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ghostboneswrites2 · 8 months ago

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Barriers

A long awaited request from my mutual who asked to remain anon.

Summary: Turkish polyglot!reader is on a run with Daryl and three new arrivals to find a warehouse rumored to be stocked with food. When the destination is overrun with the dead, it's up to you to communicate with those who do not speak english to get you all home alive.

Warnings: TWD typical stuff. Potential TW for those of you with religious trauma as there is a Catholic prayer.

All dialogue is translated in (red).

Turkish, Romanian, and Spanish is translated by my mutual and their friends.

Romanian is translated using Google translate, as neither of us are very fluent in romanian but we wanted to include a balkan country.

Please forgive any inaccuracies! This was a labor of love and it was much harder than I anticipated, but I'm so glad this mutual asked for this. It was fun to exercise my brain!

Characters and their languages:

Derya: Turkish Maria: Spanish (originally french with the name Marie, but we couldn't get anyone to translate the french lol) Andrei: Romanian Rolf: Dutch

Tensions were high. The newcomers knew where a large stash of food was and Daryl was sent to help them retrieve it. The only setback was the communication barrier, which was where you came in.

"Sunt încă la șase străzi distanță. (It's still six blocks away.)" Andrei told you.

"Six blocks." You repeated to Daryl.

"We won't make it that far with all them walkers." Daryl whispered, peeking through the boarded windows of the little shop you all holed up in. The herd came out of nowhere.

"Trebuie să cunoașteți un traseu mai sigur. (You must know a safer route.)" You pleaded with Andrei. He just shook his head. You sighed and turned to Derya. "Depoya gitmenin başka bir yolu var mı? Mücadele edemiyeceğimiz kadar fazla kişiyiz. Burda kapana kısıldık. (Is there another way to get to the warehouse? There are too many for us to fight our way through. We're trapped.)"

"Galiba burdan çatıya çıkmanın bir yolu var. (I think there's a way onto the roof here.)" She suggested. "Binalar karşıdan atlanabilecek kadar yakın. (The buildings are close enough that we could jump across.)"

"Daryl, do you think we could jump roof to roof?" You asked.

"Maybe. Buildings are pretty tight knit." He shrugged.

"Okay, Derya, çatıya çıkan yolu biliyor musun? (do you know the way to the roof?)" You asked her. She thought for a moment.

"Binaların arkası çitle çevrili orada bir merdiven olabilir. (Behind these buildings is all fenced off. I think there's a ladder out there.)"

"Okay. Good thinking, Derya." You patted her shoulder and rushed over to the back exit, peering through the cracks in the wood. "She's right.." You whispered. "Daryl, this way! Andrei, Derya, Maria!" You waved them all over as you unlocked the door and pushed it open. Sunlight poured in as you all piled outside and rushed up the ladder. On top of the building, you could see just how far up shit's creek you all really were. The herd wasn't a herd at all -- it was a massive horde. It filled up the streets of the small town like a sea of death and decay.

"Querido San Judas Tadeo.. Patrono de las causas desesperadas, escucha nuestra oración. (Dear Saint Jude Thaddeus.. Patron of desperate causes, hear our prayer..)" Maria gasped, clutching the crucifix she wore around her neck. "En tiempos de desesperación y desesperanza, guíanos a la luz del amor de Dios... (In times of despair and hopelessness, guide us to the light of God's love..)"

Daryl looked to you questioningly.

"It's a prayer." You mouthed. He nodded.

"Y'all ready?" He asked. You nodded and ushered the other three toward the edge of one of the building that lined another. There was maybe a two foot gap between the two. It was doable.

"Andrei, tu primul. (you first.)" You nodded to the man, who lept courageously and landed smoothly. "Now, Maria." You looked to the girl. She was young, maybe nineteen, and clearly devoted to her faith.

She tucked her crucifix into her shirt and took a breath, whispering the rest of her prayer as she geared up for the jump. "Ayúdanos a encontrar fortaleza en nuestras pruebas y a confiar en el plan del Señor. (Help us find strength in our trials and trust the Lord's plan..)" She took a running start and flailed her arms as she flew from one building to the next. She rolled as she landed but she was otherwise fine.

"Derya, sıra sende. (your turn.)" You smiled to her reassuringly. Out of everyone, you'd grown the most friendly with her, as you were both Turkish. She told you about the warehouse to begin with.

She nodded and jumped across, smiling triumphantly back at you after she made it safely. You and Daryl crossed over next. The process continued over three more buildings, all the while Maria still prayed desperately under her breath. "Quédate a nuestro lado en nuestra hora más oscura y llévanos por un camino de esperanza. En tu pasión, intercede por nosotros y lleva nuestras súplicas a Dios. (Stand by us in our darkest hour and lead us to a hopeful path... In your passion, intercede for us and bring our pleas to God..)"

At the end of the block, you were all drawn to a halt. The next building was at least six feet away. None of you hard faith you could jump that far. The sea of walkers was still raging below, waves of bodies crashing into buildings and obstacles as they swarmed.

"Qué vamos a hacer?! (What are we going to do?!)" Maria's panic was becoming more evident.

"Sólo tenemos que pensar en un plan. (We just need to think of a plan.)" You assured her. You turned to Andrei. "Știi o cale? (Do you know a way?)"

"Nu.. Mai avem cinci blocuri (No.. We still have five blocks.)" He said solemnly.

"Okay." You took a breath. "Do you have a plan?" You asked Daryl. He scanned the walkers on the ground below, his silence answering your question.

"şurdaki kütüphane, (That library over there,)" Derya spoke up, one finger extended to point out the building she was talking about. "Arkadaşımız rolf orada. o sadece flemenkçe konuşuyor ama daha önce bize yardım etti belki de tekrar yardım edebilir. (Our friend Rolf is there. He only speaks Dutch, but he has helped us before. He may be willing to help again.)"

"Do you think we can make it to that library across the street?" You asked Daryl.

"Why?" He asked.

"They have a friend that lives there. He might help us if he's still there."

"He lives in a library?" Daryl tilted his head. You shrugged.

"That's what she said."

"Mm... Maybe." He nodded. "We need to distract 'em, though."

"How?"

"Dunno.." He looked around. "Ya still got that toy ya picked up for Judith?"

A lightbulb went off. Of course! The loud toy! You dug in your bag and quickly found it. You turned it on and pressed a button, a loud song ringing through the speaker. You handed to him and he threw it as far from the library as he could. To your pleasure, the toy didn't break on impact. The mindless corpses below slowly turned their attention to the sound, the tune of Old McDonald drawing them in. When enough of them were distracted, the five of you crept down the side of the building and hurried over to the library.

"Rolf!" Derya hissed, lightly tapping at the glass.

" Rolf we hebben hulp nodig! (Rolf, we need help!)" You added quickly. Moments later the doors swing open and you piled inside, Rolf shutting and barricading the door behind you.

"Wat doe jij hier?! Zie je niet hoeveel van hen er zijn? (What are you doing here?! You don't see how many of them are out there?)" Rolf scolded. You could tell he preferred his solitude.

"We hebben hulp nodig om naar het magazijn te gaan. Dat is 5 blokken verderop. (We need help getting to the warehouse. It's five blocks away)" You panted, out of breath.

"Het magazijn? (The warehouse?)" He scoffed. "Jullie zijn gek! (You people are insane!)"

"Nee, maar we zijn wanhopig. (No, but we are desperate.)" You pleaded.

"Je komt vast naar mij denkende dat ik weet hoe ik jullie door al deze dingen heen kan krijgen? (You must be to be coming to me thinking I know how to get you through all those things!)" He waved his hands around.

"Ona kamyonetini sor (Ask him about his truck.)" Derya urged.

"Wat dacht je van de truck? (What about your truck?)" You asked Rolf. He glared at you.

"Nee. Absoluut niet! Enkel voor noodgevallen. (No. Absolutely not! Emergencies only.)" He declined.

