#future materiality pavilion

[louisupdates]

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.”

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.”

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

[dailytomlinson]

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.

“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 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.

“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 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 (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.”

[dreamings-free]

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.

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 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”

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 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.”

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.

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

“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 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.

“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.”

“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”

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 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.

“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 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.”

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 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”

“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 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.

“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 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 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.”

“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.”

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.”

“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.

“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 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.

“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 hail stones injuring dozens of people.

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

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.”

“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.”

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.”

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”

“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.”

“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.

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.

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 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.’”

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'”

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 touring 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’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).

[spyskrapbook]

Serpentine Pavilion 2023, London, UK _ Architect: Lina Ghotmeh _ Photos by: Spyros Kaprinis [24.06.2023].

“Inspired by Ghotmeh’s Mediterranean heritage and lively discussions around the table over current affairs, politics, personal lives, and dreams, the Pavilion is titled À table – a French call to sit together at the table to share a meal and enter into dialogue. As such, the interior of the Pavilion features a circular table along the perimeter, inviting us to convene and celebrate exchanges that enable new relationships to form. 

Considering food as an expression of care and offering a moment of conviviality around a table, Ghotmeh welcomes us to share the ideas, concerns, joys, dissatisfactions, responsibilities, traditions, cultural memories, and histories that bring us together. Ghotmeh defines her approach to architecture as an ‘Archaeology of the Future’. Built predominantly from bio-sourced and low-carbon materials, the Serpentine Pavilion 2023 continues her focus on sustainability and designing spaces that are conceived in dialogue with the history and natural environment that surrounds them. 

The form of the Pavilion responds to the shape of the park’s tree canopies. Internal wooden beams that encircle the perimeter of the structure emerge as thin tree trunks and the fretwork panels that sit between the beams feature plant-like cut out patterns, aiding ventilation and allowing natural light to come in. The Pavilion’s pleated roof is inspired by the structure of a palm leaf, while the lightwell in the middle furthers the space’s integration with its setting. The modest, low roof takes inspiration from togunas: structures found in Mali, West Africa, that are traditionally used for community gatherings to discuss current issues, and also offer shade and relief from heat. 

The low-lying roofs of these structures encourage people to remain seated peacefully and take pause throughout discussions. In this design, Ghotmeh also honours the history of the Serpentine South building, which was originally a teahouse. Designed by James Grey West, the building opened in 1934 and was converted into an art gallery in 1970. In the summer months until the early 1960s, the café’s seating area also expanded to the lawn, which the Pavilion now occupies. Inspired by this history, Ghotmeh incorporated the Pavilion’s café menu into her design process, offering Mediterranean-inspired dishes made with local and seasonal ingredients.”

https://www.serpentinegalleries.org/whats-on/serpentine-pavilion-2023-by-lina-ghotmeh/

[hostpyters]

Kéré Architecture is an acclaimed architectural practice founded by Diébédo Francis Kéré, known for its innovative and sustainable approach to design. The firm has garnered international recognition for its work, particularly in creating community-focused buildings that utilize local materials and traditional construction techniques. Below is a detailed review of Kéré Architecture’s features and achievements:

Key Features Sustainable Design:

Local Materials: Kéré Architecture emphasizes the use of locally sourced materials, which reduces environmental impact and supports local economies. Energy Efficiency: The firm incorporates passive cooling and natural ventilation in its designs, minimizing the need for artificial climate control and reducing energy consumption. Eco-Friendly Techniques: Use of sustainable construction techniques and green building practices that respect and enhance the local environment. Cultural Sensitivity:

Community Engagement: The practice engages with local communities to understand their needs and incorporate their input into the design process, ensuring that the buildings are culturally relevant and functional.

Traditional Methods: By integrating traditional building methods with modern techniques, Kéré Architecture preserves cultural heritage while enhancing structural integrity and functionality. Innovative Projects:

Educational Facilities: Many of Kéré Architecture’s projects focus on educational buildings, such as schools and libraries, that provide essential infrastructure for communities. Public Spaces: The firm designs public spaces like parks, pavilions, and cultural centers that foster community interaction and social engagement.

Healthcare Facilities: Projects also include healthcare buildings that are accessible, sustainable, and designed to improve community health and well-being.

Award-Winning Work:

International Recognition: The practice has received numerous awards and accolades for its innovative and impactful designs, including the prestigious Aga Khan Award for Architecture and the Global Award for Sustainable Architecture. Exhibitions and Publications: Kéré’s work has been featured in prominent architectural exhibitions and publications, highlighting the firm’s contributions to contemporary architecture. Notable Projects

Gando Primary School, Burkina Faso:

Community Involvement: Built in Kéré’s home village, this project involved the local community in the construction process, providing education and skills training. Sustainable Design: The school uses local clay and a unique double-roof structure to enhance ventilation and reduce heat, creating a comfortable learning environment. Serpentine Pavilion, London:

Innovative Use of Wood: The 2017 pavilion design featured a dynamic wooden structure that created a sense of enclosure while allowing light and air to flow freely. Cultural Exchange: This project showcased Kéré’s design philosophy on an international stage, blending African architectural traditions with contemporary design. Lycée Schorge Secondary School, Burkina Faso:

Modern Educational Facility: This project includes innovative features such as shaded outdoor classrooms and a passive cooling system, providing a modern and sustainable educational environment.

