Norway Brumunddal Tømmerstock 3 Nov UK Chichester Festival Theatre Jill Barber ** international gave me.” Anderz Nielsen, Gearbox 3 Mar Holland Eindhoven Muziekgebouw Frits Philips 3 Sep Germany Ludwigshafen Kellereifest 4 Nov UK Felixstowe Spa Pavilion Theatre Deleyaman ** 20 show and needed someone to Agency, Denmark 4 Mar Holland Groningen Oosterpoort 23 Sep UK Truro Hall for Cornwall 22 Nov Denmark Copenhagen Amager Bio Gore Gore Girls ** talk to me and explain a few Nuno Saraiva, “Paperclip is one of the most 5 Mar Holland Apeldoorn Orpheus 24 Sep UK Exeter Universal Great Hall 23 Nov Denmark Sønderborg Alsion principles. Rob did that in detail, SCL Agency, Portugal honest and reliable agencies Jimi Tenor & Kabu Kabu * 6 Mar Holland Rabo Hall 25 Sep UK Weymouth Pavilion 24 Nov Denmark Silkeborg Kedelhuset for about an hour. I felt like I had “I first met Rob that I’ve worked with in my 25 Sass Jordan ** 28 Mar Japan Osaka Billboard Live 27 Sep UK Swansea Grand Theatre 25 Nov Denmark Viborg Tinghallen been let in on a secret and at Canadian years as an agent/promoter. I’ve Mo Kenney * 29 Mar Japan Tokyo Billboard Live 28 Sep UK Cheltenham Town Hall 26 Nov Denmark Hjrring Vendelbohus become a part of the family Music Week in had so much fun quoting CRASS Mil Santos * 30 Mar Japan Tokyo Billboard Live 29 Sep UK Leicester De Montfort Hall 27 Nov Denmark Knebel Fuglsøcentret of promoters. 2000 or 2001 lyrics with Rob, and had good Moulettes * “One thousand shows later, and I remember talks and laughs with Hilde. I Muvrini * I still feel like a graduate of the we went They are clearly part of my close Rachael Sage * distinguished Paperclip Faculty shopping for family in this insane world of the Exclusive Agency Representation Sultans of String * for International Concert some healthy foods at Loblaws, music business.” Wucan * T +44 (0)20 7935 9222 E [email protected] AUDIENCE • Issue 203 • December 2016 www.audience.uk.com www.10ccworld.com

AUD203_16-21_Feature Paperclips.indd 20 22/12/2016 13:21 10cc Ad for Audience_ad.indd 2 22/12/2016 13:11 Graham Gouldman, the band and management team would like to thank the following promoters for contributing to another extraordinary 12 months:

Aldo Lennard (Lennard Promotions, Australia), Stewart Macpherson (Stetson Productions, New Zealand), Rob Berends (Paperclip Agency, Netherlands), Tomoko Moore (Mother City, UK) and Hanshin Contents Link Corp (Japan), Lee O’Hanlon (tinyCOW, UK), John Callis (Concerts at the Kings, UK), Graeme Merifield (Wychwood Festival, UK), Kjell Ove Torkildsen (929 Produksjon, Norway), Bent Juul Rasmussen (Art & Music, Denmark), Cliff Moore (Eventall, UK), Charles Scott (Rock on Windermere, UK), Neril O’Brien (Neil O’Brien Entertainment, UK), Neil Butkeraitis (Horizon Events, UK), Kristof van Haegenberg (Greenhouse Talent, Belgium) Dennis Hobson (Coastline Festival, UK), Roland Forster (Roland Forster Künstleragentur, Germany), Danny Betesh (Kennedy Street Enterprises, UK)

