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Jools Holland facts: Musician's age, wife, children, songs and career explained

16 February 2024, 12:55

By Tom Owen

Jools Holland is a versatile and influential musician, composer, and television presenter who has been at the forefront of the British music scene for over four decades.

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From his early days as a keyboardist for the new wave band Squeeze, to his current role as the host of the popular TV show Later… with Jools Holland , he has showcased his talent and passion for a wide range of musical genres, especially boogie-woogie, jazz, blues, and R&B.

He has also collaborated with some of the biggest names in the music industry, such as Sting , Eric Clapton , Rod Stewart , George Harrison , Bono , and many more.

How old is Jools Holland?

Jools Holland is 66 years old as of 2024, and he was born on January 24, 1958 in London.

How did he get his start in music?

Jools Holland got his start in music by playing the piano fluently by ear at the age of eight, and appearing regularly in many pubs in South East London and the East End Docks by his early teens.

He was introduced to Glenn Tilbrook and Chris Difford at the age of 15, and joined Squeeze, a new wave band that had meteoric success in the UK and the US.

He also worked as a session musician for various artists, such as Wayne County & the Electric Chairs, The The, and many more.

What instruments does he play and what are his most famous songs?

Jools Holland / Jamiroquai - I'm In The Mood For Love (Official Video)

Jools Holland plays the piano, keyboards, guitar, and also sings.

He is also the bandleader of the Jools Holland and His Rhythm & Blues Orchestra, which consists of 19 musicians playing various instruments such as saxophones, trumpets, and trombones.

Some of his most famous songs are:

• Tempted (with Squeeze)
• Uncertain Smile (with The The)
• Enjoy Yourself (with Prince Buster)
• I’m in the Mood for Love (with Jamiroquai )
• Valentine Moon (with Sam Brown)

Is Jools Holland married and does he have children?

Jools married his long-term girlfriend Christabel McEwen in 2005. She is a sculptor and the daughter of a folk singer and botanical artist.

They have a daughter named Mabel, who was born in 1991.

Jools Holland also has two children from his previous relationship with a hairdresser named Mary Leahy. They are George and Rose. He also has a stepson, Frederick Lambton, Viscount Lamton, from his wife’s previous marriage.

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Squeeze (formed in 1974) is arguably the finest new wave band to grace the ‘70s and ‘80s, bridging the gap between British rock and post-punk, hailing from London, England.

Originally formed in 1974 by Chris Difford who advertised for a guitarist in a local sweet shop, guitar player Glenn Tilbrook was the only respondent and subsequently joined. Keyboard player Jools Holland and drummer Paul Gunn arrived shortly afterwards and the group began playing the pub rock circuit under the monikers Captain Trundlow’s Sky Company and Skyco. The name Squeeze was later decided upon, chosen as a tribute to The Velvet Underground’s 1973 album of the same name. Bassist Harry Kakoulli was added in 1976 at the same time Gunn was replaced by former Chuck Berry drummer Gilson Lavis.

Squeeze released their debut EP “Packet of Three” in 1977 on Deptford Fun City Records, after which the group secured a record deal with A&M Records. With much of their initial output discredited by label execs, Squeeze’s debut self-titled album didn’t prove to be the best representation of their early material upon release in 1978. The group’s 1979 sophomore release “Cool for Cats” was a much more cohesive sound and spawned a pair of No. 2 singles “Cool for Cats” and “Up the Junction”. Subsequently the EP “6 Squeeze Songs Crammed into One Ten-Inch Record” was issued in late 1979, after which Kakoulli was fired from the group and replaced by John Bentley.

“Argybargy” appeared in 1980 representing a modest U.S. breakthrough, spawning the singles “Another Nail in My Heart” and “Pulling Mussels (from the Shell)”. Proficient pianist Jools Holland departed the group after the release wishing to pursue a boogie-woogie aesthetic and was replaced by the extolled Paul Carrack, formerly of Ace. Produced by Elvis Costello and Roger Bechirian, Squeeze’s fourth full-length “East Side Story” was critically acclaimed, peaking at No. 44 on the Billboard 200. The group continued to release a string of albums across the 1980s, following a short hiatus, including “Sweets from a Stranger”, “Difford & Tilbrook”, “Cosi Fan Tutti Frutti”, “Babylon and On” and “Frank”, raising Squeeze’s reputation as one of the respected live bands in the UK.

The live album “A Round & a Bout” arrived in 1990, after which, with contributions from sessions musicians Steve Nieve, Bruce Hornsby, and Matt Irving, the group issued the full-length “Play” in 1991. With little label backing the album performed poorly, and following the record drummer Lavis went to play in Jools Hollands’ big band. The record “Some Fantastic Place” was released in 1993, debuting at No. 26 in the UK, followed by “Ridiculous” in 1995, and the compilations “Piccadilly Collections” and “Excess Moderation”. Having completed their contractual obligations to A&M, Squeeze signed with independent Quixotic Records for their 1998 studio release “Domino”.

Live reviews

One of the television highlights of 2015 has been "Cradle To Grave", a light-hearted slab of early 70's nostalgia that has seen Danny Baker's adolescent adventures brought to the screen. Responsible for much of the show's jaunty soundtrack is one of the world's finest songwriting partnerships, Chris Difford and Glenn Tilbrook, who, with "Cradle To The Grave" have released the first album of new material under the Squeeze banner since 1998's "Domino".

Wednesday evening found the band at Sage Gateshead towards the tail end of a successful UK tour proving that like a fine wine, they just get better with age. While Difford and Tilbrook remain Squeeze's core, both drummer Simon Hanson and keyboardist Stephen Large are familiar faces to Squeeze fans and they have been joined by Lucy Shaw on bass and, for much of the set, Melvin Duffy on pedal steel guitar.

Opening with a high tempo trio of "Hourglass", "Is That Love" and "Another Nail In My Heart" the band were quickly into their stride, and while the usual parade of tried and trusted pop perfection was offered - "Labelled With Love", "Goodbye Girl", "Black Coffee in Bed", "Some Fantastic Place", "Tempted", "Pulling Mussels" - Squeeze were justifiably pleased to bring us plenty of new songs from "Cradle To The Grave".