National Assembly of Burkina Faso:

Symbolic Design: The design of the new National Assembly building incorporates elements that symbolize transparency and democracy, reflecting the country’s aspirations for a better future.

Pros Sustainability: Strong emphasis on environmentally friendly designs that minimize ecological impact. Cultural Relevance: Designs that are deeply rooted in the cultural and social context of the locations they serve. Community Focus: Active engagement with local communities ensures that buildings meet the specific needs of the users. Innovative Solutions: Creative use of materials and construction techniques to solve design challenges.

Cons Resource Constraints: Working in developing regions can present challenges related to resource availability and infrastructure limitations. Scalability: While the projects are highly impactful, scaling up the approach to larger urban environments may require additional adaptation.

Kéré Architecture stands out for its commitment to sustainable and culturally sensitive design, creating buildings that are not only functional but also deeply connected to the communities they serve. The practice’s innovative use of local materials and traditional techniques, combined with modern design principles, results in architecture that is both beautiful and impactful. Despite the challenges of resource constraints, the firm’s work continues to inspire and set a benchmark for socially responsible and environmentally conscious architecture.

[wangsejabin]

Chapter 61

When Pei Yongchang looked at the chair, he felt flattered for a moment. He had gone to great lengths to see the Crown Prince, but he had never expected that such a good thing would come to him. Before he came, he was lamenting that he was smart enough to know how to pave his own way, but after meeting the Crown Prince, he realised that he had made a fool of himself.

He thought that there were few people his age who could do what he had done, but now he realised why he was a small salt merchant when others were crown princes. He thought al his actions were covert, thinking himself smart while unaware that the ones in charge knew about it. So far Pei Yongchang was once again grateful for Su Hai's ungrateful behaviour, otherwise in the eyes of the Crown Prince ...... The idea of it made him shudder, and so he was led to their pavilion, only to find himself sweating profusely. When he arrived in front of Pan'er, he naturally didn't dare to act rashly.

Although a position of Fengyi was small, behind her stood a prince who had a clear view of the situation, so Pei Yongchang put away all his petty thoughts and looked very restrained.

Xiang Pu had brought a plate of cherries and the girl was eating them one by one, while smiling at Pei Yongchang, "Earlier I was telling the Crown Prince that Pei Yongchang was a bold and generous person, why did he not sit down today after being asked to do so."

Seeing this, Pei Yongchang could only sit down on of the small stools, smiling awkwardly while saying, "Fengyi has flattered me."

This was an odd feeling, realizing that in just a year's time so much had changed. A year ago Pan'er had needed Pei Yongchang to lift her up and provide her stability, and now Pei Yongchang was afraid to sit down in front of her, which was really a bit of a poignant contrast.

Because Pan'er just ate the cherries and did not speak, Pei Yongchang's gaze quietly fell on her body.

The red blouse and white skirt looked simple, but with Pei Yongchang's eyes, not only was the material first class, but the embroidery on it was also exquisite. She also looked better than a year ago, her whole body is much more rounded, but the biggest change is in her temperament.

At first glance, Pei Yongchang might not have recognise her, but when he thought about it, he couldn't quite remember what she looked like in the beginning.

But no matter what, now that he had calmed down, Pei Yongchang understands what the prince means, that the past cannot be remembered, and that this woman is now his master's lady and can only be respected. Pan'er took the handkerchief, wiped her mouth and hands before looking at Pei Yongchang: "How has the Master Pei been doing?"

"In reply to Fengyi's words, naturally he is fine."

"You know that I am just a woman from the inner palace, so I can't say or do anything about outside matters. Now I am fortunate enough to be at the Prince's side during his southern tour, and although I am pregnant now, it is not clear what the future holds. "

The rise and fall of each tone in this passage was a new insight into Pan'er for Pei Yongchang. His only thought now was that the palace was really good at training people and that the woman whom he had merely thought was somewhat clever a year ago, now not only had a little more of the air of a superior person, but had also grown profound and unpredictable.

At first glance, the words sounded commonplace, but in fact they carried a deeper meaning. She knew how embarrassed he was to be kept out, subtly hinted that the Prince had summoned him this time only because of her, and although she said she could not intervene in outside matters, these were merely polite words. With this summon, the Jiang family's attitude towards him is bound to change drastically, but at the same time, they will naturally be wary of him.

Once word of what happened today spreads, he will not be just the son-in-law of a concubine of the Crown Princess' maternal family, but someone with a sister who is the Crown Prince's favourite concubine. This matter will also spread to the Chen family, which means that he will not be able to get off this ship once he is on it.

In his mind, pleasing both sides was the right way to go, but from the moment he was summoned here, the whole thing had gone off the rails. He was now faced with the question of whether he should get into this boat or not. It was clear that he was having a hard time deciding, and as a result a fine bead of sweat had formed on his forehead.

