Big acts, small towns: Why regional music gigs are booming

Rob Waller is a pioneering force in live music promotion, with over two decades of experience curating and producing world-class concerts, tours, and festivals. As the founder of Soundcrash Music, Waller built one of London’s most influential independent promotions companies, running over 300 shows per year across genres like jazz, hip hop, soul, electronic, folk, and beyond.

In 2018, Soundcrash was acquired by Live Nation, where Waller continued to lead the business while expanding into large-scale outdoor events. As well as running South London's multi-day festival South Facing, Waller has been behind the scenes transforming unexpected spaces into must-play venues for major acts, including the new Colchester Castle Summer Series, Hitchin Priory, and the now-established Margate Summer Series, with artists like Smashing Pumpkins, Tom Jones and Nile Rodgers & CHIC playing in places once overlooked by national tours.

In this interview, Waller speaks to Headliner about why big-name artists are keen to play outside capital cities, the strategy behind choosing regional heritage venues, the impact on local tourism, hospitality, and the economy, and the different demographics of those attending gigs outside of London.

Soundcrash has been instrumental in transforming regional and heritage venues into major concert destinations. What inspired you to venture into these less conventional spaces, like Colchester Castle and Margate, for large-scale music events?

Various reasons. I thought that the market had changed since COVID, with people travelling less. Also, I could see that there have been some demographics not catered for, whether that be parents who have less time, or students who have less money. I also think there is a bit of magic in doing special events in special locations.

How did that independent foundation shape your vision when you moved into larger-scale shows with Live Nation?

I guess it has made me more of a curator than just a straightforward booker. It also leans into more of an experience-based approach to events. In terms of marketing, it has probably led to a similar approach in terms of working with smaller local partners, businesses and imagination when it comes to how we can work with local councils.

The Margate Summer Series has seen impressive growth, attracting diverse acts like Tom Jones, Limp Bizkit, Sugababes, Nile Rodgers, Basement Jaxx, etc. How do you select these venues, and what factors contribute to their appeal to both artists and audiences?

I think each venue needs to feel like you are at a special day out before the band has even come on stage. Whether a UNESCO Castle, Grade 1 listed manor, or '50s-style seaside theme park. People have less money and are more careful how they spend their hard-earned pounds, so the first question is – how do we create a cool or special or different experience and add some of the best music out there? 

It feels like we are in a time where people have more choice and don’t necessarily want to be in the local park or sports ground. We can do better. In terms of talent, there is definitely a strong pull when the area or site is a bit special too.

How are artists chosen for these events? Who picks the talent and gauges interest levels for outside of London and major cities/venues?

It’s a balance between what musical history there is in each place and what the demographics are. For example, in our first year in Colchester, we went with a more indie-led bill, knowing that it’s Blur’s hometown. I would lead on bookings with assistance from my team.

What does the timeline look like for booking artists? How far in advance is this planned?

We are generally booking 14 months to 10 months ahead of the events.

What are some of the biggest behind-the-scenes challenges when creating large-scale concerts in unconventional spaces, and what’s something the public might be surprised to learn about making these shows happen?

Generally, the more bespoke the site, the more time and energy it will take from the team to put together a successful event. We are often planning the following year before the current year's events have happened. 

Often, there are specific local challenges, from working on a 2,000-year-old archaeological site in Colchester Castle or a strip of land in the middle of the sea in Cardiff Bay, to doing events in National Parks. They all require extra thought, planning and sensitivity.

Have artists/management started to request certain venues now, like Dreamland in Margate?

Yes, we are certainly seeing artists and management now requesting established sites like South Facing (Crystal Palace Bowl) and Margate. It’s extremely encouraging to have agents get in touch about Colchester Castle and Hitchin Priory so soon after they have had their initial runs.

How do audiences in these locations differ from those in London or other major cities, and what have artists told you about performing there?

