Music by L D R U & Yahtzel for the people

Management: 
Dom Furber - mgmt@audiopaxx.com

Bookings:
Australasia: dom@audiopaxx.com

North & South America (Madison House): Jake Schneider / Perry Gilman / Tynan Conroy - bookings@carmadamusic.com

EU: paul@Mbartists.co.uk

With themes of family, resilience, and unity woven into their music, The Green has cultivated a devoted global fanbase. Classics like "All I Need," "Love I," and "Wake Up" continue to resonate with long-time listeners, while collaborations with artists such as J Boog on tracks like "Feelings," "Never Give Up," and "Fire up Di Roses" draw in new audiences. Their recent single,Day by Day, featuring fellow Hawaii artist Kolohe Kai, celebrates the Aloha spirit and furthers their mission of spreading positivity.  

Currently, The Green is taking a step back from touring to focus on two meaningful ventures: their brick-and-mortar establishment, The Green General, and their nonprofit organization, Ka Ma’o. Located on the beautiful island of Kaua’i, The Green General offers ono shaved ice, local snacks, and exclusive merchandise, serving as the only physical location for fans to purchase The Green’s merch. Ka Ma’o, a lifelong dream come true for the band, is dedicated to giving back by mentoring aspiring musicians and sharing the lessons they’ve learned on their journey.  

The Green continues to inspire, connecting fans worldwide to the essence of Hawaiian reggae and the enduring spirit of Aloha.

In The Lonely Hour (10th Anniversary Edition) out now 🤍
https://samsmith.world/itlh10

Ben Howard returns with his 4th album, Collections From The Whiteout, produced alongside Aaron Dessner (The National). The foreboding darkness that coated Ben’s second record I Forget Where We Were and thinly veiled its follow up Noonday Dream, isn’t so evident on Collections. These are songs written from headlines scanned, or news stories scrolled past, providing inspiration for a selection of vivid narrative snapshots – the death of amateur sailor Donald Crowhurst (Crowhurst’s Meme); Russian fraudster Anna Sorokin (Sorry Kid); the man who stole and crashed a plane in Seattle (The Strange Last Flight Of Richard Russell); and the dismembered body a friend of his father found in a suitcase floating along the Thames (Finders Keepers). Alongside them, the personal anecdotes from the same scattered period living between Paris, Devon and Spain. Yussef Dayes features, as does Kate Stables (This Is The Kit), James Krivchenia (Big Thief), Kyle Keegan (Hiss Golden Messenger), and Dessner. Thomas Bartlett, St. Vincent’s go-to pianist, and Rob Moose, a long-standing arranger of strings for Bon Iver, are also present. Long-term guitarist to Ben’s band, Mickey Smith (A Blaze of Feather), remains a reassuring constant. It’s a sonic adventure that continues this nagging suggestion that Ben is one of the UK’s most inventive and naturally talented songwriters. CFTW is his latest opus, and arguably his most fully realised to date.

George Kelly aka DJ Butcher.
Producer  / Label Manager / Content Creator

Management: MK@threesixzero.com
Bookings NA: MKteam@WMEAgency.com
Bookings RoW: nick.matthews@teamwass.com

Once transmitted through speakers and into the airwaves, music belongs to the people. The audience ascribes meaning and significance to songs and ultimately absorbs them for life.

By the same token, SIX60 belong to listeners. The history-making award-winning New Zealand quintet—Matiu Walters [vocals, guitar], Marlon Gerbes [keyboard], Ji Fraser [lead guitar], Chris Mac [bass], and Eli Paewai [drums]—stir rock, reggae, funk, and pop together with a twist of kiwi roots music and Maori instrumentation. Invoking this spirit and Kiwi roots, their latest music and next evolution showcases traditional Maori instruments such as Pūtātara and Pūkāe (stone and long trumpets), Bone Kōauao (Bone Flute), and Karanga Weka (Stone Flute). “We want to take our Maori culture and put it into a mainstream radio world,” exclaims Matiu. “There are only a handful of people in the world who can play these instruments, and we felt getting them into a mainstream album could give them a chance to stay alive.”
Over a decade before breaking records and selling out stadiums back home or signing to Epic Records stateside, the boys then welcomed the world into their musical ecosystem and set a career precedent in 2008 while still students.

“At University of Otago, we shared a flat at 660 Castle Street in Dunedin, New Zealand,” recalls Matiu. “We originally didn’t name the band. Instead, our first college fans gave the band the name by calling us the ‘SIX60 Boys,’ which evolved into SIX60. We adopted this philosophy into our albums. The fans add the final touches and have naming rights over things we do. The songs aren’t done until the audience has them. So, the album doesn’t really have a spirit or a name until the crowd consumes it.”

As such, SIX60 engender a rare level of devotion from fans, bordering on downright phenomenal. The group’s 2011 full-length, SIX60 (I. The Gold Album), bowed at #1 on the charts in New Zealand and eventually went septuple-platinum. SIX60 (II. The Colours Album). saw them reclaim the top spot on the charts in 2015 and go quintuple-platinum. To date, New Zealand single sales exceed 1 million as global streams surpass 200 million and counting. At the 2018 NZ Music Awards, they garnered “Best Group” in addition to five other honors.

A year later, they made history. Performing their biggest show to date, they sold out Western Springs Stadium in New Zealand and became “the first New Zealand Act to Sell 50,000 Tickets to a Show at the Stadium” (They repeated the same feat for 2020!). The gig proved to be a major milestone both professionally and musically.

Management: alex@fatcatmusicgroup.com
N/S America bookings: alex@abtouring.com
AU/NZ/Asia bookings: alex@fatcatmusicgroup.com

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