Pan'er glanced at him, picked up her tea and sipped it slowly and deliberately. After a short time, Pei Yongchang wiped the sweat from his forehead with his sleeve and said with an arch of his hand, "I have remembered Fengyi's teachings."

Pan'er nodded in satisfaction, after which she had some more small talk with Pei Yongchang and then let someone lead him away. At the same time, she wondered in her mind what the Prince had in mind.

He had summoned Pei Yongchang and had him brought to her, so he was undoubtedly helping her to lift up the Pei family. But she knew that Pei Yongchang was a affiliated with the Chen family and had a layer of status as the Chen family's son-in-law. If he went out through this door today, it would be rumoured tomorrow that Pei Yongchang had a sister who was the Crown Prince's favourite concubine, and his relationship with the Chen family would certainly be impacted negatively.

Could it be that he is helping her to make a hit at the crown princess' maternal family? Changing the name of this corner to Su? Pan'er subconsciously looked at her stomach, slightly confused as to what the Crown Prince was thinking. But no matter what the prince was scheming, it was obvious that there was no way to clarify this matter yet. It was time for the southern expedition to leave Yangzhou, as March in Jiangnan was truly the time for spring to blossom.

In the meantime, as the Tong Yang Canal was connected to Yangzhou, the lifeblood of the entirety of the Huainan salt fields, countless merchant ships and salt boats passed through it every day, leading the Crown Prince to take a trip with his men through the Tong Yang Canal. They were the hosts, so the Jiang family led the way and the Crown Prince took part of the tour to see the salt farms and dams that produce salt.

The trip took almost half a month, and when the Crown Prince returned, he was confronted with a report from Dr. Wang that Su Fengyi was pregnant with twin babies. A double pregnancy?

It is not unheard of for the Zong family to give birth to twin babies, but that was back in the days of the late emperor, when a concubine gave birth to twins and was greatly favoured by the late emperor, but both children did not survive and both died before they were ten years old.

The prince had come from the palace and naturally thought more about the two children, but in fact it was only a human disaster.

As the two children were born to a boy and a girl, the dragon and the phoenix were considered auspicious by the previous emperor and were naturally valued by him.

But the twins were not the only ones in the palace, there were other princes and princesses, and these princes and princesses had their own mothers and concubines and even foreign families behind them. The imperial family was not the only one in the palace.

The Prince did not tell Pan'er about this, but only secretly instructed Aunt Qing to keep an eye on everything around Pan'er and Zhang Laishun to keep an eye on Su Fengyi's side. Although there should not be any problems on the way to the south, but this kind of thing is impossible to say, if anything happens to Su Fengyi, he will not need to return to the capital this trip.

This 'no need to go back to the capital' stimulated Zhang Laishun so much that he almost didn't have to drink chicken blood, just wishing he could split himself in half and let that half share his workload.

Without further ado, in late March, the Southern Tour finally departed from the Yangzhou docks. At the same time, north of Yangzhou, a young man was leaving home with his bag on his back.

Yao Jinzhi looked in the direction of the door with a grim look on her face and muttered, "I couldn't control you since you were a child, you can do whatever you want, it's better to leave ......" Next to him, Su Jiang pushed Miao Cui Xiang into the house and yelled, "If you hadn't made a scene, why would Lao Er be like this?"

"It's none of my business, really ......"

--

Before departing, the Prince had also considered leaving Pan'er at the Jiang family home to nurse her baby. But on second thought, he thought it would be better to take Pan'er with him, since the boat ride was smooth and Pan'er was not seasick. Even Auntie Qing said she was lucky. She had seen the kind of woman who started throwing up when she was pregnant and continued to do so until the baby was born.

The best time to go to Jiangnan is in spring and summer. The journey was beautiful, and the food was abundant.

Pan'er ate her way from Zhenjiang to Changzhou and then to Suzhou, where the team stayed for nearly a month. Suzhou was no less prosperous than Yangzhou, but even more so.

In Suzhou, Pan'er did not see the looms that Yao Jinzhi had described, but she did enjoy the largest mulberry garden in the region.

Next was Songjiang, whose cotton cloth was the best in the world, and whose weaving was no worse than that of Suzhou.

The next step down was Jiaxing, which was already out of Jiangsu, but generally the southern tour was to return after reaching Hangzhou.

By the time they returned, it was already the end of June. In the meantime, Pan'er's belly had swollen like a balloon, and the Prince even had the illusion that whenever he returned from a day out, he felt that Pan'er's belly had grown larger.

He was so worried that she would fall down because of her belly.

In fact, Pan'er's belly was not too big, but just a little bigger than a normal belly in the same month.

The reason why the Prince felt this way was that after the third month, Auntie Qing and Pan'er themselves had intentionally restrained themselves from eating.

So far, the effect has been quite good, she has not actually gained too much weight, she still has thin arms and legs, so her belly looks bigger.

The Crown Prince summoned the doctor several times, and every time he asked whether she was well, the doctor also said that it was not good to raise a twin pregnancy too big, otherwise it would be difficult to give birth.

Because of this statement, the Crown Prince was very busy on the way back to the capital, and wanted to return to the capital as soon as possible.

Pan'er's belly was now almost seven months old, and if there were no delays on the road, the return journey would only take a month or so.

