
Sam Fender and Chappell Roan help bring £1.2bn tourism boost to North West
Tour shows from stars Sam Fender, Chappell Roan and the Foo Fighters helped boost music tourism in the North West by £1.2 billion last year, according to a new report.
Live music in 2024 brought 3.3 million music tourists to the region, including some from overseas, as artists played sold-out shows in Manchester, Liverpool and across the region.
Fans of a wide range of genres could see their favourites in the North West with Fender at Co-op Live, Roan at Manchester Academy and the Foo Fighters playing the Emirates Old Trafford last year.
Festivals such as Parklife, Creamfields and Beat-Herder also brought a large number of fans to north-west England.
The report, published on Tuesday by UK Music – an association which represents the country's commercial music industry – also found music tourism supported around 9,250 full-time equivalent jobs in the North West.
The £1.2 billion boost to the economy from music tourism in the region included ticket sales, food and beverage sales, merchandise, venue parking, camping fees, accommodation and travel.
Across the country in 2024, 21.9 million people in the UK were 'music tourists' according to the report, meaning they travelled at least three times the average commute for their region to see live acts.
A further 1.6 million people travelled from abroad to the UK for gigs, which the report said was driven largely by Taylor Swift's Eras Tour, but international acts including Bruce Springsteen and Burna Boy also made an impact.
The report said the total of 23.5 million music tourists gave a £10 billion boost to the UK economy in 2024 in a record for the country as it continues to see success in the industry following the Covid pandemic.
Culture Secretary Lisa Nandy hailed the nation as 'a powerful home for live music', adding: 'Whether it's a massive stadium show or a packed-out local venue, music is bringing people together and making a huge difference.
'We're incredibly proud of our music industry. It's one of our greatest exports, it inspires young people everywhere, and it's part of who we are as a country.'
She added that the Government last week announced a £30 million 'music growth package', which will 'support emerging talent, protect the venues that give them a start and make sure our music scene keeps growing and reaching new heights'.
Meanwhile Tom Kiehl, chief executive of UK Music, said the sector is still facing financial challenges.
'While music generates huge benefits for our local areas, there remain a number of challenges facing our sector such as the rising cost of touring for artists and the threat of closure looming over venues, studios and other music spaces,' Mr Kiehl said.
'From Land's End to John O'Groats, all communities have the potential for thriving and diverse music sectors and can offer something unique. At a time when Government is seeking growth, it is crucial to empower local leaders to make this happen to help boost our artists, creators, venues, studios and music businesses.'
The report launches the local music action charter, which UK Music said will 'help councils and combined authorities create locally tailored music strategies aligned with their specific priorities'.
Councillor Liz Green, chairwoman of the Local Government Association's culture, tourism and sport board, said: 'These record-breaking figures show just how important live music is — not just for our local economies, but for the happiness of our communities.
'The report is a timely reminder that investing in local music isn't just good sense – it's a way to boost pride in place and breathe new life into our high streets. We're committed to working with local partners to make sure music continues to thrive in every corner of the UK.'
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Sky News
35 minutes ago
- Sky News
Culture secretary Lisa Nandy hits out at BBC over Glastonbury controversy
Why you can trust Sky News The culture secretary has claimed there is "a problem of leadership" at the BBC, as the controversy over Bob Vylan's Glastonbury performance deepens. Lisa Nandy criticised the corporation over its decision not to pull the livestream after the band's frontman shouted "death, death to the IDF" - referring to the Israel Defence Forces - on Saturday. A criminal investigation has been launched into the Glastonbury performances of both Bob Vylan and Kneecap after the police reviewed footage. Ms Nandy condemned the "appalling and unacceptable scenes" at Glastonbury and said the government would not tolerate antisemitism. She said she had called BBC director-general Tim Davie after the broadcast of Bob Vylan's set to find out why it had aired, and why the feed had not been cut. "I expect answers to these questions without delay," she said. Later, when asked in the Commons about the BBC's editorial processes and who would be held accountable, Ms Nandy replied: "When you have one editorial failure, it's something that must be gripped. When you have several, it becomes a problem of leadership." Ms Nandy said she