Introducing, "Happy Days", Tilbrook commented how nice it was to hear a new song of theirs being played on the radio after all these years and, truth be told, both "Happy Days" and the title track are classic Squeeze songs that could hold their own on any Squeeze album regardless of era. But it was also nice to hear several other tracks from the new album such as "Everything", "Open", "Only 15" and "Nirvana" too and cover versions of Jeannie C. Reilly's "Harper Valley PTA" and Tom Waits' "I Don't Wanna Grow Up" were a pleasant surprise. Squeeze are also happy to trawl their catalogue and pull out some "deep" cuts such as "The Elephant Ride" from 1982's "Sweets From A Stranger" album, performed here solo by Tilbrook on the wurlitzer organ and "The Truth" from 1991's "Play".

Mid-set, Difford invited the audience to leave their seats and move around a little to "Slap and TIckle"' and from that point everyone remained on their feet until the final numbers - singalong versions of "Cool For Cats" and "Take Me I'm Yours" the latter of which, to the crowd's delight saw the band members swap their instruments for acoustics and wander off the side of the stage, along the front row and out through the audience to the lobby where they took some seats and held a meet and greet and signing session.

Opening for Squeeze was the punk-poet himself, Dr John Cooper Clarke. Almost certainly one of the few people whose silhouette looks exactly as it did back in 1977, JCC proved a real crowd pleaser cracking jokes and performing a number of pieces including "I Wanna Be Yours", "Beasley Street" and "Evidently Chickentown" all of which can be found on his new compilation "Anthologia" as well as newer material such as "Trouble at Mall".

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I was wonderfully surprised by the quality of the show. The band has had it's up's and downs in recent time but both Glen Tilbrook and Chris Difford lead a tight band including 2 drummers, 2 keyboards, accordion, steele guitar, etc. (special mention to Simon Hanson on drums) through 23 songs across the wide spectrum of their albums from Squeeze to the most recent, The Knowledge.

They covered the hits of course but also were not shy about going deeper, it was an almost perfect setlist. You realize how prolific their writing is over time. The casual fan knows Tempted and a few others, but as they opened with Footprints (Babylon and On), perfect vibe to open with, continued staying away from biggest albums until song 4-Pulling Muscles. Other notable moments The Day I Got Home(Play), a slower matured version of King George St (Cosi Fan Tutti Fruti), perfect renditions of early hits Up The Junction and Goodbye Girl and a thumping set closure with If I Didn't Love You which the entire band were perfectly in sync and blowing the doors off the Holland Center.

Glen Tilbrook (in his 60's?) voice was outstanding, hit everything, I thought I had time-traveled back to 1982. The acoustic version of smash hit Tempted was right on the mark, bring the Hammond B-3 organ sound at the end forming a powerful conclusion to a simplified start including an audience sing-along. There was another 10-15 great songs they could have played but I can't complain with what they laid out. Some Fantastic Place the most notable song left out, There at the Top, and I held out for Striking Matches (a potentially perfect live song). I also valued hearing Loves Crashing Waves from Difford & Tilbrook solo effort (better than critics gave them credit for).

Difford and Tilbrook were the only original members. I was a giant fan of Gilson Lavis on drums with the original keyboardist Jools Holland-tremendous stage presence/entertainer but the backup band was excellent -tight, it all worked beautifully.

KT Tunstall was a strong opener. It was my first visit to the Holland Center in Omaha and it is a great concert hall, better than anything we have in Kansas City, great sightlines, acoustics, and professional staff.

Please reacquaint yourself with this band, best songwriters of a generation, the depth of their work is what most do not realize.

Squeeze Squeeze came on the seen in the earlier 80’s and it didn’t take long for the London act to gain a cult following. In a similar style to other iconic London bands such as Madness and The Jam they wonderful crafted songs telling the stories of their every day working class lives. In a happy ‘tongue in cheek’ way they sing about all the highs and lows, mischief, troubled romances and many more issues one may come across. Anyone can surely listen to the songs and smile in recognition of such experiences.

The band was made up of Difford and Tilbrook, two wonderfully talented lyricists and songwriters, not to mention an extremely underrated guitarist in Tilbrook. Then with Lavis on drums, who was considered one of the best drummers at the time and Jools Holland on Keys, they had all the tools to make them infamous! They got themselves a reputation for being a wonderful live act. With all the members full of energy and with a repertoire of chart topper such as, Pulling Mussels’ ‘Slap and Tickle’ and ‘Up The Junction’ they are a spectacle l not to be missed. A class, feel good British band! One of the best of the 80’s!

They started off with great energy and the 1st 5 songs were really well played. The set then took a bit of a nose-dive, then they got back into the swing of things with a fabulous rendition of 'Labelled with Love' - that was followed by a a whole string of hits (a couple of covers, and two newer songs which were excellent 'Cradle to the Grave' and 'Happy Days') - culminating with Cool for Cats and Take me I'm Yours for the encore.

We had a really good view of the band and they were in good spirits - overall and excellent evening out to see one of Britains best ever pop bands. Highly recommended to catch them before they decide to quite forever.

The set list is pretty much the same as the one that can be found here: http://www.setlist.fm/setlist/squeeze/2015/indigo2-london-england-33f450f1.html

Holy shit that show was better than anticipated. Might have been the youngest person in the crowd. Expected a bunch of seat-ridden geriatrics but Squeeze got them off their asses. Everyone was up by Cool for Cats. Tempted about brought down the house.

Time has killed most groups that have been around this long, for squeeze it has only made them more delectable like a fine wine. That last part I'm just guessing I'm the douche in the crowd with a PBR.

Also their opening band was Look Park. Never had heard of them but the voice was familiar. Now I know. Wish they had created a song called Stacy's Grandma.

Met Bernie Sanders brother after the show. Found it was the guitarist for Look Park. Badass.

Keep rocking folks. I'll keep listening.

Following a superb opening set by 9 Below Zero in support , enter stage right Squeeze. The band has enjoyed and rightly so considering the huge songwriting skills of Tillbrook and Difford a huge resurgence of popularity. Taking many songs from the new album The Knowledge, which were rightly well received , and surrounding with old classics was a balance that worked . Came away thinking they might not be in the first flush of youth but the energy and sheer songwriting power lifts this band into lofty heights . I just hope those there on the day were aware of what they just witnessed , genius of master craftsmen at the top of their game ! If they come to your town just go you owe to yourself you work hard ; this is entertainment !

Thoroughly enjoyed the gig. Played all my old favourites and many others as well.

For me the sound wasn't quite right, I always enjoyed their lyrics but at times the music drowned out the vocals which I think is down to the mixing gurus. I also felt they hit every song hard which worked for many but not for all off them.