The doctor said that the twin babies might be born prematurely, and all these things had to be taken into consideration. The Southern Tour finally returned to the capital in time for the 15th of August, and the Crown Prince had been away for nearly a year.

The East Palace, since receiving the news that the Crown Prince had entered the city gates, had been preparing to receive him.

The Prince Consort, accompanied by Hu Liangdi and others, had dressed up early and was only waiting for the news to come back. When the news came that the Crown Prince had entered the Forbidden City, and after sitting for half a cup of tea, the Crown Princess led a group of people to the East Palace gate. This stop lasted nearly an hour.

The Crown Prince went out of Qianqing Palace, the Crown Prince went to Kunning Palace and came out again. The news was passed back and forth, and when someone reported that the Crown Prince had come to the East Palace, there was a huge crowd kneeling in front of the East Palace gate. Only the Crown Princess and Hu Liangdi were still standing.

At last, they saw someone.

The prince did not seem to have changed much compared to before, except that his face was more refined and he seems to have lost some weight, but his demeanor is more relaxed and unhurried. Thinking of all that had happened in the year since the Crown Prince had left, the Crown Princess had the feeling that tears were unconsciously filling her eyes.

"Greetings, Your Highness." The Crown Prince reached out to help her and called up to Hu Liangdi again. She was about to say something when a sound of wheels rolling came, and the hand that had been holding the Crown Princess loosened, and the Crown Prince turned his head to look behind him.

The carriage came to a halt in front of the crowd.

The Forbidden City would rarely use a carriage pulled by animals, because animals were uncontrollable and unpredictable, and usually even if they were used, they would not come to the master, so the masters usually used a shoulder carriage or a soft sedan or something like that. When Pan'er got off the boat in Tongzhou, she changed to a carriage.

When she entered the Forbidden City, the prince thought that she had been in a carriage for almost a day and it would be inconvenient to toss and change now, so this carriage was pulled in directly from the Donghua Gate.

Zhang Laishun personally followed the carriage, he had long since gotten off the carriage and walked alongside. When the carriage came to a halt, he was busy lifting the curtain. This line of action did not really look like much on its own, but in this situation, it was particularly eyecatching. "Master Fengyi, you must be careful."

Pan'er was really tired, even if the carriage was not bumpy, she was now too advanced in her pregnancy, and it was hard to lie down and to sit down, but now that she had finally arrived, she could finally breathe a sigh of relief.

The moment her heart was relieved, the pain in her body reacted, and Aunt Qing and Zhang Laishun came to help her out of the carriage, but they almost failed to do so. The prince gave her a frightened pull, and when she stood up, his eyes went to Aunt Qing and Zhang Laishun's heads. Pan'er pulled at him, "It's because my own legs were weak and I didn't stand properly, I don't blame them."

"Su Fengyi's belly is surprisingly so big." The Crown Princess stepped forward and said, her face smiling impeccably, but her eyes were on Pan'er's belly.

"Greetings to the Crown Princess." Pan'er was busy taking a step back, retreating from the Prince's arms, to bow to the Crown Princess.

[thoughtportal]

Hundreds Help Restore Defaced Tschabalala Self Sculpture in the UK Vandals spray-painted the artist’s sculpture of a Black woman in white. 

https://hyperallergic.com/823737/hundreds-help-restore-defaced-tschabalala-self-sculpture-in-the-uk/

Last Monday, May 15, in a South English coastal town, vandals defaced Tschabalala Self’s “Seated” (2022), a 10-foot public installation depicting a Black woman facing the sea. In what has been characterized as an act of racism, perpetrators covered the New York artist’s bronze sculpture with spray paint, violently coating the Black woman’s skin with white.

“Painting the skin of my sculpture white is an obscene act and I feel horribly for individuals in Bexhill-on-Sea for whom this event may have shocked or frightened,” Self said in a statement.

The sculpture is currently located on the lawn outside the De La Warr Pavilion (DLWP), an arts center in Bexhill-on-Sea. The artwork is part of a temporary public art installation by the arts center with support from the Pilar Corrias Gallery in London.

With Self’s support, the arts center organized a community event on Sunday, May 21 to restore the sculpture. What followed was “an act of restoration and resistance” as over two hundred local members armed with paint solvent and scrubbing materials came together over the weekend to begin cleaning the sculpture, according to a press release from the pavilion.

Self’s artwork often includes depictions of the bodies of Black women and femme individuals, rendered in various mediums. In “Seated,” Self explores what she describes as “a universal act of leisure and calm.” Commissioned by the digital art collection platform Avant Arte, the sculpture first appeared in a mall near King’s Cross in London last year.

“I wanted to create a monumental sculpture for the public that spoke to this simple joy,” Self said in a text about the work. “The woman is strong, beautiful, and self-possessed. She represents all individuals, but women in particular, who understand the power and importance of simple gestures that assert their right to take up space.”

The sculpture was later unveiled in the seaside town, on the lawn outside the DLWP, on April 19.

Sussex Police did not respond to Hyperallergic‘s request for information regarding the investigation. In October 2022, the UK Home Office, responsible for policing in England and Wales, released a report that indicated a 26% rise in recorded hate crimes.