"Dit is een noodgeval. (This is an emergency.)"

"Oh, oké laat me het verduidelijken. Enkel mijn noodgevallen. (Oh, okay, allow me to clarify. My emergencies only.)" He crossed his arms.

"Is dit niet jouw noodgeval? (This isn't your emergency?)" You raised your eyebrows, motioning your hand to the door. "De hele stad is overspoeld met hen. Je zal het hier niet lang volhouden. (The entire town is flooded with them. You wont last here long.)"

"Ik red me prima in mijn eentje, dankje. (I do just fine on my own, thank you.)" He insisted.

"Oh? Ik zie nochtans geen eten of water hier. Hoe lang kan je zonder? Want die dingen gaan daarbuiten zijn voor dagen, misschien zelfs weken voordat iets anders ze weg lokt. (Oh? I don't see any food or water here. How long can you go without? Because those things will be out there for days, or maybe even weeks before something else draws them away.)" You pushed. He thought for a moment.

"Oké goed. I breng jullie naar het magazijn en dan zijn jullie op jullie zelf. (Okay, fine. I take you to the warehouse and then you're on your own.)"

A collective sigh of release aired out into the room as he rushed to find his keys. You all followed him to the back exit. He glanced back at the group. You and Daryl nodded at each other and stepped ahead of the others.

"Jij opend de deur, en wij zullen je beschermen. Sluit de deur achter je. Wanneer je de teuck start, zullen wij de deur voor alle andere en beschermen ze. Vertrek niet tot iedereen in het voertuig zit. Begrepen? (You open the door, and we will cover you. Shut the door behind you. When you get the truck started, we'll open the door for everyone else and cover them. Don't leave until everyone's in the vehicle. Got it?)" You instructed. He nodded, reluctantly.

You quickly relayed the plan to Daryl and everyone else in their respective languages, then counted down. "Drie… twee… een! (Three... Two.. One!)"

On your word, Rolf threw the door open as planned, and you and Daryl rushed out, stabbing and beating down walkers left and right. You heard the door slam shut. You peeked behind your to see a nervous Rolf looking overstimulated and overwhelmed at the chaos around him. "Komaan! We hebben je gedekt! (Come on! We have you covered!)" You urged him.

He stepped between you and Daryl as you strategically kept him safe. Once he was to the truck, he shut himself inside and you and Daryl bade way back to the back exit. The engine revved and sputtered a few times before the truck was up and running, but it didn't take too long. At the sound of the fully started vehicle, you threw the door open and the rest of your crew worked their way through the walkers. Maria, a particularly nonviolent young woman who made herself more useful as the sneaky one, cowered in the center as you all surrounded her and defended yourselves from the threat of the undead. Once everyone had piled inside, you and Daryl jumped in last. Rolf wasted no time putting the pedal to the metal, so to speak, and before long he was pulling up in front of the warehouse.

"Okay." You sighed. "Worst part's over, right?"

"Ik zal op je wachten. Wees snel. (I'll wait for you. Be fast.)" Rolf announced. You tilted your head. "Mijn bibliotheek is omsingeld. Er is niet voor mij om naar terug te keren, als ik zelfs leven binnen geraak. (My library is surrounded. There is nothing for me to go back to, if I could even make it inside alive.)" He elaborated. "Ik help jou een thuis te krijgen, jij geeft mij een thuis. (I help you get home, you give me a home.)"

"Okay." You nodded. "Wij kunnen dit. Laat ons gewoon niet achter. (We can do that. Just don't leave us.)" You placed a hand on his shoulder and thanked him with your eyes.

"Alright, we need to get in there, grab as much food as we can, and get the hell on somewhere before it gets any worse. 's a damn miracle we made it this far." Daryl said.

"Okay. María, eres rápida. Si vienes con nosotros, te cubrimos. (Maria, you're fast. You come with us, we'll cover you.) Andrei, vino și tu. Știi ce căutăm. (Andrei, you come too. You know what we're looking for.)" You turned to them. They nodded nervously. "We get in, grab as much as we can, and get out." You continued, once in spanish and once in romanian.

----

Back at Alexandria, people were surprised to meet a new member of the community, but mostly just grateful everyone made it back alive and in one piece. The food was just a bonus at that point. You had all been gone way longer than planned.

After introducing Rolf to everyone and making sure those who didn't speak english had everything they needed for the evening, you and Daryl finally retired to your shared home. Relief and gratitude set the mood, but after you had both showered and found something comfortable to wear, you couldn't help but to pick up on a subtle sense of disappointment written all over his face.

"We did good." You assured him as you plopped beside him on the sofa. "The food we brought will feed everyone for a week, and we can probably go back in a few days and that herd will have moved on."

"Ain't that." He shrugged.

"Then what?" You asked, brushing his stringy damp hair out of his eyes.

"'s just..." He chewed at his lip. "Just felt so clueless out there, ya know? Useless. If you hadn't been there, all them people woulda died 'cause I wouldn't know how to talk to 'em."

"Well, I was there." You assured. "And they wouldn't have died anyways because you're a badass."

He huffed a dry laugh. "I dunno. Just wish I had more skills than huntin' and trackin'." He admitted.

"What?" You scoffed. "You've taught me more survival skills since we met than anyone has taught me in my entire life. You did teach me tracking and trapping, but you also taught me how to be quiet, sneaky, and observant of my surroundings. You taught me how to read people, and how to kill them effectively if needed. You are so much more than a hunter or a tracker." You rambled. His eyes scanned over your features as you went on, silently admiring how you always managed to find yourself on a tangent, no matter the subject.

"Mm." He grunted. " Still wish I could just... talk to everyone, ya know?"

"Then I'll teach you." You offered. "Starting tomorrow, with the language of my people. Turkish." You grinned. “Lesson one: Seni seviyorum sen benim kahramanımsın.”

"Wha's that mean?" He pushed his eyebrows together in confusion.

"It means I love you, you're my hero."

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religion-is-a-mental-illness · 1 month ago

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Not only did white people not invent slavery - slavery existed for thousands of years before anyone travelled far enough to encounter other races - but it was Europeans who invented the principled opposition to it: abolition.

For most of its long history, which includes most of the history of the human race, slavery was largely not the enslavement of racially different people, for the simple reason that only in recent centuries has either the technology or the wealth existed to go to another continent to get slaves and transport them en masse across an ocean. People were enslaved because they were vulnerable, not because of how they looked. The peoples of the Balkans were enslaved by fellow Europeans, as well as by the peoples of the Middle East, for at least six centuries before the first African was brought to the Western Hemisphere.

Before the modern era, by and large Europeans enslaved other Europeans, Asians enslaved other Asians, Africans enslaved other Africans, and the indigenous peoples of the Western Hemisphere enslaved other indigenous peoples of the Western Hemisphere. Slavery was not based on race, much less on theories about race. Only relatively late in history did enslavement across racial lines occur on such a scale as to promote an ideology of racism that outlasted the institution of slavery itself.

Wherever a separate people were enslaved, they were disdained or despised, whether they were different by country, religion, caste, race, or tribe. The Europeans who were enslaved in North Africa were despised and abused because they were Christians in a Moslem region of the world, where they were called “Christian dogs.” Race became the most visible difference between slaves and slaveowners in the Western Hemisphere. As distinguished historian Daniel J. Boorstin put it: “Now for the first time in Western history, the status of slave coincided with a difference of race.” To make racism the driving force behind slavery is to make a historically recent factor the cause of an institution which originated thousands of years earlier. This enshrinement of racism as an over-arching causal factor accords far more with current instrumental agendas than with history.”

-- Thomas Sowell, "Black Rednecks & White Liberals"

The first country to abolish slavery was the United Kingdom in 1807. They then spent their time, money, manpower and political capital on convincing other countries to do likewise.

Nowhere was this more dramatically demonstrated than the West Africa Squadrons, which spent almost 60 years forming the Blockade of Africa, patrolling for, boarding and seizing slave ships.