had spoken to members of the Jewish community, including attendees at Glastonbury, who said they were concerned by imagery and slogans and ended up creating their own "safe space". Mr Davie has been facing calls for his resignation. Yesterday, drummer Bobbie Vylan released a video statement on Instagram - saying politicians who have spent time criticising the band should be "utterly ashamed" for giving "room" to this over other issues. The punk rap duo have had their US visas revoked and been dropped by their US representative, United Talent Agency. He also addressed what was said on stage, saying: "Regardless of how it was said, calling for an end to the slaughter of innocents is never wrong. To civilians of Israel, understand this anger is not directed at you, and don't let your government persuade you that a call against an army is a call against the people." Shortly after it was posted, the video was no longer available to view. Israel denies targeting civilians in its war in Gaza. During Kneecap's set, one member suggested on stage starting a "riot" outside his bandmate's forthcoming court appearance, before clarifying he meant "support". In a statement, Avon and Somerset Police said that after reviewing footage of the performances of Kneecap and Bob Vylan, further enquiries are required and a criminal investigation is now being undertaken. "A senior detective has been appointed to lead this investigation," a spokesperson said. "This has been recorded as a public order incident at this time while our enquiries are at an early stage." The force said the investigation will be "evidence-led and will closely consider all appropriate legislation, including relating to hate crimes". "We have received a large amount of contact in relation to these events from people across the world and recognise the strength of public feeling," it added. "There is absolutely no place in society for hate." What happened? During Bob Vylan's set, the duo performed in front of a screen that showed several messages, including one that said Israel's actions in Gaza amount to "genocide". Bobby Vylan also led chants of "death to the IDF". The set was live streamed by the BBC as part of its Glastonbury coverage, but has not been made available on demand. Politicians including the prime minister have criticised the performance. Glastonbury organiser Emily Eavis said the chants "crossed a line" and that there was no place at the festival for "antisemitism, hate speech or incitement to violence". A BBC spokesperson said the broadcaster respected freedom of expression "but stands firmly against incitement to violence". They added: "The antisemitic sentiments expressed by Bob Vylan were utterly unacceptable and have no place on our airwaves... "The team were dealing with a live situation, but with hindsight we should have pulled the stream during the performance. We regret this did not happen." 2:32 Media watchdog Ofcom said it was in talks with the BBC and that the broadcaster "clearly has questions to answer" over the stream. Irish-language rap trio Kneecap were on stage afterwards. Before their appearance at the festival, there had been calls for Glastonbury to remove them from the bill - as rapper Liam Og O hAnnaidh (who performs as Mo Chara) is facing a terror charge, accused of displaying a flag in support of the proscribed group Hezbollah at a gig in London last November. Glastonbury organisers kept them on the line-up, but the BBC chose not to stream their set live. An edited version was later made available on demand. On stage, the band led chants of "f*** Keir Starmer". O hAnnaidh's bandmate Naoise O Caireallain (Moglai Bap) said they would "start a riot outside the courts" for O hAnnaidh's next appearance, before clarifying: "No riots, just love and support, and support for Palestine." Hundreds of people turned out in protest for his first court appearance earlier this month. Bob Vylan were set to perform in Chicago, Brooklyn and Philadelphia in the autumn. They are due to perform at Radar Festival in Manchester on Saturday and Boardmasters, a surfing and music festival in Newquay, Cornwall, in August. Sharing a statement on Instagram after the Glastonbury set, Bobby Vylan said: "Teaching our children to speak up for the change they want and need is the only way that we make this world a better place. "As we grow older and our fire starts to possibly dim under the suffocation of adult life and all its responsibilities, it is incredibly important that we encourage and inspire future generations to pick up the torch that was passed to us." The war in Gaza started after Hamas militants launched attacks in Israel on 7 October 2023, killing 1,200 people and taking roughly 250 hostages. More than 860 Israeli soldiers have been killed since the war began, more than 400 of them during the fighting in Gaza. Israel's offensive in Gaza has devastated the enclave and killed around 56,500 people, according to the Hamas-run health ministry, which does not differentiate between civilians and combatants, but says more than half of the dead are women and children.