My highlights were Labelled with Love (I could hear the lyrics) Slap & Tickle (which was just Glen and Chris - felt they could have done the whole gig this way and it would have been awesome) Cool for Cats and Take me I'm yours which has always been a favourite.

All in all an enjoyable night out and a must for all Squeeze fans as they played songs that they hadn't done live for years....

Pretty mixed feelings here.

-Squeeze had a lot of less well known songs for the first 2/3 of the show. And most of those pieces were frankly a bit boring and low energy IMO. [I realize bands want to play other songs than their hits from 35 years ago. But I just wasn't excited about most of the songs they selected.]

-The last 1/3 of the show they played many well known Squeeze songs and a couple of Difford & Tilbrook songs. Most of these would be songs up to "Babylon and On" album ('88). The band was very tight on all of these songs. This was much more enjoyable.

-"Black Coffee In Bed" as their final song is a fine choice. I wasn't thrilled with the jam band session the song turned in to.

Show was great. After SO many years and thousands of shows the band was very enthusiastic and seemed to be having great fun. The crowd was VERY into it, so much so that Tillford kept thanking the audience for it's enthusiasm. They played a good variety of songs and hit all the big hits. X was really good too - I didn't realize they were opening and that was a big bonus. That said, the venue itself is well organized, fairly clean, and fun. However, the acoustics, at least so the stage level, were pretty bad, very little accuracy and balance to the vocals and low to mid bass was very mushy and the treble (high guitars, etc.) were very weak. Impact of drums and stuff were good.

What can we say? Saw Squeeze for the first time at Camp Bestival in 2016 and promised ourselves we would see them again as we loved them so much and were in touching distance of them! Saw them at Symphony Hall in Birmingham on Friday 6 October and they were as amazing as we had remembered. To see and hear them at their own gig for a full two hours was wonderful. Two hours of hits and new songs and energy and Glenn and Chris! Wow! Wonderful, fantastic, amazing we would see them again and again and again. Looking forward to hearing the new album and will defo be booking tickets for their next tour. Well done boys and your lady bass player!! YOU WERE AND ARE AMAZING!!

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Squeeze: how we made Up the Junction

Glenn Tilbrook, singer/songwriter: ‘We shot the video in John Lennon’s kitchen. We’d had quite a few beers by then’

Glenn Tilbrook, singer/songwriter

When I was 15, I saw an advert in a shop window. A guitarist was needed for a “recording and touring band: influences the Kinks, Lou Reed and Glenn Miller”. This was Chris Difford’s fictitious band! Even then, he had a gift for making up stories. I’d been playing with Jools Holland for about a year and, though it was lovely, we’d never sparked as writers. Then Chris played me his songs, and his lyrics were incredible. I’d been writing songs since the age of 11 but I’d never have come up with the things he did. I didn’t feel a failure, though. I felt excited.

Once the band got going, we shared a house. Chris would leave lyrics for me on a silver breakfast tray, and I’d go off and put tunes to all this wonderful stuff. Up the Junction was groundbreaking in many ways. Chris had been writing narrative lyrics since we’d met, but this was the first time they’d made it to a record. I was proud of Chris, being able to tell that story – a couple have a baby, but she leaves him because of his drinking – in the space of a pop song. It was a privilege putting music to such an amazing lyric like that was a privilege, inspirational.

We’d been recording at Pink Floyd’s studio and, when everyone went to lunch, I sat down at the piano with a guitar and had the tune by the time they came back. The music was partly inspired by Bob Dylan’s Positively 4th Street . There’s no chorus because I thought a repeated section would spoil the flow of Chris’s story.

When we gave it to the record company, they told us to go back and finish it, so I came up with the little keyboard melody that Jools plays at the beginning, just before I sing: “I never thought it would happen with me and the girl from Clapham.” We made the video in the kitchen of John Lennon’s old house, where he’d done the Imagine video , with the white piano and the door that read: “This is not here.” What a place to visit when you’re starting out! We’d spent all day making the video for Cool for Cats , and had had quite a few beers. Then the director said: “Oh yeah – and we’re going to do Up the Junction, too.” That’s why we look so bleary.

The press started calling us the “new Lennon and McCartney”, which was a gift for our marketing people. We never lived up to that, but I think I can say Up the Junction is a timeless classic.

Chris Difford, guitarist/songwriter

There was a young English teacher at my school who was quite debonair compared to the others, who were all ancient. He noticed I’d been writing poetry on the back of my exercise books, so he gave me some Donovan and Bob Dylan albums and said: “These people put poems to music. Maybe that’s something you could think about.” Very forward thinking for 1970. We also had a great art teacher, who was also young. She’d tell us to bring in our records and we’d play them while she tried to touch us up, which was great fun.

After school I was lost, looking for friends really, somebody to team up with. I’d written a few songs and had this idea that I could be the David Bowie of Deptford. Then I met Glenn. We were like two barges on a river banging into each other. It was – and is – a very intense relationship, like a marriage. I’m emotional and a fantasist. Glenn is more thought out, and a much more fluid guitarist. So we decided that I would write the words. And I knew I could trust him to come up with wonderful music.

Up the Junction took as long to write as it takes to read it. My mum and dad used to watch The Wednesday Play on BBC1 , and I got drawn into those half-hour, kitchen-sink dramas. One was called Up the Junction, an adaptation of Nell Dunn’s book by Ken Loach. I pinched the title, but the rest of story is from my imagination, though there was a Railway Arms pub in Blackheath, where I was living. I never “got a job with Stanley, who said I’d come in handy”, but I loved those Ian Dury-type rhyming couplets. The line “I’d beg for some forgiveness, but begging’s not my business” still makes me chuckle. It sums up male stubbornness.

Our manager said he’d eat his hat if Up the Junction was a hit – and then it reached No 2 in 1979. It’s still one of my favourites. Many years later, the “girl from Clapham” turned up in another Squeeze song, A Moving Story . She’d moved to the sea front, remarried, and her daughter was getting married, too. I thought they deserved a happy ending.

Squeeze tour in September to accompany their album From the Cradle to the Grave. Details: squeezeofficial.com

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Live at the Liverpool Philharmonic Bluray + 2CD

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Up the junction, cool for cats, pulling mussels (live), black coffee in bed, another nail in my heart, annie get your gun (live), goodbye girl (live), is that love, take me i’m yours, electric trains, tempted (live), cradle to the grave, sunday street, labelled with love (live).