Today, the largest populations of slaves in the world are located in countries in Asia, while the highest percentage of slaves per capita are found in MENA - the Middle East and North Africa.

The horrors of the Atlantic voyage in packed and suffocating slave ships, together with exposure to new diseases from Europeans and other African tribes, as well as the general dangers of the Atlantic crossing in that era, took a toll in lives amounting to about 10 percent of all slaves shipped to the Western Hemisphere in British vessels in the eighteenth century—the British being the leading slave traders of that era. However, the death toll among slaves imported by the Islamic countries, many of these slaves being forced to walk across the vast, burning sands of the Sahara, was twice as high. Thousands of human skeletons were strewn along one Saharan slave route alone—mostly the skeletons of young women and girls. These skeletons tended to cluster in the vicinity of wells, suggesting the last desperate efforts to reach water. Slaves who could not keep up with the caravans, often because their feet had swollen from walking across the hot sands, were abandoned in the desert to die a lingering death from heat, thirst and hunger. In 1849, a letter from an Ottoman official referred to 1,600 black slaves dying of thirst on their way to Libya. On another route, it was said that someone unfamiliar with the desert might almost be able to find his way just by following the trail of skeletons of people and camels.

Widespread loss of life began with the initial slave raids. As late as 1886, an Austrian who was an apologist for slavery nevertheless reported “Negro villages are burned, all the men killed, and their women and children are taken on months-long, terrible marches.” The march from slave-gathering areas, like the region around Lake Chad, across the Sahara Desert to the Mediterranean Sea took about three months and often only the strongest survived. Other slave routes to Islamic countries were over water, but this meant risking interception by the British Navy, and that in turn often meant that slaves were thrown overboard to drown rather than being allowed to remain on board to be discovered as incriminating evidence. The trans-Saharan caravan route was the most deadly, however. It has been estimated that, for every slave to reach Cairo alive, ten died on the way. Nor was Cairo exceptional. Missionary explorer David Livingstone, among others, estimated that several slaves were captured for every one that reached the Mediterranean alive.

Women were particularly vulnerable—and were more in demand than men. They brought higher prices in the Islamic countries, where they were widely used as domestic servants or as concubines. Ethiopian women sold for higher prices than Negro women, and white women from the Caucasus brought the highest prices of all. A special danger to men and boys was castration, to produce the eunuchs widely used in Islamic countries for work in the harems. Because the operation was forbidden under Islamic law, it was usually performed early—and often crudely—before reaching areas under the effective control of the Ottoman Empire. An estimated ninety percent of the men or boys died from the operation, though some groups of slave traders were sufficiently skilled to have much lower mortality rates. Eunuchs brought far higher prices than other slaves.

Dead and dying slaves were a common sight in the wake of a slave caravan. David Livingstone said that the “common incidents” of the slave trade that he had seen were “so nauseous that I always strive to drive them from memory.” For example: “One woman, who was unable to carry both her load and young child, had the child taken from her and saw its brains dashed out on a stone.” It was not only the Christian missionary Livingstone who was shocked by the brutality of Arab slave raiders and traders. So was Mohammed Ali, the ruler of Egypt, who was a battle-hardened military commander.

-- Thomas Sowell, "Conquests and Cultures"

The fact is that the percentage of students meeting the level of NAEP Proficient for U.S. History resides only in the teens. Not only is this a failure of the curriculum, but as we've seen, many teachers aren't so much "educators" as they are activists. So, literacy as far as World History can only be worse from there.

[ Source: NAEP Report Card: U.S. History ]

No wonder they're cheering on the terrorists.

#Skeptic Research Center Team #slavery #Thomas Sowell #white people #history #ignorance #historical revisionism #revisionist history #revisionism #religion is a mental illness

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ukdamo · 1 year ago

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Conscientious Objector

Edna St. Vincent Millay

I shall die, but that is all that I shall do for Death. I hear him leading his horse out of the stall; I hear the clatter on the barn-floor. He is in haste; he has business in Cuba, business in the Balkans, many calls to make this morning. But I will not hold the bridle while he cinches the girth. And he may mount by himself: I will not give him a leg up.

Though he flick my shoulders with his whip, I will not tell him which way the fox ran. With his hoof on my breast, I will not tell him where the black boy hides in the swamp. I shall die, but that is all that I shall do for Death; I am not on his pay-roll.

I will not tell him the whereabout of my friends nor of my enemies either. Though he promise me much, I will not map him the route to anyone's door. Am I a spy in the land of the living, that I should deliver men to Death? Brother, the password and the plans of our city are safe with me; never through me Shall you be overcome.

#consciencious objector #poetry #Edna St Vincent Millay #war refuser #pacifism #death

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louisupdates · 1 year ago

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The Habit He Can’t Break, 1/4

IQ 123 | Gordon Masson | 9.11.2023

Usually, when an act completes a world tour, they come off the road for an extended period to rest, record new material, and then typically two or three years later, the wheels are set in motion for an album, released, promo, and tour dates.

Louis Tomlinson did not get that memo.

His first solo tour ran late due to the pandemic restrictions, meaning that by the time it concluded in September 2022, his second album, Faith in the Future, was scheduled to drop and tickets for the associated tour were ready to go on sale.

“This tour went on sale late October or November - basically a year in advance,” explains agent, Holly Rowland, who represents Tomlinson alongside Alex Hardee, internationally, while Wasserman Music colleagues, Marty Diamond and Ash Mowry-Lewis do likewise for North America.

Despite that quick turnaround between tours, Rowland reports that ticket sales for the current tour are going very well indeed. “The first leg went through Scandinavia before doing the Baltics and Eastern Europe – Romania, Bulgaria, and Greece – places that most people, especially arena-level acts, don’t really go. And the second leg, which is more mainland Europe, started 2 October.”

The tour is big. Very big for just a second outing in his own name.

Between May and July this year, Tomlinson played 39 dates in the US and Canada across a mix of amphitheaters, arenas, pavilions, and stadiums. In August, he returned to Europe, where he currently is in the midst of another 39 dates in arenas across the continent and the UK, which will take him to 18 November. Then, in early 2024, the Faith in the Future tour goes to Australia for two outdoor dates in Melbourne and Brisbane, before he takes the show to the country’s biggest indoor venue, the Qudos Bank Arena in Sydney.

And, as IQ went to press, Louis Tomlinson released dates for a return to Latin America in May 2024 for a mix of indoor and outdoor shows, including stadia, across Mexico, Argentina, Brazil, Chile, Colombia, Costa Rica, Panama, Paraguay, Puerto Rico, and Uruguay.

“We’re going to Australia and part of Asia early next year,” states artist manager Matt Vines of London-based Seven 7 Management. We then go into Latin America in May and June. And then we’ll handpick a selection of festivals next summer, before we draw the line on the campaign at the end of the summer.”

Back to You

Playing a major role in shifting that ticketing inventory is a network of promoters also enjoying Tomlinsons rising star.

“On this tour, it’s mainly Live Nation – we use a lot of the One Direction promoter,” explains Rowland. “But for Greece, we used Honeycomb Live, Charmenko did Romania, 8 Days A Week promoted the three shows in the Baltics, All Things Live did Finland, Fource are doing Orague, it’s Gadget in Switzerland, Atelier in Luxembourg, and when we get to the UK, it’s SJM, and MCD in Ireland.”

With a total of 39 European dates, Rowland split the outing into separate legs, scheduling a break after Scandinavia, the Balkans, Baltics, and Athens, Greece, and another after mainland Europe, ending in Zürich, Switzerland.

“It’s a perfect ratio, if I do say so myself,” she laughs. “It was right to split it up – 39 dates is a long, long tour, especially with the American tour throughout the summer being 11 weeks! We made sure to schedule days off, for everyone to recharge their batteries.”

In Spain, Nacho Córdoba at Live Nation promoted Tomlinson’s shows in Bilbao, Madrid, and Barcelona, and reports sell-outs at each of the arenas involved.