2015 15 Apr UK Isle of Man Villa Marina 1 Oct UK Margate Winter Gardens 28 Oct Australia Perth Astor Theatre 21 May UK All Cannings Rock At The Kings 2 Oct UK Basingstoke Anvil 30 Oct Australia Melbourne The Palms @ Crown 4 Jun UK Cheltenham Wychwood Festival 3 Oct UK Crawley The Hawth 31 Oct Australia Bendigo, VIC Ulumbarra Theatre 10 Jun Norway Bergen Alvøen 5 Oct UK Tunbridge Wells Assembly Hall Theatre 2 Nov Australia Melbourne Frankston Arts Centre 11 Jun Norway Haugesund Concerthuis 6 Oct UK Shanklin, IOW Theatre 4 Nov Australia Canberra Vikings Auditorium 16 Jun Norway Lillestrøm Byfesten 7 Oct UK St Albans Arena 5 Nov Australia Wollongong Win Ent Centre 18 Jun UK Weston-s-mare Tropicana 8 Oct UK Eastbourne Congress Theatre 6 Nov Australia Sydney (Revensby) Whitlam Theatre 19 Jun UK Windermere Rock on Windermere 10 Oct UK Dartford The Orchard 7 Nov Australia Gold Coast Twin Towns 24 Jun Norway Trondheim Steinkjerfestival 11 Oct UK Southsea Kings Theatre 8 Nov Australia North Queensland Airlie Beach Festival 25 Jun Denmark Haderslev Klöften Festival 12 Oct UK Northampton Derngate 10 Nov N Zealand Auckland ASB Theatre 2 Jul Norway Nesbyen Hallingmarken 14 Oct UK Skegness Embassy 11 Nov N Zealand New Plymouth TSB Showplace 9 Jul UK London Greenwich Music Time 15 Oct UK Doncaster Dome 12 Nov N Zealand Palmerston North Regent 10 Jul UK Rockingham Castle 16 Oct UK Buxton Opera House 13 Nov N Zealand Wellington St James Theatre 13 Jul Norway Langesund Festival 17 Oct UK Bury St Edmunds The Apex 14 Nov N Zealand Napier Municipal Theatre 14 Jul Norway Tønsberg Festival 19 Oct UK Halifax Victoria Theatre 16 Nov N Zealand Tauranga Baypark Arena 16 Jul Norway Brønnøysund Festival 20 Oct UK Rhyl Pavilion 17 Nov N Zealand Hamilton Founders Theatre 29 Jul Norway Hvaler Festival 21 Oct UK Guildford G Live 30 Jul Belgium Zulzeeksee Zulzeeksee Feesten 22 Oct UK Stevenage Leisure Centre 2016 6 Aug UK Whitby Coastline Festival 23 Oct UK Reading The Hexagon 1 Mar Holland Bergen op Zoom Theater de Maagd 12 Aug Norway Askim Kraftfestivalen 24 Oct UK Shrewsbury Theatre Severn 2 Mar Holland Heerlen Heerlen Theater 13 Aug Norway Brumunddal Tømmerstock 3 Nov UK Chichester Festival Theatre 3 Mar Holland Eindhoven Muziekgebouw Frits Philips 3 Sep Germany Ludwigshafen Kellereifest 4 Nov UK Felixstowe Spa Pavilion Theatre 4 Mar Holland Groningen Oosterpoort 23 Sep UK Truro Hall for Cornwall 22 Nov Denmark Copenhagen Amager Bio 5 Mar Holland Apeldoorn Orpheus 24 Sep UK Exeter Universal Great Hall 23 Nov Denmark Sønderborg Alsion 6 Mar Holland Amsterdam Melkweg Rabo Hall 25 Sep UK Weymouth Pavilion 24 Nov Denmark Silkeborg Kedelhuset 28 Mar Japan Osaka Billboard Live 27 Sep UK Swansea Grand Theatre 25 Nov Denmark Viborg Tinghallen 29 Mar Japan Tokyo Billboard Live 28 Sep UK Cheltenham Town Hall 26 Nov Denmark Hjrring Vendelbohus 30 Mar Japan Tokyo Billboard Live 29 Sep UK Leicester De Montfort Hall 27 Nov Denmark Knebel Fuglsøcentret

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