Live at the Liverpool Philharmonic

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The Knowledge

Spot The Difference

Babylon and On

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Cosi Fan Tutti Frutti

Sweets from a Stranger

East Side Story

Cool for Cats

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Jools Holland announces Autumn tour 2023 and special guests

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Three members of Squeeze reunited for Jools Holland concert at Lincoln Castle

A vast repertoire of music spanning decades of collaborations and original material

• 12:44, 26 JUN 2018
• Updated 12:53, 26 JUN 2018

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Jools Holland is bringing his Rhythm and Blues Orchestra back to Lincoln Castle in July and some very special guests will bring three original Squeeze band members together again.

The concert will be held on July 7, and fans of Jools Holland will be able to enjoy a performance of music from a vast repertoire spanning decades of collaborations and original material.

London-born Jools could play the piano fluently by ear by the age of 8, and was already gigging around London by his early teens.

At 15 he was introduced to Glenn Tilbrook and Chris Difford and together they formed famous pop group Squeeze.

In fact, the special guest on the night will be Chris Difford; this will mean three original Squeeze band members – Jools Holland, Chris Difford and Gilson Lavis (drummer with Jools Holland’s Rhythm and Blues Orchestra) – will be reunited on stage.

With his Squeeze co-founder Glenn Tilbrook, double Ivor Novello award winning lyricist Chris Difford has written some of the most enduring songs of our time such as Up The Junction, Cool For Cats and Labelled With Love.

Further support will come from London-based singer/songwriter Ella Janes, a rising star in folk music circles.

Chasing your dreams

Ella's first major success came in 2014, when she was asked to open for Simple Minds and Toploader at Alnwick Castle.

"I took it as a joke, to be honest! With about three days’ notice I told them I would do it."

The sound engineer at the concert then recommended her for Jools’ tours and, after four years she finally attained an invitation to do so.

In the meantime, in 2017, she quit her job in a music agency to perform as a busker.

"I started in the cold November and December weather, but when I felt cold I would ask myself whether I wanted to be busking or back in that office. It was always busking."

When asked whether she ever regretted the decision to abandon the working world for her dream, Ella replied with an emphatic "never".

"Chasing your dreams depends on how much you want it. Like other artists, I was often riddled by self-doubt, but if you really want something persistence is the only option. You don’t really have the choice."

Her first concert with Jools was at Tunbridge Wells Assembly Hall, a venue which sold out.

"It was an honour, and a fabulous opportunity. I’ve now performed twice with Jools, and each time has been absolutely fantastic – but they’ve been in music hall type venues, so I’m excited to play in a different arena."

Ella says she is never anxious about her performances with the major talent.

"I’ve been performing since 13, and in musicals as a child. I took a French degree and lived in France for a while, then entered the working world. I took up jobs in administration, so I could back out if needed for the music."

She is also excited about the ‘lovely backdrop’ Lincoln has to offer.

"I’m going to make a whole weekend of it and explore the city, just see where things take me!

"I’m hoping people will bring picnics [to Lincoln Castle ] and watch the sun set – I think it will be like the concert at Alnwick Castle. There’s a different vibe when it’s an outdoor event."

As to whether audiences will see Chris Difford, Jools Holland and Gilson Lavis turning back the clock together on stage Ella added: "I'd imagine so, but guess we will have to wait and see!"

Metamorphosis

The Jools Holland Big Band was formed in 1987, but this gradually metamorphosed into the current 20-piece Jools Holland and his Rhythm and Blues Orchestra – now consisting of pianist, organist, drummer, three female vocals, guitar, bass guitar, two tenor saxophones, two alto saxophones, baritone saxophone, three trumpets and four trombones.

Jools has also maintained a prolific recording career since signing to Warner Music in 1996, which includes the multi-million selling Jools Holland and Friends series.

He’s also very well-known for his television work, notably becoming co-presenter of The Tube with Paula Yates, which achieved almost immediate cult status in the 80s. Also, BBC 2 television show Later...with Jools Holland. Hootenanny is an annual show presented by Jools and broadcast on New Year’s Eve as an end of year special for Later... with Jools Holland.

The open air concert at Lincoln Castle is not a seated event. Golden circle tickets allow access closer to the stage than a General Admission.

Event time: 5.30pm-11pm. General admission £35.95 plus £2.60 free, Golden circle ticket £54.95 plus £3.57 fee. Buy tickets online at HERE .

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• Jools Holland
• Jools Holland and His Millionaires (IRS) 1981 
• Jools Holland Meets Rock'a'Boogie Billy (IRS) 1984 
• World of His Own (IRS) 1990 

Best known now as the host of a long-running music show on British television, the flamboyant pianist — a cigar-chomping hustler able to energize even the most blasé audience — provided much of the zest on Squeeze’s first three albums. For his solo debut, Jools adopted a less contemporary stance, playing old-fashioned bar-room romps with energy and panache. Produced by Glyn Johns, the record contains one classic oldie (“Bumble Boogie”) and rollicking originals, some co-written with Chris Difford.

Leaving his Millionaires behind, Rock’a’Boogie Billy reunites Holland with once-and-future Squeeze drummer Gilson Lavis; otherwise, the self-produced album was recorded solo “at the back room of Holland’s home (which accounts for the authentic sound).” The eight tracks, including four Difford collaborations and the old “Flip, Flop & Fly,” offer more rustic uptempo friskiness soaked with American barrelhouse and ragtime atmosphere — imagine a young Jerry Lee Lewis in prime condition with no religious hangups. Turn it up and hoist a few!

When Squeeze reformed in 1985, Holland was back in the piano seat, and stayed through the group’s ’89 tour documented on A Round and a Bout . With instrumental assists from his ex-bandmates and numerous other artisans, World of His Own provides an impressive sampling of Holland’s various talents. There’s Squeezy synth-pop, plenty of boogie-woogie, some horn-fed R&B, even a New Orleans- cum -ska version of the Lee Dorsey-Allen Toussaint classic “Holy Cow.” To top it off, Holland throws in a bizarre but captivating modern instrumental number featuring keyboards, pedal steel and harp (the stringed kind). Really wild, Jools! Unlike Holland’s past albums, which always had something of a novelty feel, World of His Own is serious fun, and by far his best solo record yet.