“When Louis was last here, it was three days before the pandemic shut everything down in Spain. In fact, I think he played the final show before the market closed because of Covid.,” says Córdoba.

“Last year, Louis organized his Away From Home Festival in Fuengirola, and that also sold out, so we know he has a big following in Spain, and we also know that Spanish fans are super loyal. So, on this tour we sold out 7,000 tickets at Bilbao Arena Miribilla, 13,600 tickets at Wizink in Madrid, and 11,200 at Palau St Jordi in Barcelona.”

Already looking forward to Tomlinson “and his fantastic team” returning on the next tour, Córdoba believes it will be important to see what happens with the next album – and Tomlinson’s expectations – before making any plans.

“The most important thing is to keep the fans happy and keep the momentum building with Louis,” he states. “I am a big fan of the arenas, because the atmosphere at his shows was incredible. So, rather than look at going bigger, it might be a case of looking at other arenas in other markets. Whatever he does, we cannot wait to have Louis back in Spain.”

Stefan Wyss at Gadget abc Entertainment in Switzerland promoted Tomlinson when he visited Zurich’s Hallenstadion on 23 October and explains that he previously played the city’s Halle 622 venue on the first tour.

Recalling the debut solo outing, Wyss tells IQ, “At first, we announced a mid-size theatre club show, 1,800-capacity, but it sold out instantly. Then we moved it to Halle 62, which is 3-500-cap and that also sold out immediately, so it was a really big success.

“They’ve invested a lot in the production of this current tour, and it’s doing really strong numbers, so that’s why we decided to go to the arena this time around, where we set a mid-size capacity of 7,000, which is good for a small market like Switzerland, especially because he’s coming back just one year later and playing a much bigger show.”

Wyss adds, “He’s kept the ticket prices reasonable – and he never wants to do any gold circle or VIP tickets. I think that’s why he’s so close to his fans, because it’s not about maximising profits. Another reason for his success is that in addition to attracting a mainstream audience, he’s also getting the music lovers because he’s just a very good songwriter and has brilliant songs.”

Wyss also notes that with many young fans typically arriving the day before the concert, the responsibility to look after them is extended. “We set up toilets, we have security overnight, we give water away. It’s part of the organization that we will take care of the fans.”

Fresh from announcing 12 dates across Argentina, Brazil, Chile, Colombia, Costa Rica, Peru, Paraguay, Panama, Puerto Rico, and Uruguay, promoter Fabiano Lima De Queiroz at Move Concerts reports that Tomlinson will visit a mix of arenas, as well as stadiums in Santiago, São Paulo, and Buenos Aires, during his May tour.

“Our first tour with Louis was supposed to be in 2020 and we’d booked half arenas everywhere – 5,000–6,000 capacities,” he informs IQ. “Louis was one of those acts who connected very well with the fans during the pandemic, so when we shifted the dates, first to 2021, and then to 2022, we ended up selling out and having to upgrade in certain metropolitan markets.”

2/4, 3/4, 4/4

#iq magazine #louis tomlinson #louis press #9.11.2023

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dailytomlinson · 1 year ago

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Faith In The Future Tour (Behind The Scenes) for IQ

Full interview with Matt Vines, tour promoters, agents and more people involved in the making of the tour under the cut:

Usually, when an act completes a world tour they come off the road for an extended period to rest, record new material, and then typically two or three years later the wheels are set in motion for an album release, promo, and tour dates. Louis Tomlinson did not get that memo. His first solo tour ran late due to the pandemic restrictions, meaning that by the time it concluded in September 2022, his second album, Faith In The Future, was scheduled to drop and tickets for the associated tour were ready to go on sale.

“This tour went on sale last October or November ‒ basically a year in advance,” explains agent Holly Rowland, who represents Tomlinson, alongside Alex Hardee, internationally, while Wasserman Music colleagues Marty Diamond and Ash Mowry-Lewis do likewise for North America.

Despite that quick turnaround between tours, Rowland reports that ticket sales for the current tour are going very well indeed. “The first leg went through Scandinavia before doing the Baltics and Eastern Europe ‒ Romania, Bulgaria, and Greece ‒ places that most people, especially arena-level acts, don’t really go. And the second leg, which is more mainland Europe, started on 2 October.”

The tour is big. Very big for just a second outing in his own name.

Between May and July this year, Tomlinson played 39 dates in the US and Canada across a mix of amphitheaters, arenas, pavilions, and stadiums. In August, he returned to Europe, where he is currently in the midst of another 39 dates in arenas across the continent and the UK, which will take him to 18 November. Then, in early 2024, the Faith In The Future tour goes to Australia for two outdoor dates in Melbourne and Brisbane, before he takes the show to the country’s biggest indoor venue, the Qudos Bank Arena in Sydney.

And, as IQ went to press, Tomlinson released dates for a return to Latin America in May 2024 for a mix of indoor and outdoor shows, including stadia, across Mexico, Argentina, Brazil, Chile, Colombia, Costa Rica, Panama, Paraguay, Puerto Rico, and Uruguay.

“We’re going to Australia and part of Asia early next year,” states artist manager Matt Vines of London-based Seven 7 Management. “We then go into Latin America in May and June. And then we’ll handpick a selection of festivals next summer, before we draw the line on the campaign at the end of the summer.”

Rowland comments, “The tour before obviously was Covid tour where the date had to be chopped and changed. The positive aspect of that was that we were able to upgrade venues where that made sense. But it was really nice to start from scratch on this tour to make sure the routing was all going in the right direction.” She reports, “We’ve done nearly 16,000 tickets in Amsterdam, and 14,000 in Paris, which I think just underlines his credibility as an artist and his growing reputation among fans.”

Playing a major role in shifting that ticketing inventory is a network of promoters also enjoying Tomlinson’s rising star.

“On this tour, it’s mainly Live Nation ‒ we use a lot of the One Direction promoter,” explains Rowland. “But for Greece, we used Honeycomb Live, Charmenko did Romania, 8 Days A Week promoted the three shows in the Baltics, All Things Live did Finland, Fource are doing Prague, it’s Gadget in Switzerland, Atelier in Luxembourg, and when we get to the UK, it’s SJM, and MCD in Ireland.”

With a total of 39 European dates, Rowland split the outing into separate legs, scheduling a break after Scandinavia, the Balkans, Baltics and Athens, Greece and another after mainland Europe ending in Zurich, Switzerland.

“It's a perfect ratio, if I do say so myself,” she laughs. “It was right to split it up ‒ 39 dates in a long, long tour, especially with the American tour throughout the summer being 11 weeks! We made sure to schedule days off, for everyone to recharge their batteries.”

In Spain, Nacho Córdoba at Live Nation promoted Tomlinson’s shows in Bilbao, Madrid, and Barcelona and reports sell-outs at each of the arenas involved.

“When Louis was last here, it was three days before the pandemic shut everything down in Spain. In fact, I think he played the final show before the market closed because of Covid,” says Córdoba.

“Last year, Louis organised his Away From Home festival in Fuengirola, and that also sold out, so we know he has a big following in Spain, and we also know that Spanish fans are super loyal. So, on this tour we sold out 7,000 tickets at Bilbao Arena Miribilla, 13,600 tickets at WiZink in Madrid, and 11,200 at Palau St Jordi in Barcelona.”

Already looking forward to Tomlinson “and his fantastic team” returning on the next tour, Córdoba believes it will be important to see what happens with the next album ‒ and Tomlinson’s expectations ‒ before making any plans.

Recalling that debut solo outing, Wyss tells IQ, “At first, we announced a mid-size theatre club show, 1,800-capacity, but it sold out instantly. Then we moved it to Halle 622, which it 3,500-cap, and that also sold out immediately, so it was a really big success.