There is definitely a larger range of ages going to shows outside of London, which is the first observation. We have had Bicep and Tom Jones on the same series before. 

I guess there is generally a sense of surprise when artists see both Dreamland and Crystal Palace Bowl in London – both very striking and impressive sites to people who see them for the first time!

Why are artists keen to play outside of city centres?

I think artists have always been keen to discover new audiences, and I think it’s always exciting to play somewhere new.

With big-name artists increasingly performing outside capital cities, what strategic advantages do these regional and heritage settings offer over traditional urban venues?

I think it can offer a larger routing and with audiences; generally travelling less regionally, there may be less exclusivity on each show. Often, these shows are seen as not heavily impacting the indoor arena run with many of these artists.

In your experience, how have audience expectations changed over the years regarding concert experiences in unique settings like those offered by the South Facing or Margate Summer Series?

My personal experience is that people will generally expect a strong bill / curated line-up rather than just a headline performance. They want an impressive location, good food, and thought going into the drinks offerings. More of a 360-degree experience.

Choosing venues like Hitchin Priory or Colchester Castle involves significant logistical and operational challenges. What are some behind-the-scenes considerations in managing these landmark shows, from planning to execution?

The extra planning in working around nationally important buildings needs the extra layer of planning in terms of making sure that we are doing everything to look after the sites and leave them in the same condition as we found them, but also in terms of showing off these beautiful places as much as we can. 

It sometimes means we need more staff on site, and often means a lot more planning time with councils and other stakeholders.

How do these events impact local economies and tourism? How do partnerships with local brewers, clubs, and cultural organisations enhance the overall experience for attendees?

The local impact of these events can’t be underestimated. The effect of bringing an extra (generally high-spending) 100,000 people to a location that wouldn’t otherwise have been there is very noticeable. 

We aim to intertwine with the local economies as best we can, local staffing on bars/security and elsewhere, working with local businesses in terms of cross-promotion, hotels, and transport.

Is Brexit a factor for UK-based artists wanting to do more gigs in alternative locations in the UK over travelling abroad, due to changes in regulations, particularly regarding visas and work permits for touring in the EU, which have created increased costs?

I haven’t heard this being stated as a major factor. Obviously, Brexit was a major hit to our touring industry and for developing artists; however, I understand it is becoming a little easier than it was. I understand the types of shows that we are offering are as well as the international touring, rather than instead of.

The South Facing Concert Series at Crystal Palace Bowl has become a staple event. What strategies have proven effective in transforming historic venues into sustainable and profitable concert spaces?

A couple of years of strong bills, strong media, and good reviews have helped these sites build a profile that has made them attractive to bigger artists, which has helped the business as a whole.

How do you balance maintaining tradition with introducing new elements to keep the events fresh and exciting?

Obviously, it’s important to keep line-ups fresh but also balanced with talent that works in specific markets. That might be with specific genres, that might be with introducing that exciting new band as an undercard. Each bill needs to be balanced and exciting!

Looking ahead, what future trends do you anticipate in the live music industry, especially concerning the types of venues and settings that will become increasingly popular for large-scale events?

There will be some interesting new sites that are developed over the next year or so. I can see competition increasing as well. I think that customers will vote with their wallets, and if something seems more exciting/new/experiential, they will always choose that.

With more artists playing outside the capital and audiences willing to travel, do you think we’re entering a new era for live music, one that’s less city-centric and more locally rooted?

I do, and I hope that eventually leads to more talent coming out of the regions, too.

Is there a dream artist or act you’d like to see play one of these venues, however unlikely?

There are several that would be too big for these sites…Beyoncé at Hitchin, anyone?

Looking ahead, are there new types of spaces or regions you’re excited to explore for future concert series or festivals?

There are indeed and there are always new sites in the planning. Business-wise, we have had an incredibly high success rate with four of our six sites making strong profits in the first year. So we are interested to see what else might work and can be added to the portfolio.