BBC News
40 minutes ago
- BBC News
Fresh Glasgow subway strike dates clash with TRNSMT festival
Workers on the Glasgow Subway will stage a strike over three consecutive days on the same weekend the city stages Scotland's biggest music held three days of action last week but the latest wave will coincide with TRNSMT on Glasgow Green. The strikes are due to a dispute between Unite the union and subway operator Strathclyde Partnership for Transport (SPT) over working union has claimed the underground is badly understaffed, an accusation SPT has rejected. Unite said more than 100 workers will go on strike on Friday 11 July, Saturday 12 July and Sunday 13 than 50,000 music fans will attend TRNSMT - which is being held half a mile from the St Enoch subway station - on each of the strike this year include Snow Patrol, Biffy Clyro and 50 Cent. The union's general secretary Sharon Graham said: "Unite's members will no longer accept intolerable working conditions. "SPT has had years to resolve the problem and has failed to do so. Our members have said enough is enough. "We will support them all the way in their fight for better jobs, pay and conditions."The union has had a continuous overtime ban in place since 13 June and an interim offer by SPT was "overwhelmingly rejected" by its Scotland News has asked SPT for operator previously said it remained "committed to seeking a resolution through positive ongoing negotiations".A social media post during last week said that season ticket holders affected by the strikes will receive one day of pay-as-you-go credit on their smartcard per affected month's strikes coincide with three major gigs at Bellahouston Park, which concert goers often reach via walking from the subway station at Sting headlined at the park on Wednesday, while rock bands Simple Minds and Stereophonics took to the stage on Friday and Saturday.


The Guardian
44 minutes ago
- The Guardian
‘Smellmaxxing' and ‘frag heads': how the gen Z perfume boom came up roses for indie brands
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The UK market alone reached £1.74bn in 2024 and, if growth continues apace, will top £2bn by 2029 according to a 2024 Mintel report. This growth is driven by gen Z and millennials, who have formed a unique relationship with fragrance due to social media and Covid isolation – PerfumeTok drove 45% of social media scent sales in the US by 2023. Instead of a dab behind the ear, they prefer scent layering – wearing two or more perfumes at the same time – and scent wardrobing (matching fragrances to different occasions). Eighty-three per cent of gen Z wear fragrance as often as three times a week, according to a recent report by Circana. Perfume took off, somewhat unexpectedly, during lockdown, says Suzy Nightingale of the podcast On the Scent. 'It was expected the fragrance market would fall, but it boomed,' says Nightingale, an award-winning perfume blogger. 'People discovered they could punctuate their day with moments of difference – travel with their noses, revel in nostalgia or excite their senses with novelty. I think that was when people realised it's not about 'attracting a partner' or having a signature scent – if it ever was. It's donning an invisible cloak of protection, empowering yourself.' Successful perfume influencers play a key role in the storytelling side of these products. Theatrical and charismatic TikTokkers such as @professorperfume and @jeremyfragrance explain new scents so vividly that their followers sometimes buy without smelling the perfume first. They spin tales of the weird girls and confident boys who wear these scents; PerfumeTok influences 66% of gen Z purchases. Teenage boys have become surprising cognoscenti when it comes to luxury aftershave. The TikTok term for scent layering in this age group is 'smellmaxxing', a buzzword that became so prevalent that the New York Times defined it last year as a 'term for enhancing one's musk'. According to a 2025 US trend report by Piper Sandler, teenagers are spending more money across beauty categories in general, but fragrance has grown the most – up 22% year on year. On a recent visit to Bloom Perfumery, a boutique selling independent and niche fragrances in the UK, I watched a boy who couldn't have been older than 16 chat about cologne with an assistant twice his age with a genuinely inspiring level of passion and sophistication, beaming through his braces as he discussed smoky notes. 'There's been a lot of pearl-clutching commentary worrying about how much [teenagers] spend,' says Nightingale. 'But if you actually bother to talk to the younger generations thronging the halls of perfumeries from Boots to the Black Hall of Harrods, you discover they're saving their pocket money – sometimes for years – and taking on part-time jobs to explore scent.' While previous generations were satisfied with scent juggernauts such as CK One, Le Male, Poison or Opium, an emerging group of 'frag heads' wants more. The idea of personalising your scent – smellmaxxing or scent layering – is key for them. Still, what 16-year-old can afford to layer a £90 Loewe scent with something marginally cheaper from Armani – and to that end, how did such expensive scents become the norm? As luxury scents boomed post-pandemic, so too did dupes – replicas of designer products. Offering luxury style at low prices, dupes feel more Robin Hood than guilty secret. Some new brands got their start providing vegan or cruelty-free alternatives to blockbuster fragrances, notably Eden Perfumes, a family-run business in Brighton now lauded for its own scents as much as its knockoffs. Meanwhile, the high street stepped up to do what it does best: producing designer style at affordable prices. The Zara perfume