Wyss adds, “He’s kept the ticket prices reasonable ‒ and he never wants to do any gold circle or VIP tickets. I think that’s why he’s so close to his fans, because it’s not about maximising profits. Another reason for his success is that in addition to attracting a mainstream audience, he’s also getting music lovers because he’s just a very good songwriter and has brilliant songs.”

Fresh from announcing 12 dates across Argentina, Brazil (x 3), Chile, Colombia, Costa Rica, Pery, Paraguay, Panama, Puerto Rico, and Uruguay, promoter Fabiano Lime de Queiroz at Move Concerts reports that Tomlinson will visit a mix of arenas, as well as stadiums in Santiago, São Paulo, and Buenos Aires during his May tour.

“Our first tour with Louis was supposed to be in 2020 and we’d booked half arenas everywhere ‒ 5,000-6,000 capacities,” he informs IQ. “Louis was one of those acts who connected very well with the fans during the pandemic, so when we shifted dates, first to 2021, and then to 2022, we ended up selling out and having to upgrade in certain metropolitan markets.”

“In Santiago, for instance, we’d sold out two full arenas of 13,000 cap, but then the government declared that for mass gatherings the numbers needed to be limited to 10,000 people.”

Rather than let fans down, Move added a third date, which again ended up selling out. “I remember being on a night plane from Miami, while Matt Vines was flying in from Dallas, and we were both using the aircraft wi-fi to negotiate via text for that third show,” says Queiroz. “It was an interesting way to confirm putting the third date on sale, just three days before the actual show!”

He adds, “We’re taking a big bet on this tour when it comes to the number of cities and the capacities of the venues, but we’re hoping for the best and we’ve gone out strong. We feel that the artist is in a good moment and that the latest album has just created more interest, so we’re looking forward to when he arrives in May.”

Further north, Ocesa will prompte three dates in Mexico, including a stadium show at the F1 circuit, Autódromo Hermanos Rodríguez, deepening Tomlinson’s footprint in that crucial North America market.

Meanwhile, in Tomlinson’s homeland, Jack Downling at SJM is promoting seven UK dates in November at arenas in Sheffield, Manchester, Glasgow, Brighton, Cardiff, London, and Birmingham, which will round out the European leg of the tour.

“SJM has done every show Louis has been involved with, including all the One Direction arena and stadium shows,” notes Dowling, adding that on the first tour, the London show was originally pencilled in as a Roundhouse, then two Roundhouse shows, before finally being upgraded to Wembley Arena.

“This time, The O2 arena show in London will be sold out, while all the others have passed the expectations of where we wanted to be on this tour. In fact, when the UK dates were announced, it ranked as the fourth most engaged tour on social media in SJM’s history ‒ his fans are just nuts.”

But Downling also reports that the fanbase for Tomlinson is expanding. “The demographics are pulling not just from pop but also from indie rock now.”

Downling adds, “Louis really looks after his fans. On the last tour they did a deal with Greggs {bakery chain} to give free food to the people waiting in line, as some of them camped out for days in advance.”

Ensuring his fans are looked after properly is the number-one priority in Tomlinson’s live career.

Noting that Tomlinson’s audience comprises mainly young women and girls, Rowland reveals that, at the artists’s insistence, a safety team has been added to the tour to ensure everyone that attends his shows is looked after. “Thry manage all the safety within the shows for the fans,” she explains. “They came in for the Wembley show last year and have been with us ever since ‒ they’ve been beneficial to the running of the tour.”

“When he played in South America, some of his fans were camping outside for a month. So we have a responsibility to look after them. Coming to a show should be a safe space, it’s where they find joy, and we have a responsibility to protect that.”

Manager Vines comments, “One issue we came up against almost all last year was crushing and fans passing out. We adopted a system where we could communicate with fans, who could hold up a mobile phone with a flashing red-and-white sign if they were in trouble but then we’d see them all popping up.”

“I don’t know whether some of that was a hangover of the pandemic where fans just weren’t used to being in venues. But we experienced a number of situations where hydration and temperatures in venues became an issue. I know Billie Eilish went through similar issues.”

With Tomlinson determined to meet a duty of care towards his fans, Vines says that the team now sends a “considerable advance package” to promoters ahead of their tour dates. “Our safety team goes into venues in the morning and basically ensures that a number of different things are in place ‒ making sure that water is given to the fans, where the water comes from, and at what points in the show it happens.”

And on the crushing phenomena, he reports, “We’ve worked out how many fans it’s safe to have without a secondary barrier. So we instruct promoters to have certain barriers in place to relieve that pressure and avoid crushing.”

He adds, “I get detailed incident reports after each show, which lets myself and my management team know exactly what happened, and so far on this tour, we haven’t had any issues with crushing or hydration, which is fantastic.”

Production manager Craig Sherwood is impressed by the way the tour has pivoted to protect the ‘Louies’. “The welfare officers are vital for the young girls who are aged from, I guess, 14 upwards. They can get dehydrated and malnourished pretty quickly if they are camping out for days, so it’s important that we look out for their wellbeing,” says Sherwood.

Citing the extremes that the Louies will put themselves through in an effort to secure themselves prime positions at the front of the stage, Sherwood recalls, “The first show on our US tour was in February, and it was freezing, but we found out that girls had been camping out on the pavement for five days. It’s crazy, as we know these young girls are coming from all over the world to see Louis.”

However, Tomlinson’s connection with those fans is evident in the level of merchandise sales at each show. “It’s a huge part of our business,” says Vines. “In America, we averaged about $36 a head, and it’s not much shy of that in Europe ‒ we’ve set a few national records in terms of spend per head. But we spend a lot of time on merch plans, and we do venue-specific drops and give it a lot of care and attention, as it’s a really important element of Louis’ business.”

Making sure that the Faith In The Future tour delivers Tomlinson to his growing legion of fans, PM Sherwoord’s long association with artist manager Vines made him the obvious choice when the artist first began his solo career.

“I remember doing a lot of promo dates around the UK and US before we started touring properly,” says Sherwood of his work with Tomlinson. “In fact, one of the first shows I remember doing with Louis was in Madrid when he played in a stadium, and I could see it was a taste of things to come.”

The partnership between Sherwood and Vines is crucial.

“In terms of the show growing, our biggest challenge is keeping costs down, because we’re extremely cautious on ticket pricing,” says Vines. “We don’t do dynamic pricing, we don’t do platinium ticketing, we don’t do paid VIPs, we don’t increase ticket prices on aisle seats ‒ all those tricks that everyone does that most fans don’t know about: we don’t do any of those.”

“So, when it comes to the production side of things, we need to be incredibly careful. But I’ve been working with Craig for a decade, and he knows the importance of trying to keep costs as low as possible. For instance, we’ll run the show virtually a number of times so Louis can watch it with the show designer, Tom Taylor, make comments and tweak things. Then we’ll go into pre-production. But we try to do as much in virtual reality as possible before we take it into the physical world.”

Sherwood states, “Basically, we started out with two or three trucks, but now we’re up to nine, and things seem to be getting bigger day by day.”

Thankfully, Sherwood has amassed a vastly experienced crew over the years, allowing them to handle even the most unexpected scenarios. “I’ve been touring since the dawn of time, but the core crew I work with now have been together since about 2010, and I trust them implicitly, so I leave it up to them who they hire, as long as they think I’m going to like them, and they’ll get along with everyone. So far, it has worked well,” Sherwood reports.

And that veteran crew has dealt with some terrifying weather extremes on the current tour, including a show at Red Rocks in Colorado where the audience were subjected to a freak storm with golf ball-sized hailstones injuring dozens of people.

Elsewhere, the crew has had to act quickly when the threat of high winds in Nashville caused problems on that outdoor run. “We didn’t want the video screens blowing about above the heads of the band, so it must have been amusing for the audience to see us taking them down,” Sherwood reports.

Indoors in Europe, the environment has been more controllable. The production itself involves an A-stage set 180 degrees across the barricades, although Sherwood says that on occasion a catwalk is also used by the performers.