See also: Squeeze

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Jools Holland: The Man Who Turned New Year’s Eve into a Musical Phenomenon

Have you ever paused to consider what truly makes New Year’s Eve in the United Kingdom an event of such unparalleled joy and celebration? It goes far beyond the dazzling fireworks lighting up the night sky or the suspenseful countdown to midnight. The real magic of this festive night lies in the music – those soul-stirring rhythms and melodies that have the power to unite families and friends in a shared experience of joy and nostalgia. At the very heart of this musical euphoria stands a figure emblematic of British music culture: Jools Holland. His journey from the early days with the groundbreaking Squeeze Band to orchestrating the sensational BBC Hootenanny has not just shaped but fundamentally redefined the musical landscape of the British public.

The Early Days: Squeeze Band and Beyond

Jools Holland’s emergence as a musical icon was no overnight phenomenon. His odyssey in the world of music commenced with the legendary new wave ensemble, Squeeze. This band, known for hits like ‘Cool for Cats’, was more than just a stepping stone in Holland’s career; it was the crucible in which his unique musical identity was forged. But what was it about Squeeze that so profoundly set the stage for Holland’s illustrious future?

The Birth of a New Year’s Tradition

Try to envision a New Year’s Eve devoid of the vibrant tapestry of music – it seems almost inconceivable, doesn’t it? This is the transformative impact Jools Holland has had on this festive night. He didn’t just add music to the celebration; he turned it into a grand musical extravaganza, a symphony of joy and togetherness. The story behind this transformation is not just about changing a tradition but creating a cultural phenomenon.

Jools Holland and the BBC Hootenanny

The BBC Hootenanny, under Jools Holland’s stewardship, transcends the ordinary confines of a television show. It has become an institution, a yearly ritual that people across the United Kingdom eagerly anticipate. Holland’s vision transformed a simple broadcast idea into a cherished tradition. But what elements make this show so distinct and adored throughout the UK?

The Essence of British Music Culture

Discussing British Music Culture without mentioning Jools Holland would be an incomplete narrative. His contributions extend far beyond the realm of songs and performances. Holland has woven a rich tapestry of musical innovation and cultural integration that resonates deeply with the British identity. But what exactly are these contributions, and how have they shaped the perception and evolution of music in Britain?

Jools’ Unique Approach to Music

Jools Holland’s relationship with music is deeply personal and immersive. He doesn’t just perform music; he embodies it. His approach to music is as distinctive and charismatic as his personality. This unique approach sets him apart in a world teeming with talented musicians. But what are the nuances of this approach, and how have they influenced the music industry and his audience?

The Transformative Power of Collaboration

At the core of Jools Holland’s musical philosophy is the belief in the transformative power of collaboration. His career is a testament to the magic that ensues when diverse talents and visions converge in the realm of music. Holland’s experiences with collaboration have not only shaped his career trajectory but have also redefined the concept of musical synergy. How have these collaborative endeavours influenced his music, and what lessons can be gleaned from them?

In exploring these facets of Jools Holland’s career, we delve into the story of a man who has become synonymous with musical innovation and cultural celebration. His journey is a narrative of passion, creativity, and the unifying power of music. As we celebrate the 30th year of his hosting the BBC Hootenanny, we are reminded of the enduring impact and legacy of Jools Holland in the tapestry of British music culture.

Embracing Jazz and Blues

Jools Holland’s musical journey is deeply intertwined with the soulful and expressive genres of jazz and blues. These styles hold a cherished place in his heart, resonating through his work and performances. But what is it about jazz and blues that so profoundly influences Holland’s music? The answer lies in the raw emotion and improvisational freedom these genres offer. Holland’s foray into jazz and blues is not just an exploration of musical styles; it’s a deep dive into the heart of musical expression. His ability to blend these genres into his work has not only enriched his musical repertoire but also contributed significantly to the evolution of these timeless genres. Holland’s interpretations and performances have introduced jazz and blues to new audiences, ensuring their continued relevance and vitality in the modern music scene.

The Magic of Live Performances

There is an undeniable magic in live music performances, and Jools Holland stands as a master of this art. His concerts are more than just musical events; they are immersive experiences that captivate and engage audiences. What sets Holland’s live performances apart is his ability to create an intimate connection with the audience, making each concert feel like a personal interaction rather than a distant spectacle. His dynamic stage presence, combined with his skillful musicianship, creates an atmosphere where each note resonates with the audience’s emotions. The uniqueness of Holland’s concerts lies in their unpredictability and the sheer energy he brings to the stage, making each performance a memorable and unique experience for the audience.

A Tour Through the British Isles

Jools Holland’s recent tour across the British Isles was not just a series of concerts; it was a celebration of the rich and diverse musical heritage of the region. Each city on the tour has its own unique musical story and rhythm, and Holland’s performances reflected this diversity. By incorporating local musical elements and engaging with local artists, Holland’s tour became a journey through the heart of British music culture. This tour was more than just a showcase of his musical prowess; it was an homage to the varied musical landscape of the British Isles, highlighting the rich tapestry of sounds and styles that define it.

Music as a Unifying Force

Music, in the hands of Jools Holland, becomes a powerful unifying force. His work exemplifies the ability of music to bring people together, transcending barriers of age, culture, and background. Holland’s music speaks a universal language, one of emotion and shared experience. Through his performances and compositions, he creates a common ground where audiences can come together in celebration and appreciation of music. This unifying aspect of Holland’s work is a testament to the power of music as a tool for connection and understanding.

The Future of Music with Jools Holland

Looking towards the future, Jools Holland’s role in the evolving landscape of music remains a subject of great anticipation and excitement. His continuous innovation and willingness to explore new musical territories suggest that his influence will continue to shape the music industry. We can expect Holland to remain at the forefront of musical exploration, pushing boundaries and bringing new sounds to his audiences. His enduring passion for music and his commitment to artistic growth ensure that his future contributions will continue to inspire and entertain.

The Legacy Continues

As we reflect on the remarkable career of Jools Holland, it’s clear that his impact on music and culture is profound and far-reaching. His legacy is not just in the songs he has played or the shows he has hosted, but in the way he has touched the hearts of his audience and influenced the musical landscape. Holland’s journey is a reminder of the enduring power of music and its ability to inspire, unite, and bring joy. As he continues to make his mark, one thing is certain: the legacy of Jools Holland will continue to resonate for generations to come.

1. What makes Jools Holland a significant figure in British music culture? Jools Holland’s unique blend of musical styles, his role in popularising New Year’s Eve music, and his contributions to the BBC Hootenanny have made him an integral part of British music culture.

2. How did Jools Holland start his music career? Jools Holland began his music career with the Squeeze Band, where his keyboard skills played a crucial role in their success.