The community restoration event began at 11am and ran until 1pm. “We hope that the peaceful community clean-up event of last Sunday — and its far-reaching impact and support — will show the perpetrators that the majority of our community will not tolerate any future acts of this kind,” a DLWP spokesperson told Hyperallergic.

“Although certain measures were already in place, we have now improved the intensity and reach of our security measures, including refreshed signage next to the sculpture to deter further acts of vandalism, which is an ongoing problem on our seafront,” the spokesperson added.

“Seated” is set to re-open to the public on June 3. For the event, the arts center is celebrating with a community picnic in commemoration of “the power of art to galvanise and connect people and communities.” The sculpture will be on view until October 29.

“Despite my disappointment, I am not surprised as Black and Female — and especially because Black Female bodies are often targets for abuse,” Self said in her statement about the recent vandalism. “‘Seated’ proudly represents the beauty of both blackness and femininity, and for these very reasons she has been harmed: covered by her assailant with white spray paint in a futile attempt to erase her colour and, in my mind, her strength.”

[badlydrawnhsr]

2.1 Livestream Summary

Codes:

3SRN6L3AADLK

YTRN743TSUL7

2S8N6M3ATV6T

Banners:

Acheron + Luocha first phase (with Gallagher)

Aventurine + Jingliu second phase

If you're interested in any of the new characters btw I HIGHLY recommend you watch the livestream segment for when they're introduced. Each of them got a very in depth discussion, and while its all very interesting, it's far too much for me to put here in a simple summary

Story:

New trailblaze mission - The Devil in Velvet

The new mission will include multiple povs similar to the luofu story, with a separate toggle to switch pov. These multiple povs are also displayed in the fates atlas menu to avoid confusion of the timeline. I'm assuming this means we'll have more control of our perspective, rather than having a forced break in the story to show what a different character is doing, but we'll have to wait to see how it's implemented.

Areas and Materials:

Clock Studios Theme Park

Themed around the mascots of Penacony, with an area dedicated to each. Minigames/puzzles are themed around shooting movies

Dewlight pavilion

Headquarters for the Oak family, owned by Sunday. Puzzles involve shrinking down into a replica model of Aideen Park?

Events:

Vignettes in a Cup

Drink mixing event similar to that of Belobog's museum or the Luofu's Aurum alley. Rewards a free 4* character of choice, which includes Gallagher

Tides of War

Combat event similar to that of the current Dreamjolt TV event? Details aren't entirely clear but that's what it seems like to me

Cosmodyssey

Game board event to celebrate HSR's first anniversary! Rewards are both individual and shared across the server I think?

Planar Fissure with triple rewards

Realm of the Strange with triple rewards

Festive Gifts - 20 free pulls

1,600 jades via mail on April 26th

A BUNCH of offline events and partnerships

Other:

New fire ascension material

New preservation trace material

New abundance trace material

Simulated Universe World 9

Includes 2 new relic sets, though the exact details weren't shown. One is a dps set while the other is meant for characters in a team with the same path as them. Difficulty iv will also be available immediately and all previous difficulty rewards can be claimed all at once (similar to Forgotten Hall) They also stated a big update to SU will happen in 2.3, including an easier way to farm relics.

Claim all/redeploy all button for assignments

Increased inventory for relics to 2000

A bunch of other stuff was talked about too! Future system to do with March, Xianzhou story updates (including possible Tingyun?)

[daisiesonafield-blog]

Info for Faith In The Future World Tour STERLING HEIGHTS, MI - JUN 2 2023

With special guests THE ACADEMIC & SNARLS!

Important Times:

3:30 PM - Parking opens

5:30 PM - Doors Open

7:00 PM - Snarls

8:00 PM - The Academic

9:00 PM - Louis Tomlinson

Times are all approximate. The show information is subject to change.

Details here.

General admission (pit tickets):

Fans can START lining up at the Main Gate at 9:00 AM on show day only and will be given wristbands

Any fans that have camped overnight or arrive before 9:00 AM on Day of Show will NOT be given wristbands and therefore be granted access to the venue AFTER guests with wristbands.

Concourse opens at 5:30 PM.

Pavilion will open at 6:00 PM.

Security will be managing the pit lines and will help everyone get lined up and into the pavilion.

Times are subject to change.

🔆⚠️ HIGH TEMPERATURE ADVISORY ⚠️🔆

Temperatures are expected reach the 90s F (33ºC)!

Hydrate before the show, while waiting in line and during the show

For optimal hydration drink something with electrolytes such as Gatorade or LiquidIV

Wear sunscreen!

Eat well!

Here are important policies:

The venue is CASHLESS! Pay with a card or mobile pay!

Parking: Parking is free. Parking fees are included in the ticket price. VIP Parking is included in all Season Member tickets. Parking info and map here. Public transit info here.

ADA info here 

Cameras: Point and shoot camera are allowed. Professional &/or commercial cameras with interchangeable or detachable lenses are not allowed. Professional cameras, tablets, audio recorders and video recorders are not permitted

Small binoculars allowed

Umbrellas are allowed, except pointed tip umbrellas.