“It’s a great lighting show and fantastic for audio, as we have a phenomenal front-of-house sound engineer ‒ John Delf from Edge Studios ‒ who makes life very easy for the rest of us,” says Sherwood. He also namechecks Barrie Pitt (monitor engineer), Oli Crump (audio system designer), Tom Taylor (lighting designer), Sam Kenyon (lighting technical director), and Torin Arnold (stage manager), while he praises Solo-Tech for supplying the sound, and Colour Sound Experiment (CSE) for taking charge of lighting video, and rigging equipment.

Indeed, CSE has ten personnel out with the Faith In The Future tour. “We have eight screens on the road ‒ six on stage plus two IMAGS that we use wherever appropriate,” the company’s Haydn Cruickshank tells IQ.

“We need to tweak the rigging on a daily basis, as we move to different venues, but other than that it’s a fairly smooth process thanks to Craig Sherwood. He is old-school and planned and worked on the production very far in advance, which is a great scenario for all involved. Craig is definitely one of our favourite production managers to work with.”

Garry Lewis at bussing contractors Beat The Street is also a fan of PM Sherwood.

“Craig split the European tour into different runs. So, from Hamburg to Zurich, we had two super high-decker 12-berth buses for the tour party and two 16-berth double-deckers for the crew,” says Lewis. “After the show in Athens, we still have the two super high-deckers, as Louis loves them ‒ he prefers to spend time on the bus, rather than in hotels ‒ but we also have two 12-berth super high-deckers for the crew, as well as another crew 16-berth double-decker.”

Lewis continues, “We’ve worked with Craig for a good few years, and we have a great relationship with him. He plans everything way in advance, so it means it’s all very straightforward for us with no issues. So, we use single drivers for each bus, except on the longer runs or when our drivers are scheduled for prolonged breaks, and then we’ll fly in extra drivers as needed.”

With the production travelling to Australia in early 2024, before shifting to Latin America, Andy Lovell at Freight Minds is gearing up to become involved with Tomlinson once again.

“We did the Central and South America dates on the tour last year, and onto Mexico,” says Lovell. “It was very challenging back then as we were still coming back from Covid, and various systems and infrastructure were in pieces. But it all went well in the end, as we kept an eye on things and worked on it every day to make sure we had solutions to everything that was thrown our way.”

Lovell continues, “Things on this tour kick in early next year for us. Historically, Australian services were quite reliable, as we could use any number of airlines. But post-pandemic, the number of long-haul flights still aren’t as frequent as they were. As a result, the production is being reverse engineered with the budget being worked out before we can see what we can afford to take as freight, and then we try to plan accordingly.”

“Similarly, in Central and South America there are still just a fraction of the flights operating, compared to pre-Covid, so that makes it very challenging. If there aren’t the flights to handle the gear, then you have to start looking at chartering aircraft, or alter your schedule, and that can become very expensive, very fast.”

With everyone working on the artist’s behalf to make sure the tour remains on track, being able to call on such experienced production experts is paying off on a daily basis.

Sherwood notes, “There are a few back-to-back shows over long distances that occasionally mean we don’t arrive at the next venue until 11am, rather than 6am. But we’ve never failed anywhere to open the doors on time, so we know we’re capable of getting things done, even if we have a late start at mid-day.”

Such dilemmas are not lost on agent Rowland. “It’s not so much the routing, it’s more like the timings, because Louis does have two support acts, so the show starts at 7 o’clock, and then when we’re done, we need to load out to get to the next show in good time for loading in the next morning and soundchecks, etc.”

Nonetheless, Sherwood admits that he loves the trickier venues and schedules. “Because I’m a dinosaur, I relish anything that makes things difficult or awkward for us on the production side of things,” he says. “I think everyone on the crew looks forward to challenges and finding the solutions to problems.”

Having amassed millions of fans through his association with One Direction, Tomlinson very much has a ‘pay it forward’ attitude to music and is building a reputation as a champion for emerging talent, wherever he performs.

“He’s a great advocate for alternative music,” says manager Vines. “Louis realises that he’s in an incredibly privileged position in terms of what he can create in terms of awareness. He loves alternative music and indie music, and he understands how hard it is for that music to be heard. But we have this amazing platform where we can put these bands in front of these audiences as a showcase that allows them to build these authentic new audiences. It’s a hude part of his love of music, wanting to help younger bands.”

Rowland agrees. “He took an act called Andrew Cushin ‒ a very new artist ‒ on the road in America with him as his support, and he’s doing the same for Europe. Louis is a fan and is championing his career.”

Indeed, Tomlinson’s A&R skills have knock-on effects for his agent, too. “He asked me to confirm the Australian band Pacific Avenue as support for his Australian tour last year. The music was great and they didn’t have an agent, so now I’m representing them!” says Rowland.

As the European tour speeds toward its conclusion, agent Rowland is enjoying every minute of it.

“It’s incredible ‒ they’ve really stepped things up,” she says, fresh from seeing the show in Athens and Paris. “They’ve got 6 hanging LED screens on the stage, and the whole production just looks polished and professional.”

And Rowland is especially excited about next year’s Latin America dates, which will deliver her first stadium shows as an agent.

“The return to Latin America is going to be huge ‒ Louis is playing arenas and stadiums in South America and Mexico: 15 shows in 11 countries,” she says.

Vines is similarly enthused. Harking back to the Covid situation, when a show would go on sale, sell out, be postponed, and then rescheduled in a bigger venue, Vines says, “For example, in Chile, originally the show was scheduled at a 5,000-cap, half-capacity arena in Santiago. And what we ended up doing was three nights at 10,000-cap in that same venue.”

Vines contends that Tomlinson’s work ethic is outstanding. “He loves his fans, and he loves performing for them, it’s as simple as that,” he says. “He just loves being on the road and seeing how the songs connect live. In fact, the second album was very much written with the tour and live shows in mind ‒ ‘This song could work live,’ ‘This one will open the set,’ ‘This is the one we can do for the encore.’”

Another element to Tomlinson’s psyche has been his decision to visit places off the usual tour circuit.

“Louis has a real desire to perform to fans in markets that are often overlooked,” says Rowland.

Manager Vines explains that while the Covid-delayed first tour allowed them to upgrade venues pretty much everywhere, “On this tour, we’re a bit more competent on venue sizes, but we still speculate a little bit in different territories. In Europe, for example, we’ve gone into the Baltics and a number of different places to test the markets there, while in America, we are looking at A and B markets but also tertiary markets as well ‒ we go to places where people just don’t tour in America, just to see what the reaction is. That was something that very much interested Louis ‒ to play in front of people who don’t normally have gigs in their town. So there’s been a lot of experimentation on this tour in terms of where we go and what room to play.”

That concept is something that Vines has employed before. “I manage a band called Hurts who were pretty much overlooked by the British radio system and we have spent 15 years building a business outside of the UK. And that was built on going to play at those places where people didn’t normally go. They built to multiple arena level in Russia, for instance.”

“If you can build fanbases in lots of different places, you have festivals that you can play every summer, as well as youring those places. It allows you to have more consistency over a number of years, by having more opportunities.”

Such a strategy found a convert in Tomlinson. Vines tells IQ, “Louis also is extremely fan-focused in everything that he does. He comes at it from a perspective of ‘I want to take the show to them,’ meaning he’s always more willing to take the risky option to try something out.”

And the results? “It’s a combination,” concludes Vines. “There have been a couple of places where we now understand why tours don’t go there. But there are more places where it’s worked incredibly well. For example, we enjoyed incredibly good sales in Budapest. And overall, it’s allowing us to get a clearer idea, globally, of where the demand it, which will help us when we go into the next tour cycle.”