3. What is the significance of the BBC Hootenanny? The BBC Hootenanny, hosted by Jools Holland, is a beloved New Year’s Eve tradition that showcases a mix of musical genres and artists, reflecting the diversity of British music.

4. How has Jools Holland influenced jazz and blues music? Jools Holland has embraced jazz and blues in their rawest forms, contributing to their evolution and popularization through his performances and television shows.

5. What is the essence of Jools Holland’s approach to music? Jools Holland’s approach to music is characterised by a deep understanding of collaboration, a passion for live performances, and a commitment to celebrating the unifying power of music.

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Squeeze's Jools Holland

Though he is still a recording artist, former Squeeze keyboardist Jools Holland is more well-known in the UK for his hosting duties on BBC television and radio.

Julian Miles Holland was born Jan. 24, 1958, in London. He began playing the piano as a young boy and studied harmony and music theory. As a teenager, Holland was a regular pub player in south London and the East End.

When he was 15, Holland met guitarists and singer/songwriters Chris Difford and Glenn Tilbrook. The three formed the sophisticated Brit-pop band Squeeze with bassist Harry Kakoulli and drummer Gilson Lavis in 1974. The band at first entertained but ultimately rejected the name Cum, playing instead under the name Captain Trundlow's Sky Company, or Skyco, for a few early gigs. The name Squeeze was a result of Difford's admiration for the Velvet Underground, who issued an obscure LP of the same name.

Squeeze's debut LP was U.K. Squeeze (1978), and they had UK hits with "Take Me I'm Yours" ( RealAudio excerpt ), "Up the Junction" and "Cool for Cats" (the title track of their 1979 LP).

Though they weren't pop hits, "Another Nail for My Heart," "Pulling Mussels (From the Shell)" and "If I Didn't Love You" (all from 1980's Argybargy ) broke Squeeze into the United States, on college radio stations, during new wave's peak.

Holland quit Squeeze because he wanted to play boogie-woogie piano. He formed the Millionaires, whose releases included Jools Holland and His Millionaires (1981). Meanwhile, Squeeze had more success, with former Ace keyboardist Paul Carrack, on East Side Story (1981).

Squeeze split in 1982 and then re-formed three years later with Holland, Tilbrook, Difford, Lavis and Keith Wilkinson (bass). They issued Cosi Fan Tutti Frutti (1985) and Babylon and On (1987), which yielded the band's first big U.S. pop hit, "Hourglass." After Frank (1989) bombed, Holland quit the band again.

Holland resumed his solo career with World of His Own (1990), The Full Compliment (1991) and The A to Z Geographers Guide to the Piano (1993). He began touring with the Rhythm and Blues Orchestra, featuring Lavis. Holland also became the host of BBC-TV's "Later with Jools Holland," an eclectic music show, and he hosted a British version of "Name That Tune," featuring his orchestra.

His TV work was inspired by the good time he had making a documentary about the Police in Montserrat, in the early '80s. Holland's earlier TV work included hosting BBC music show "The Tube" and its "Juke Box Jury" and NBC-TV's "Sunday Night" with saxophonist David Sanborn.

Other documentaries Holland made include "Walking to New Orleans" and "Mr. Roadrunner," about American jazz and blues musicians. In 1988 he co-wrote a six-part TV series, "The Groovy Fellas," about a Martian visiting Earth.

Holland also worked on musical projects with Sting, Eric Clapton, George Harrison and others. The Beatles invited him to conduct interviews for their mid-'90s "Anthology" films. Holland also works on BBC Radio.

Holland tours year-round with his orchestra and last year released a new LP, Sunset Over London, featuring tracks such as "The Seventh Sacrament" and "I Dig Rhythm and Blues."

He also appeared in the Spice Girls movie "Spice World" (1997).

In 1996, Squeeze released two compilations — the single-disc Piccadilly Collection, in the States, and the double-disc Excess Moderation, in the UK.

Their Singles: 45's and Under (1982) has gone platinum in the U.S.

Other birthdays on Monday: Ezekiel Carey (Flamingos), 67; Neil Diamond, 59; Aaron Neville, 59; Ray Stevens, 59; John Rutledge (Bloodrock), 53; Warren Zevon, 53; Michael Des Barres, 52; Matthew Wilder, 37; Pat "Sleepy" Brown (Society of Soul), 30; and John Belushi (Blues Brothers), 1949–1982.

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Jools Holland Announces Autumn Tour 2023 and Special Guests

Musical maestro Jools Holland and his revered Rhythm & Blues Orchestra have today announced the run of dates and special guests of their 2023 Autumn/Winter UK tour. Starting in Southend on November 2nd, the tour will take in 30 shows across the UK including two dates at London’s Royal Albert Hall on Friday 24th and Saturday 25th of November. Renowned as one of the UK’s most popular tours, this year the show will feature The Selecter’s Pauline Black and Arthur ‘Gaps’ Hendrickson as special guests.

Pauline Black and Arthur ‘Gaps’ Hendrickson are no strangers to Jools and the orchestra, having joined them for a memorable tour in 2016. The duo are founding members of the influential Coventry based two-tone band and ska pioneers The Selecter. Their debut album ‘Too Much Pressure’, released in 1980, still remains a key moment of British music history. The two vocalists have been an unstoppable force since relaunching The Selecter, entertaining audiences throughout the country with their incredible live performances, including hits like the classic ‘On My Radio’.

Fans will be thrilled to hear that the shows will once again feature the outstanding vocals of Ruby Turner and Louise Marshall, as well as the highly talented Sumudu Jayatilaka, who joined Jools for the first time in 2022. Together with the inimitable musicianship of the Rhythm & Blues Orchestra, which features drums from original Squeeze member Gilson Lavis, Jools Holland will be performing tracks spanning his entire solo career. With a catalogue that reaches through decades, prepare to enjoy the greatest boogie-woogie party in town!

Jools Holland said: “Myself, my piano and Orchestra are thrilled to bits because our special guests this year are Pauline Black and Arthur ‘Gaps’ Hendrickson of The Selecter. This magnificent addition will amplify our Ska music credentials and bring an extra razzy dazzy spasm to our dance capabilities. Coupled with our own Boogie Queen and Enchantress, Ruby Turner, this mix will result in one of the most dynamic shows we’ve ever had. But it doesn’t stop there, adding her delicious voice and harmonic enchantments to the evening will be our very own, Louise Marshall. Further, for your aural delectation, we introduce, the much sought-after and wonderful new voice of Sumudu Jayatilaka. All this music will be underpinned by the drums of my Squeeze co-founder, Gilson Lavis and decorated by the scintillating soloists of the Orchestra.”