Blankets ALLOWED

Juice boxes ALLOWED only if you have children in your party or for medical needs

Headphones ALLOWED

Knitting needles ALLOWED

Seat cushions ALLOWED

Small radios ALLOWED

Battery operated/ rechargeable, handheld fans ALLOWED

Battery operated coats, gloves, and vests ALLOWED

Beach chairs that are no more than 12 inches from seat to ground, are not in a carrying bag, and do not have compartments.

NO outside food or drinks

NO Animals (except service animals)

NO smoking

NO Aerosol cans (hairspray, mace, pepper spray, etc.)

NO Marijuana or illegal narcotics, including accessories or paraphernalia associated with marijuana or illegal narcotics use

NO glass, plastic or metal containers

NO coolers

NO knives, firearms, mace, pepper spray or weapons of any kind

NO Ipads

NO selfie sticks

NO Noisemaking devices

NO Beach balls or other inflatable items

Food and drinks info here.

There is NO RE-ENTRY!

VIEW VENUE MAP

VIEW SEAT MAP

For more details click here and here

Bag Policy

BAGS, PURSES & CLUTCHES LARGER THAN 4" x 6" x 1.5" ARE PROHIBITED.

SINGLE COMPARTMENT BAGS, WALLETS & CLUTCHES SMALLER THAN 4" x 6" x 1.5" WITH OR WITHOUT A HANDLE OR STRAP ARE PERMITTED.

Exceptions to this policy include:

Bags, wallets and clutches needed due to medical necessity. Medical necessity include Diaper bags, Breast pumps, Oxygen, Insulin, Epi-pens and other medical devices.

Banners, signs and flag policy:

Large Banners and Flags: Guests are not permitted to use or waive flags, banners, signs or other items that are affixed to any pole or stick made of wood, metal, plastic or any other hard material and that is more than 11” x 17” in length.

Contact:

For additional questions please call the venue at 313-471-7000 or 313.471.7425. You can also access their website. Email GuestExperience@olyent.com. Check their twitter here and IG here for updates. Address: 14900 Metro Pkwy., Sterling Heights, MI 48312

[ezra2003blog]

Neri Oxman’s work with bio materiality - Neri Oxman is an Israeli bio architect working as a professor at the MIT media lab. Her work explores the use of natural processes and materials to design structures for the future. The images above are Silk Pavilion + Glass I. Glass I explores the use of glass as a 3D printed material and Silk Pavilion uses a colony of silkworms to create a structure, uninterrupted by human interference.

POI - Neri Oxman is a great inspiration to me, creation of structures through entirely natural processes, Creating biomaterials that could be substituted for man-made materials in society today. Her way of working uses prototyping and experimentation in a way that has no final outcome but explores a series of possibilities.

[autoexpo2025]

Experience the Future of Mobility at Auto Expo 2025: The Motor Show

The global automotive industry is set to converge in India for one of the most highly anticipated events of the year: Auto Expo 2025 – The Motor Show and Bharat Mobility Global Expo 2025. Supported by the Ministry of Commerce and Industry, Government of India, this spectacular event promises to showcase cutting-edge innovations, sustainable mobility solutions, and transformative technologies that will shape the future of the automotive sector. Mark your calendars from 18th to 21st January 2025 and join us at the state-of-the-art venue, Yashobhoomi, Dwarka, New Delhi, India.

Assurer Auto Parts: A Proud Participant

One of the highlights of Auto Expo 2025 will be the participation of Assurer Auto Parts, a trusted name in the genuine auto parts distribution industry. With a legacy of quality and reliability, Assurer Auto Parts is committed to empowering the automotive sector with high-performance components. At the Expo, they will:

Showcase a Wide Range of Products: Visitors can explore their comprehensive portfolio of genuine auto parts designed for durability and efficiency.

Demonstrate Innovation: Assurer Auto Parts will unveil new product lines, emphasizing advancements in materials and design to meet evolving market demands.

Engage with Industry Professionals: The company’s team of experts will be present to discuss trends, share insights, and foster collaborations.

Why You Should Attend Auto Expo 2025

Whether you are a car enthusiast, a technology aficionado, or a business professional, Auto Expo 2025 offers something for everyone:

For Enthusiasts: Dive into a world of sleek designs, roaring engines, and futuristic concepts.

For Businesses: Forge valuable partnerships and discover opportunities in one of the fastest-growing automotive markets.

For Innovators: Be inspired by groundbreaking ideas and cutting-edge solutions.

The Role of the Indian Automotive Industry

India is poised to become a global hub for the automotive sector, driven by a combination of robust manufacturing capabilities, a thriving startup ecosystem, and supportive government policies. Auto Expo 2025 will serve as a testament to India’s growing influence, showcasing its progress in areas like EV adoption, sustainable manufacturing, and global exports.

Key Highlights of the Expo

Electric Vehicle Pavilion: Discover the latest EV models and innovations in sustainable mobility.

Startup Zone: Meet emerging companies revolutionizing the automotive landscape.

International Pavilions: Explore contributions from leading automotive nations, fostering cross-border collaborations.