#louis tomlinson #iq magazine #matt vines #interview #faith in the future tour bts #holly rowland #this was a PAIN to transcribe my god

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tearsofrefugees · 2 days ago

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#migrants #italy #trieste #rough sleeping #friuli venezia giulia #unaccompanied migrant minors #migrant reception #migrant accommodations #balkan migrant route

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mariacallous · 7 months ago

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It is water resistant, transportable and can charge up to 24 phones per day. It’s the BeeHive, a new phone-charging station created by the Italian NGO One Bridge To-, OBT-, and improved by the collective work of 25 high school students from Verona and the organisation FABlab.

The generator will make it easier for migrants in the Balkans to recharge their phones on their way to the European Union.

“The project was born during Covid, in late 2020,” OBT-’s Pietro Albi, who developed the first prototype, told BIRN. “The first Beehives were brought to Serbia in March 2021, to Sid, Subotica and Belgrade, and distributed to local organisations and NGOs working on the fields”.

The 25 students participated voluntarily in off-school hours, willingly deciding to spend their afternoons improving the BeeHive. After a theoretical workshop about the “Balkan Route” taken by migrants to Europe, the lack of legal pathways to Europe and the reality of migration, they focused on technical aspects like 3D printing, laser cutting and assembling the electrical parts.

The first BeeHive model used a bike engine to recharge phones and weighed around 20kg. The new one, created in collaboration with the students, weighs only around 3kg and uses lithium batteries, which are lighter and more efficient.

The name BeeHive refers to the shape of the generator, which recalls artificial beehives, but also hints at the idea of a safe space – a literal charging station where migrants can recharge their phones while taking a rest from the challenges and violence of taking the Balkan Route.

“The project also allows us to help students realise that what they hear regarding migrants and refugees and the reality of things are really different,” OBT-’s Serena Zuanazzi told BIRN.

“In Europe people often claim that the fact that migrants have a phone is a clear sign that they’re not really refugees in need. The reality instead is that phones are crucial for people on the move, as they need them to communicate with the families back home, with other people that are travelling with them, but also to orientate and keep on travelling.

“They are [also] used more and more to document the violence that people on the move experience, and become a tool to denounce human rights abuses,” she said.

Currently there are five old models of the BeeHive in Serbia, one of the new ones in Bosnia and two in Trieste, the arrival point for migrants taking the Balkan Route, in Italy. New ones will be distributed shortly in Greece, France and other locations in Italy.

“We already have plans to update the current model with a WiFi hotspot that will allow people to connect to the internet even from remote locations and other improvements. If NGOs and organisations working on the ground can use the BeeHive to support people on the move, they can reach out to us, so we can plan the production and the delivery,” Albi concluded.

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dreamings-free · 20 days ago

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IQ Magazine November 30th 2023

Usually, when an act completes a world tour, they come off the road for an extended period to rest, record new material, and then typically two or three years later the wheels are set in motion for an album release, promo, and tour dates. Louis Tomlinson did not get that memo.

“This tour went on sale last October or November – basically a year in advance,” explains agent Holly Rowland, who represents Tomlinson alongside Alex Hardee, internationally, while Wasserman Music colleagues Marty Diamond and Ash Mowry-Lewis do likewise for North America.

The tour is big. Very big for just a second outing in his own name. Between May and July this year, Tomlinson played 39 dates in the US and Canada across a mix of amphitheatres, arenas, pavilions, and stadiums. In August, he returned to Europe, where he is currently is in the midst of another 39 dates in arenas across the continent and the UK, which will take him to 18 November. Then, in early 2024, the Faith in the Future tour goes to Australia for two outdoor dates in Melbourne and Brisbane, before he takes the show to the country’s biggest indoor venue, the Qudos Bank Arena in Sydney.

“The tour before obviously was a Covid tour where the dates had to be chopped and changed. The positive aspect of that was that we were able to upgrade venues where that made sense”

Rowland comments, “The tour before obviously was a Covid tour where the dates had to be chopped and changed. The positive aspect of that was that we were able to upgrade venues where that made sense. But it was really nice to start from scratch on this tour to make sure the routing was all going in the right direction.” She reports, “We’ve done nearly 16,000 tickets in Amsterdam, and 14,000 in Paris, which I think just underlines his credibility as an artist and his growing reputation among fans.”

Back to You Playing a major role in shifting that ticketing inventory is a network of promoters also enjoying Tomlinson’s rising star.

“On this tour, it’s mainly Live Nation – we use a lot of the One Direction promoter,” explains Rowland. “But for Greece, we used Honeycomb Live, Charmenko did Romania, 8 Days A Week promoted the three shows in the Baltics, All Things Live did Finland, Fource are doing Prague, it’s Gadget in Switzerland, Atelier in Luxembourg, and when we get to the UK, it’s SJM, and MCD in Ireland.”

“Louis has a real desire to perform to fans in markets that are often overlooked”

In Spain, Nacho Córdoba at Live Nation promoted Tomlinson’s shows in Bilbao, Madrid, and Barcelona and reports sell-outs at each of the arenas involved.

“He’s kept the ticket prices reasonable – and he never wants to do any gold circle or VIP tickets. I think that’s why he’s so close to his fans, because it’s not about maximising profits”

Recalling that debut solo outing, Wyss tells IQ, “At first, we announced a mid-size theatre club show, 1,800-capacity, but it sold out instantly. Then we moved it to Halle 62, which is 3,500-cap, and that also sold out immediately, so it was a really big success.

Wyss also notes that with many young fans typically arriving the day before the concert, the responsibility to look after them is extended.

“We set up toilets, we have security overnight, we give water away. It’s part of the organisation that we will take care of the fans.”

Fresh from announcing 12 dates across Argentina, Brazil (x 3), Chile, Colombia, Costa Rica, Peru, Paraguay, Panama, Puerto Rico, and Uruguay, promoter Fabiano Lima De Queiroz at Move Concerts reports that Tomlinson will visit a mix of arenas, as well as stadiums in Santiago, São Paolo, and Buenos Aires during his May tour.

“Louis really looks after his fans. On the last tour they did a deal with Greggs [bakery chain] to give free food to the people waiting in line, as some of them camped out for days in advance”

“Our first tour with Louis was supposed to be in 2020 and we’d booked half arenas everywhere – 5,000-6,000 capacities,” he informs IQ. “Louis was one of those acts who connected very well with the fans during the pandemic, so when we shifted the dates, first to 2021, and then to 2022, we ended up selling out and having to upgrade in certain metropolitan markets.

“In Santiago, for instance, we’d sold out two full arenas of 13,000 cap, but then the government declared that for mass gatherings the numbers needed to be limited to 10,000 people.”

He adds, “We’re taking a big bet on this tour when it comes to the number of cities and the capacities of the venues, but we’re hoping for the best, and we’ve gone out strong. We feel that the artist is in a good moment and that the latest album has just created more interest, so we’re looking forward to when he arrives in May.”

Further north, Ocesa will promote three dates in Mexico, including a stadium show at the F1 circuit, Autódromo Hermanos Rodríguez, deepening Tomlinson’s footprint in that crucial North American market.

Meanwhile, in Tomlinson’s homeland, Jack Dowling at SJM is promoting seven UK dates in November at arenas in Sheffield, Manchester, Glasgow, Brighton, Cardiff, London, and Birmingham, which will round out the European leg of the tour.

“We have a responsibility to look after [the fans]. Coming to a show should be a safe space, it’s where they find joy, and we have a responsibility to protect that”

But Dowling also reports that the fanbase for Tomlinson is expanding. “The demographics are pulling not just from pop but also from indie rock now.”

Dowling adds, “Louis really looks after his fans. On the last tour they did a deal with Greggs [bakery chain] to give free food to the people waiting in line, as some of them camped out for days in advance.”

Out of my System Ensuring his fans are looked after properly is the number one priority in Tomlinson’s live career.

Noting that Tomlinson’s audience comprises mainly young women and girls, Rowland reveals that, at the artist’s insistence, a safety team has been added to the tour to ensure everyone that attends his shows is looked after. “They manage all the safety within the shows for the fans,” she explains. “They came in for the Wembley show last year and have been with us ever since – they’ve been beneficial to the running of the tour.