Tickets for the tour are on general sale from 10am on Friday 3rd February via www.ticketmaster.co.uk / www.seetickets.com

FULL AUTUMN UK TOUR 2023 DATES

Thu 2nd Southend Cliffs Pavilion Fri 3rd Southend Cliffs Pavilion Sat 4th Ipswich Regent Theatre Sun 5th Cambridge Corn Exchange

Thu 9th Stockton Globe Fri 10th Northampton Royal & Derngate Sat 11th Reading Hexagon Sun 12th Harrogate Convention Centre

Thu 16th Stoke Victoria Hall Fri 17th Guildford G Live Sat 18th Bournemouth Pavilion Sun 19th Southampton Mayflower Theatre

Wed 22nd Nottingham Royal Concert Hall Thur 23rd Leicester De Montfort Hall Fri 24th London Royal Albert Hall Sat 25th London Royal Albert Hall

Wed 29th Sheffield City Hall Thu 30th Newcastle City Hall

Fri 1st Glasgow SEC Armadillo Sat 2nd Glasgow SEC Armadillo

Wed 6th Bath Forum Thu 7th Bristol Beacon Fri 8th Plymouth Pavilions Sat 9th Brighton Centre

Fri 15th Birmingham Symphony Hall Sat 16th Birmingham Symphony Hall Sun 17th Leeds First Direct Arena

Wed 20th York Barbican Thu 21st Cardiff International Arena Fri 22nd Manchester O2 Apollo

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Jools Holland and His Rhythm and Blues Orchestra

Special guests pauline black and arthur ’gaps’ hendrickson of the selecter & ruby turner and louise marshall.

• Date 17 Dec , 2023
• Event Starts 7:30 PM
• Doors Open 6.30PM
• On Sale On Sale Now

Already got your ticket?   Beat the queues  and enter via our Black & White Lounge.  Enjoy a  welcome drink  and chill out in our  private bar  until the main acts takes to the stage.  More on Upgrades here.  

Event Details

Musical maestro Jools Holland and his revered Rhythm & Blues Orchestra have announced the run of dates and special guests of their 2023 Autumn/Winter UK tour. Renowned as one of the UK’s most popular tours, this year the show will feature The Selecter’s Pauline Black and Arthur ‘Gaps’ Hendrickson as special guests.

Pauline Black and Arthur ‘Gaps’ Hendrickson are no strangers to Jools and the orchestra, having joined them for a memorable tour in 2016. The duo are founding members of the influential Coventry based two-tone band and ska pioneers The Selecter. Their debut album ‘Too Much Pressure’, released in 1980, still remains a key moment of British music history. The two vocalists have been an unstoppable force since relaunching The Selecter, entertaining audiences throughout the country with their incredible live performances, including hits like the classic ‘On My Radio’.

Fans will be thrilled to hear that the shows will once again feature the outstanding vocals of Ruby Turner and Louise Marshall , as well as the highly talented Sumudu Jayatilaka , who joined Jools for the first time in 2022. Together with the inimitable musicianship of the Rhythm & Blues Orchestra, which features drums from original Squeeze member Gilson Lavis , Jools Holland will be performing tracks spanning his entire solo career. With a catalogue that reaches through decades, prepare to enjoy the greatest boogie-woogie party in town!

Jools Holland said: “Myself, my piano and Orchestra are thrilled to bits because our special guests this year are Pauline Black and Arthur ‘Gaps’ Hendrickson of The Selecter. This magnificent addition will amplify our Ska music credentials and bring an extra razzy dazzy spasm to our dance capabilities. Coupled with our own Boogie Queen and Enchantress, Ruby Turner, this mix will result in one of the most dynamic shows we’ve ever had. But it doesn’t stop there, adding her delicious voice and harmonic enchantments to the evening, will be our very own, Louise Marshall. Further, for your aural delectation we introduce, the much sought after and wonderful new voice of Sumudu Jayatilaka. All this music will be underpinned by the drums of my Squeeze co-founder, Gilson Lavis and decorated by the scintillating soloists of the Orchestra.”

‘The working class can’t afford it’: the shocking truth about the money bands make on tour

As Taylor Swift tops $1bn in tour revenue, musicians playing smaller venues are facing pitiful fees and frequent losses. Should the state step in to save our live music scene?

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When you see a band playing to thousands of fans in a sun-drenched festival field, signing a record deal with a major label or playing endlessly from the airwaves, it’s easy to conjure an image of success that comes with some serious cash to boot – particularly when Taylor Swift has broken $1bn in revenue for her current Eras tour. But looks can be deceiving. “I don’t blame the public for seeing a band playing to 2,000 people and thinking they’re minted,” says artist manager Dan Potts. “But the reality is quite different.”

Post-Covid there has been significant focus on grassroots music venues as they struggle to stay open. There’s been less focus on the actual ability of artists to tour these venues. David Martin, chief executive officer of the Featured Artists Coalition (FAC), says we’re in a “cost-of-touring crisis”. Pretty much every cost attached to touring – van hire, crew, travel, accommodation, food and drink – has gone up, while fees and audiences often have not. “[Playing] live is becoming financially unsustainable for many artists,” he says. “Artists are seeing [playing] live as a loss leader now. That’s if they can even afford to make it work in the first place.”

Potts, who works at Red Light Management – home to everyone from Sabrina Carpenter to Kaiser Chiefs and Sofia Kourtesis – feels like there is an industry equivalent of the Spider-Man meme in which they are all pointing to one another. “People who work at labels think bands make loads of money touring, while booking agents think they make loads of money on publishing and so on,” he says. “Everyone thinks artists make money from the other side of the industry they’re not involved in.

“Artists are the biggest employers in the industry. They pay for the tour manager, session musicians, agent, manager, crew, insurance, travel, accommodation, equipment, rehearsal space, production. Everything. I don’t think people know this is all the stuff that the artist pays for and does.”

“Greater transparency is needed,” says Lily Fontaine, lead singer of Leeds band English Teacher. On paper, the four-piece appear to have made it. They are signed with a major label, Island, have played on Later With … Jools Holland, get healthy BBC Radio 6Music airplay, their debut album has received five-star reviews and they are about to embark on their biggest tour to date, which includes an 800-capacity home-town show.