Luxury and Performance Vehicles: Get up close with some of the most iconic and luxurious automobiles.

Auto Components Zone: Learn about the backbone of the industry, with a focus on cutting-edge auto parts.

How to Attend

Attending Auto Expo 2025 is easy:

Register Online: Visit the official Auto Expo website to secure your tickets.

Plan Your Visit: Explore the schedule and plan your itinerary to maximize your experience.

Stay Connected: Follow Auto Expo’s social media channels for updates and announcements.

Conclusion

Auto Expo 2025 – The Motor Show and Bharat Mobility Global Expo 2025 promise to be a transformative experience for anyone passionate about the future of mobility. From groundbreaking innovations to invaluable networking opportunities, this event is your gateway to witnessing the next chapter of the automotive industry. Don’t miss the chance to be part of this global celebration from 18th to 21st January 2025 at Yashobhoomi, Dwarka, New Delhi.

The participation of renowned companies like Assurer Auto Parts ensures a dynamic and enriching experience, showcasing the best of what the automotive world has to offer. Join us and drive into the future of mobility!Click Here for more info.

[investmentestate15]

 Sobha City on Dwarka Expressway: Your Gateway to Luxurious Living

Dwarka Expressway is one of the most sought-after residential hubs in the National Capital Region (NCR). Among the many real estate projects dotting this strategic corridor, Sobha City on Dwarka Expressway stands out as an epitome of luxury and convenience. Boasting world-class amenities, prime connectivity, and exquisite architectural design, this residential enclave is perfect for those looking for a serene yet well-connected urban living experience.

In this article, we’ll explore why Sobha City is a top choice for homebuyers, with a focus on its 3 BHK apartments on Dwarka Expressway and the appeal of investing in residential property on Dwarka Expressway.

An Overview of Sobha City on Dwarka Expressway

Sobha City is a premium residential project developed by Sobha Limited, a renowned name in the real estate industry. Located on the rapidly developing Dwarka Expressway in Gurgaon, Sobha City offers a seamless blend of comfort, luxury, and modern living.

Key Highlights of Sobha City

Prime Location: Situated on Sector 108, Gurgaon, Sobha City enjoys proximity to both Delhi and Gurgaon city centers.

Spacious Apartments: Featuring well-designed 3 BHK apartments on Dwarka Expressway, these homes are built to offer both comfort and style.

World-Class Amenities: From landscaped gardens to a world-class clubhouse, Sobha City redefines opulent living.

High-Quality Construction: Known for its precision engineering, Sobha Limited ensures top-notch quality across its projects.

Why Invest in Sobha City?

Strategic Location on Dwarka Expressway

Dwarka Expressway, also known as the Northern Peripheral Road (NPR), connects Gurgaon to Dwarka, Delhi, and IGI Airport. The expressway is an 18-kilometer-long stretch that has transformed into a real estate goldmine.

Connectivity: It links major business hubs, making commuting effortless for working professionals.

Development Potential: With upcoming metro connectivity and infrastructural upgrades, properties here promise excellent appreciation.

Social Infrastructure: The area is dotted with reputed schools, hospitals, shopping malls, and entertainment hubs.

Luxury Apartments Tailored to Modern Needs

Sobha City offers meticulously planned 3 BHK apartments on Dwarka Expressway that cater to the needs of families. These apartments boast modern interiors, spacious layouts, and panoramic views.

Spacious Layouts: Apartments range in size from 1711 sq. ft. to 2003 sq. ft., offering ample living space.

Premium Finishes: Each unit is designed with high-end materials, ensuring a luxurious feel.

Smart Living: Equipped with modern technologies, these apartments offer a future-ready lifestyle.

Amenities That Define Luxury Living

Sobha City is more than just a place to live; it’s a lifestyle statement. The project is packed with state-of-the-art amenities to cater to every age group and interest.

Recreational Facilities

Sports Infrastructure: Two large clubhouses, a cricket ground, tennis courts, and swimming pools.

Outdoor Spaces: 8.5 acres of open landscaped spaces, including jogging tracks, cycling trails, and parks.

Wellness Amenities: A fully equipped gymnasium, yoga pavilions, and meditation areas.

Family-Friendly Features

Children's Play Areas: Secure and fun zones for kids to enjoy.

Community Spaces: Multipurpose halls and outdoor seating areas for social gatherings.

Convenience at Your Doorstep: On-site retail shops and a convenience store make daily life hassle-free.

What Makes Dwarka Expressway an Ideal Residential Hub?

Rapid Urbanization and Infrastructure Growth

The Dwarka Expressway corridor is witnessing unprecedented growth in terms of infrastructure and urban development. With the completion of the expressway, the region will see:

Improved traffic flow between Gurgaon and Delhi.

Increased demand for residential and commercial properties.

Enhanced connectivity to the IGI Airport and other key locations.

Favorable Investment Climate

Investing in residential property on Dwarka Expressway is highly lucrative due to several factors:

Competitive pricing compared to Delhi.

High rental yield due to demand from working professionals.

Promising appreciation rates as infrastructure matures.

Why Choose a 3 BHK on Dwarka Expressway?