Manager Vines comments, “One issue that we came up against almost all last year was crushing and fans passing out. We adopted a system where we could communicate with fans, who could hold up a mobile phone with a flashing red-and-white sign if they were in trouble but then we’d see them all popping up.

“I get detailed incident reports after each show… So far on this tour, we haven’t had any issues with crushing or hydration, which is fantastic”

With Tomlinson determined to meet a duty of care toward his fans, Vines says that the team now sends a “considerable advance package” to promoters ahead of their tour dates. “Our safety team goes into venues in the morning and basically ensures that a number of different things are in place – making sure that water is given to the fans, where the water comes from, and at what points in the show it happens.”

Production manager Craig Sherwood is impressed by the way the tour has pivoted to protect the ‘Louies.’ “The welfare officers are vital for the young girls who are aged from, I guess, 14 upwards. They can get dehydrated and malnourished pretty quickly if they are camping out for days, so it’s important that we look out for their wellbeing,” says Sherwood.

However, Tomlinson’s connection with those fans is evident in the level of merchandise sales at each show. “It’s a huge part of our business,” says Vines. “In America, we averaged about $36 a head, and it’s not much shy of that in Europe – we’ve set a few national records in terms of spend per head. But we spend a lot of time on merch plans, and we do venue-specific drops and give it a lot of care and attention, as it’s a really important element of Louis’ business.”

“We don’t do dynamic pricing, we don’t do platinum ticketing, we don’t do paid VIPs, we don’t increase ticket prices on aisle seats – all those tricks that everyone does that most fans don’t know about: we don’t do any of those”

We Made It Making sure that the Faith in the Future tour delivers Tomlinson to his growing legion of fans, PM Sherwood’s long association with artist manager Vines made him the obvious choice when the artist first began his solo career.

The partnership between Sherwood and Vines is crucial. “In terms of the show growing, our biggest challenge is keeping costs down, because we’re extremely cautious on ticket pricing,” says Vines. “We don’t do dynamic pricing, we don’t do platinum ticketing, we don’t do paid VIPs, we don’t increase ticket prices on aisle seats – all those tricks that everyone does that most fans don’t know about: we don’t do any of those.

Sherwood states, “Basically, we started out with two or three trucks, but now we’re up to nine, and things seem to be getting bigger day by day.”

“We need to tweak the rigging on a daily basis, as we move to different venues”

“It’s a great lighting show and fantastic for audio, as we have a phenomenal front-of-house sound engineer – John Delf from Edge Studios – who makes life very easy for the rest of us,” says Sherwood. He also namechecks Barrie Pitt (monitor engineer), Oli Crump (audio system designer), Tom Taylor (lighting designer), Sam Kenyon (lighting technical director), and Torin Arnold (stage manager), while he praises Solo-Tech for supplying the sound, and Colour Sound Experiment (CSE) for taking charge of lighting, video, and rigging equipment.

Indeed, CSE has ten personnel out with the Faith in the Future tour. “We have eight screens on the road – six on stage plus two IMAGS that we use wherever appropriate,” the company’s Haydn Cruickshank tells IQ.

“Post-pandemic, the number of long-haul flights still aren’t as frequent as they were. As a result, the production is being reverse-engineered”

Garry Lewis at bussing contractors Beat The Street is also a fan of PM Sherwood. “Craig split the European tour into different runs. So, from Hamburg to Zurich, we had two super high-decker 12-berth buses for the tour party and two 16-berth double-deckers for the crew,” says Lewis. “After the show in Athens, we still have the two super high-deckers, as Louis loves them – he prefers to spend time on the bus, rather than in hotels – but we also have two 12-berth super high-deckers for the crew, as well as another crew 16-berth double-decker.”

If I Could Fly With the production travelling to Australia in early 2024, before shifting to Latin America, Andy Lovell at Freight Minds is gearing up to become involved with Tomlinson once again.

“We’ve never failed anywhere to open the doors on time, so we know we’re capable of getting things done, even if we have a late start at mid-day”

Lovell continues, “Things on this tour kick in early next year for us. Historically, Australian services were quite reliable, as we could use any number of airlines. But post-pandemic, the number of long-haul flights still aren’t as frequent as they were. As a result, the production is being reverse-engineered with the budget being worked out before we can see what we can afford to take as freight, and then we try to plan accordingly.

With everyone working on the artist’s behalf to make sure the tour remains on track, being able to call on such experienced production experts is paying off on a daily basis.

“We have this amazing platform where we can put these bands in front of these audiences as a showcase that allows them to build these authentic new audiences”

Common People Having amassed millions of fans through his association with One Direction, Tomlinson very much has a ‘pay it forward’ attitude to music and is building a reputation as a champion for emerging talent, wherever he performs.

“He’s a great advocate for alternative music,” says manager Vines. “Louis realises that he’s in an incredibly privileged position in terms of what he can create in terms of awareness. He loves alternative music and indie music, and he understands how hard it is for that music to be heard. But we have this amazing platform where we can put these bands in front of these audiences as a showcase that allows them to build these authentic new audiences. It’s a huge part of his love of music, wanting to help younger bands.”

Rowland agrees. “He took an act called Andrew Cushin – a very new artist – on the road in America with him as his support, and he’s doing the same for Europe. Louis is a fan and is championing his career.

Perfect Now As the European tour speeds toward its conclusion, agent Rowland is enjoying every minute of it. “It’s incredible – they’ve really stepped things up,” she says, fresh from seeing the show in Athens and Paris. “They’ve got 6 hanging LED screens on the stage, and the whole production just looks polished and professional.”

And Rowland is especially excited about next year’s Latin American dates, which will deliver her first stadium shows as an agent. “The return to Latin America is going to be huge – Louis is playing arenas and stadiums in South America and Mexico: 15 shows across 11 countries,” she says.

“He loves his fans, and he loves performing for them, it’s as simple as that. He just loves being on the road and seeing how the songs connect live”

Vines contends that Tomlinson’s work ethic is outstanding. “He loves his fans, and he loves performing for them, it’s as simple as that,” he says. “He just loves being on the road and seeing how the songs connect live. In fact, the second album was very much written with the tour and live shows in mind – ‘This song could work live,’ ‘This one will open the set,’ ‘This is the one we can do for the encore.’”

Fearless Another element to Tomlinson’s psyche has been his decision to visit places off the usual tour circuit. “Louis has a real desire to perform to fans in markets that are often overlooked,” says Rowland.

Manager Vines explains that while the Covid-delayed first tour allowed them to upgrade venues pretty much everywhere, “On this tour, we’re a bit more competent on venue sizes, but we still speculate a little bit in different territories. In Europe, for example, we’ve gone into the Baltics and a number of different places to test the markets there, while in America, we are looking at A and B markets but also tertiary markets as well – we go to places where people just don’t tour in America, just to see what the reaction is. That was something that very much interested Louis – to play in front of people who don’t normally have gigs in their town. So there’s been a lot of experimentation on this tour in terms of where we go and what room to play.”

“Louis also is extremely fan-focused in everything that he does. He comes at it from a perspective of ‘I want to take the show to them'”

“If you can build fanbases in lots of different places, you have festivals that you can play every summer, as well as touring those places. It allows you to have more consistency over a number of years, by having more opportunities.”

And the results? “It’s a combination,” concludes Vines. “There have been a couple of places where we now understand why tours don’t go there. But there’s are more places where it’s worked incredibly well. For example, we enjoyed incredibly good sales in Budapest. And overall, it’s allowing us to get a clearer idea, globally, of where the demand is, which will help us when we go into the next tour cycle.”

30/11/23

IQ is the leading global news platform for the live music business. IQ’s news, features, information and analysis are read by 100,000 professionals worldwide each month. IQ publishes a regular magazine, several annual reports, and a daily news digest, IQ Index. The IQ family also includes ILMC, the live music industry’s top international conference, and the International Festival Forum (IFF).

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