“The reality is that it’s normal for all of these achievements to coexist alongside being on Universal Credit, living at home or sofa surfing,” says Fontaine. During the making of their debut album, she and bandmate Lewis Whiting did the latter while unable to afford rent.

In their four years of existence, English Teacher have yet to turn a profit from touring. “We’ve never directly paid ourselves from a gig,” says Whiting. “A headline tour usually comes out with a deficit. The only thing that we ever make any kind of profit on is festivals, because the fees can be higher, but any money left over just goes towards the next outgoings.” A successful show for the group in the past has been defined by whether they can flog enough merch to afford a supermarket food shop.

So how do they survive? “In the world of artists, we’re in a lucky position,” says Whiting. “We try to pay ourselves £500 a month each from the band pot.” However, they’ve been reliant on their advance for this, which is now gone. “We’re now in that stage where we’re gonna have to figure out where that £500 a month is gonna come from,” says Fontaine. “Because the gig fees won’t be able to cover that.” The band estimate that their 16-date UK tour in May will generate roughly £800 profit. But, says Fontaine, “realistically, I don’t think there will be any profit because things always go over budget”.

For many artists, fees aren’t increasing in line with costs. “There’s been no real incline at all,” says Potts. “For support slots, I don’t think the fees have changed in the last 10 years or so that I’ve been managing, whether that’s £50 at the smaller end or £500 quid for some of the biggest shows.” Fees for headline shows can vary enormously for bands, even on the same tour. Playing a 200-capacity club in Newcastle may land you £600, while a 1,500 cap in London may net you £3,000.

And fewer people are coming to shows at the small-to-mid-sized end of things. “In our audience data, we see there is a gap in new audiences coming through post-pandemic,” says the FAC’s Martin. “As well as a bit of a drop-off in some of the older audiences returning to live shows.” However, despite stagnant fees and shrinking audiences, touring activity in the UK is at a peak. Due to the costs of touring Europe (which can be thousands in taxes and carnet alone) 74% fewer UK bands are now touring Europe post-Brexit. “It’s much more difficult to tour in Europe so there are more artists trying to perform domestically,” says Martin. “That creates a saturation problem.”

For this article, the Guardian has seen 12 tour budget sheets for various bands and artists varying from up-and-comers to firmly established and successful acts, all of whom regularly undertake headline tours across the UK in venues ranging from 150 to 2,500 capacity. Almost all of these result in losses. Understandably, most shared their balance sheets on the condition of anonymity. One four-piece indie band, whose last two albums went Top 10 in the UK charts, reported a loss of £2,885 from a six-day UK tour. The only tour that shows anything resembling healthy profit was a 29-date tour for a solo artist who came away with £6,550. Not bad going for a month’s work but, as Martin points out, “that’s then his touring done for the next six months. So it’s not enough money.”

Nubiyan Twist are a nine-piece Afro-jazz outfit who have a loyal following and tens of millions of streams on Spotify, “We pride ourselves on being able to put on a big show, like your Fela Kutis or James Browns, these epic spectacles,” says bandleader Tom Excell. “But it’s getting more difficult, without a shadow of a doubt.” For an upcoming eight-show tour of Europe, they are predicting a loss of £4,931.28. The only way they can justify doing it is because they got funding from the BPI Music Export Growth Scheme. “I would have just pulled the plug if it wasn’t for that,” says Excell. “I’ve got a two-year-old and I can’t be away from home for that long and come back with a loss.”

Even when the band get more lucrative fees for festivals it’s still tough. They will be paid £5,000 for a festival performance this summer but the total profit after band wages (as Excell pays all his band members in full first) expenses and commissions are paid out will be £277.60. “After four albums and 15 years doing this, to still be having to gamble on whether I’m going to make anything, while everyone else gets paid a guaranteed amount, is a struggle,” admits Excell.

Such thin margins leave little wiggle room, as the space-surf band Japanese Television (who headline 100-300 capacity venues) found out when their booking agent reduced their 13-date UK and EU tour to eight shows with a five-day gap in the middle that will add a further loss of around £1,200 to a tour that is already set to lose them around £700. “Records and T-shirts are basically what keeps us going,” says the band’s Tim Jones. “The only way this tour is working for us is because we just put out our second album and we did about 60 presales on the vinyl and that was basically enough to pay for the van. It’s a hobby that just about pays for itself.”

The question is: who else will be able to afford to pursue music as a hobby? “It depresses me how many middle and upper class people there are in the music industry,” says manager Potts. “Because the working class just can’t afford to fork out £150 a day for van hire. The only artists doing that are people who have deeper pockets and can afford to take the hit.”

Of course, every act is different in terms of what they justify as reasonable outgoings and not everyone has the same costs, but Potts says from his experience, generally speaking, bands with four or five members now need to be playing 2,000+ capacity venues nationwide to “really start to see things tip”. That tipping point is out of reach for the majority. “Most people don’t actually get to that level,” Potts says. “Just look back at any festival lineup from 10-20 years ago and see which names are still on festival bills and how many you’re like: what happened to them?”

The gap between those who are flying and those who are floundering has become even more stark. “It feels like the top 1% have become the top 0.5%,” says Martin. “The level of artists we’re talking about here that are struggling to make things stack up financially would really surprise people.”

In 2022, the Grammy-winning Pakistani singer Arooj Aftab posted on X: “Touring has been amazing. We headlined a ton, had massive turnouts and have proven ourselves in all the markets. Yet still, running tens of thousands in debt from the tour and I’m being told that it’s ‘normal’. Why is this normal? This should not be normalised.”

I’m told that one US artist – who released one of the most critically acclaimed albums of 2023, which went Top 10 and placed very highly on numerous year-end polls and was nominated for a major award – worked out that the only way she could make her UK tour work was by sub-letting her home.

It’s a far cry from Taylor Swift’s record-breaking Eras jaunt. “The very high end of the live industry is reporting record profits,” says Martin. “You can’t have a healthy music ecosystem where at one end you’ve got people going ‘we’ve made more money than we’ve ever made’ and at the other end you’ve got relatively successful artists that are sofa-surfing while signed to a major label.”

Is there an answer? “When you’re touring Europe, you realise how much state funding in the arts there is,” says Excell. “It really needs more state funding and support from the top down.”

Martin echoes this. “The government needs to start looking at spending money on the music industry as an investment rather than as a cost,” he says. “But you also need to support a sector in a time of crisis. And this is a time of crisis.”

• This article was updated on 25 April with a correction: the Music Export Growth Scheme is run by BPI, not PRS.

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