Perfect for Families

A 3 BHK on Dwarka Expressway is ideal for growing families looking for extra space without compromising on location or amenities. These apartments provide:

Privacy: Separate bedrooms for family members.

Flexibility: Extra room for a home office or guest accommodation.

Value for Money: A spacious layout that balances luxury with functionality.

Long-Term Investment

With rising property values on Dwarka Expressway, owning a 3 BHK apartment here ensures a solid return on investment over time.

What Sets Sobha City Apart from Competitors?

Superior Quality Standards

Sobha Limited is synonymous with quality. From design to execution, every aspect of Sobha City reflects attention to detail and superior craftsmanship.

Sustainable Living

Sobha City incorporates eco-friendly features, such as:

Rainwater harvesting systems.

Solar lighting in common areas.

Energy-efficient building materials.

Conclusion

Sobha City on Dwarka Expressway is a perfect blend of luxury, convenience, and investment potential. Its strategic location, premium 3 BHK apartments, and top-notch amenities make it an unmatched choice for homebuyers and investors alike. As Dwarka Expressway continues to evolve, properties in this area, especially within Sobha City, are poised to appreciate significantly in value.

Whether you're seeking a dream home or a profitable investment, Sobha City offers the best of both worlds—a luxurious lifestyle and a promising future.

Contact Details:

Website: https://investmentestate.in/sobha-city-on-dwarka-expressways/

Contact no.: +918587025600

Email:Kishor.gera2316@gmail.com

[optikes]

Jeffrey Gibson (b1972) USA

(2024)

the space in which to place me is a kaleidoscopic synthesis of the media and concepts that define Jeffrey Gibson's multidimensional practice. His persistent pursuit of beauty celebrates individuals and communities who have maintained their dignity and traditions in impossible circumstances. Acknowledging that our present and future are interwoven with our past, Gibson's work reflects his admiration and respect for the generations of Indigenous makers who have come before him. His site-responsive installation for the U.S. Pavilion recognizes Indigenous aesthetics and material histories as effective tools for cultural survival, innovation, and healing from the impacts of historical trauma. the space in which to place me joyously declares Gibson's radically inclusive vision for a future in which all people are seen, accepted, and loved. jeffreygibsonvenice2024.org

[allthebrazilianpolitics]

The climate COP hands the future of the planet to the market

With a paltry promise of funds to the poorest nations, the conference in Baku approved of carbon trading as the main alternative, failed to advance against fossil fuels, and is leaving it to Belém to make the polluters pay

With a paltry promise of funds to the poorest nations, the conference in Baku approved of carbon trading as the main alternative, failed to advance against fossil fuels, and is leaving it to Belém to make the polluters pay

Anthropologist Mary Allegretti is part of the history of Brazil’s socio-environmental movement in Brazil. Along with Chico Mendes and the rubber-tappers who fought for the forests where they worked in the state of Acre, she helped to formulate a proposal 40 years ago to create extractivist reserves, a new type of conservation unit that includes Nature and the people living in it. Allegretti attended the 29th UN Climate Change Conference, COP-29, in far-off Baku, Azerbaijan, to talk about an initiative that, she says, has given her renewed motivation. For the last year and a half, she has coordinated a project to train around 10,000 people living in the Chico Mendes Extractivist Reserve, which covers around 1 million hectares, to develop a future project to generate carbon credits. It is a pilot program that the National Council of Extrativist Populations could replicate in other extractivist reserves, so communities who want to implement projects can run them, rather than being swindled by “carbon cowboys.”

Allegretti pointed out that for decades residents in Acre’s community territories have lived “in the same conditions, with no investment in infrastructure, no access to education, no access to health.” The Chico Mendes Extractivist Reserve fell victim to the advancing deforestation clearing the land for cattle pastures. “So, how can you deny the communities access to a project that could provide investments when the government hasn’t managed to make investments?” the anthropologist and director of the Institute of Amazonian Studies argued during a panel at the COP’s Brazil pavilion. “We are convinced that good carbon products can be developed with communities playing a leading role.”

A topic that causes discord among environmentalists, the carbon markets received a boost at the Climate Conference in Baku, which gave the green light to implementing the international emissions trading mechanisms proposed nine years ago in the Paris Agreement. These documents’ approval was the only moment that met with general applause at the conference’s last plenary session, which went from Saturday night, November 23, into the early hours of Sunday morning. Carbon credits that are able to enter the market under the supervision of the UN Framework Convention on Climate Change are expected to have a higher value and help to pay for the climate transition.

Nevertheless, as Brazil’s environment and climate change minister Marina Silva put it, the emissions trading established in the Paris Agreement is an “important instrument,” but “not a panacea.” The mere possibility of receiving money from carbon credit sales cannot be confused with achieving the goal that was indeed the focus of the COP-29: defining a new climate finance goal to replace the US$ 100 billion per year promised by materially rich countries in 2009. According to these countries, this amount was finally reached in 2022, at which point they had disbursed US$ 115.9 billion. However, a study by the Oxfam organization showed that when high interest rates and projects unrelated to climate are subtracted from these loans, the amount left would be at most US$ 35 billion.

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