counter is currently the place to go if you want to smell like a million dollars for less than £20. While logos and bottle designs are easy to trademark, you cannot trademark a scent nor patent a perfume recipe under UK law. Some dupes can be poorer quality than luxury brands, but they're safe as long as you use common sense. A trusted retailer will follow safety standards; an unknown one may not be as stringent. Sign up to Fashion Statement Style, with substance: what's really trending this week, a roundup of the best fashion journalism and your wardrobe dilemmas solved after newsletter promotion As well as dupes, 'niche perfumes' gained traction. While cosmetics giants such as Coty, Guerlain and Estée Lauder have dominated since the early 20th century, independent pioneers appeared who followed their instincts and taste rather than market research. Brands such as Le Labo, Sol de Janeiro and Byredo changed the game – Le Labo's Santal 33 was the fashion circle's signature scent and a Santal 26 candle appeared in Beyoncé's Lemonade film in 2016. Victoria Beckham and Sienna Miller namechecked Byredo as their favourite perfumer. It is no wonder these brands have now been snapped up by LVMH and other conglomerates. More indie scents launched after lockdown, including complicated and counterintuitive fragrances. The idea of perfume as confrontational, confusing art grew. The Canadian brand Zoologist found fame for its award-winning Bee scent (notes of ginger syrup, royal jelly and broom) in 2020, as did Inexcusable Evil by the Romanian perfumer Toskovat, with its bouquet of bandages, blood and burnt flowers. This year brings Silver Haze from Alloy Studio, which evokes 'a backseat smoke session' and has notes of cannabis, chocolate powder and strawberries. Food-inspired fragrances are the latest perfume craze with scents like pretzels and cherries finding favour. Some fans went deep, obsessing over process, rarity or a unique note in a scent, discussing them like oenophiles on Reddit and dedicated scent chatrooms. Some turned to DIY, using Sam Macer's YouTube channel and forums such as Basenotes to swap tips on sourcing ingredients and aroma combinations. For a few, the hobby became a side hustle and finally a career. Indie companies looked to creators who had taught themselves to blend new scents. As the industry traditionally requires a chemistry degree, a spell at a (preferably French) perfume school – such as ISIPCA in Versailles – then an apprenticeship at a fragrance house, this influx of new blood has been a huge shakeup. You can buy perfume ingredients such as fixatives, solvents and scent compounds online, so, like microbrewers and bakers before them, self-taught perfumers simply got stuck in. 'There's a definite sense of punk-rock impresarios to some indie brands,' says Nightingale. 'Not tied up in shareholders' opinions and having to panel-test everything so that it's acceptable rather than exciting.' At a time when beauty conglomerates are turning to AI and science for new scents, it's refreshing to find gatecrashers at the party. The Spanish company Puig used 45m brain readings from men aged 18-35 to finesse the ingredients of the cologne Phantom by Paco Rabanne before its 2021launch – the result was a commercial bestseller. Independent perfumers can bring a bit more imagination to the process. The British scent company Earl of East recently collaborated with the musician Bon Iver, who they asked to do a blind smell test, then used his answers to create a custom scent inspired by his latest album. The resulting range of mood mists and candles instantly sold out. The creation process for the two products couldn't be more different, but the world smells better because both of them exist. Paul Firmin, a co-founder of Earl of East, thinks the lack of formal education behind the brand is a strength. It started as a hobby and a market stall but is now stocked globally. It holds workshops for customers who want to make their own perfumes. 'We've worked hard to demystify scent, encouraging people to engage with it in a way that feels personal rather than intimidating,' says Firmin. 'Removing outdated boundaries – like the idea that scent should be tied to gender – has also opened up the space. That distinction was a ridiculous concept in the first place.' Another autodidact is Maya Njie, a Swedish-born, UK-based perfumer, who started her fragrance house in 2016. While studying surface design at the University of Arts London, Njie got sidetracked. 'I was exploring storytelling through photography, print and pattern and I began incorporating scent.' She was inspired by family photo albums; holiday snaps of Gambian beaches led to her perfume Tropica, which combines sea salt, pineapple and coconut. 'Being self-taught has given me the freedom to approach perfumery from an artistic and instinctive place,' she says. 'I can do this as the brand owner as I'm only working to my own brief.' Nightingale wishes the new indies of perfume received more support from the industry. 'I see so many tiny brands fall by the wayside. I'd love to see retailers celebrate them more – giving them shelf room among the big corporate-owned names.' Cathleen Cardinali, co-founder of Thin Wild Mercury, found that nothing beats word of mouth. As she posted on social media after Roan's viral message: '[Our] customers went crazy tagging us in an international pop superstar's Instagram because they were so excited by the notion that she might like their favourite little indie perfume brand.' If you're looking for the smell of lipstick, sun cream from a day at the beach, smoking in a car, or have some other olfactory fantasy, this new generation of self-taught perfumers are waiting to play it out for you.