Fact piece – The Guardian

Wireless festival cancelled after risky booking of rapper Kanye West 

Tom Hickey

Wed 15 Apr 2026

Wireless festival 2026 has been officially cancelled after the Home Office revoked the rapper’s visa. 

Kanye West live on tour. Photograph: Scott Dudelson/Getty Images

The cancelation comes after weeks of controversy, with numerous festival sponsors including Pepsi Co and Diageo, withdrawing sponsorship. 

In a statement, live nation said: “The Home Office has withdrawn YE’s ETA, Denying him entry into the United Kingdom. As a result, Wireless Festival is cancelled and refunds will be issued to all ticket holders”. 

“Antisemitism in all its forms is abhorrent, and we recognise the real and personal impact these issues have had.” 

Festival Republic also commented that “multiple stakeholders were consulted” in the process of booking Ye and how “no concerns were highlighted at the time”. 

Ye, previously known as Kanye West, has been scheduled to perform at the festival in Finsbury Park, a decision that caused uproar following allegations of antisemitism in previous years. Last year, the rapper released a song titled Hiel Hitler and publicly stated his admiration for the leader and Nazism. 

Public outcry was joined by the Home Office, revoking his electronic travel authorisation (ETA), denying him access to travel to the UK on the grounds that his “presence in the UK would not be conducive to the public good”. 

Kier Starmer joined criticism towards Wireless festival saying Ye’s presence would be “deeply concerning” and “Kanye West should never have been invited to headline Wireless […] This government stands firmly with the Jewish community, and we will not stop in our fight to confront and defeat the poison of antisemitism.” 

Jewish group, The Campaign Against Antisemitism (CAA), commented that “organisers should be ashamed of themselves”, accusing the festivals intentions being about profit not forgiveness.  

“Mr West offered to meet with the Jewish community. To that we said that he and Wireless had to choose: profit or principle” 

Following the condemning from Starmer, Pepsi Co and Diageo, two of the main sponsors for Wireless, pulled their partnerships, with Pepsi Co stating to news outlets “Pepsi has decided to withdraw its sponsorship of Wireless Festival”.  

West responded to his criticism claiming he wants to “meet and listen” to UK Jewish groups and “Present a show of change, bringing unity, peace, and love through my music.” 

Opinion Piece – The Guardian

The death of Wireless festival? A classic tale of profit over art 

Tom Hickey

Fri 17 Apr 2026

The death of Wireless isn’t surprising. Kanye has been plagued with accusations of antisemitism in previous years and now it is attacking him at all corners.  

It leaves you wondering why Wireless booked him in the first place.  

Kanye West at the Grammy awards 2025. Photograph: The Recording Academy/Getty Images

Wireless is one of the largest festivals in London, attracting around 50,000 attendees per day. A report states that a total of £30 million could be lost in revenue for the British economy. So why would Festival republic, who organise Wireless, take a disastrous risk this size? 

While some may argue that the act of booking Kanye is to raise awareness, attention and even controversy towards the festival, it instead came across as harrowing ignorance and avoidance for the rapper’s habitual outbursts of hate, antisemitism and homophobia. There has been no reasoning for the decision behind choosing Kanye from organisers, but profit seems like a likely reason. Was the idea from organisers to sell tickets based on a known promotion of hate and West’s notoriety for controversy? Or was it based on ignorance of the public reaction to such an idea?  

Backlash from the announcement was unsurprisingly harsh as major sponsors Pepsi Co and Diageo pull their sponsorship. However, this moral stance from these companies may seem far from genuine shock as the controversy around Kanye has been public for years and widely known with companies only withdrawing once Kier Starmer voiced his condemnation.  

Would have these companies stayed with the festival if it was not cancelled? Or was their leaving due to a bid for public approval and for brand appearance? 

Wireless festival 2023. Photograph: Getty Images

As a result of the aftermath, Kanye has apologised mentioning his plans to “meet and listen” with UK Jewish communities, but they seemed unfazed. The CAA stated “If Mr West were to cancel his appearances at Wireless, it would be a sign, we said, that he may be genuine in his remorse” but mentioned if he didn’t it would be of no purpose for them, “which we would play no part in”.  

Kanye built a brand around hatred towards Jewish people and profited from it with little remorse for his actions. One conversation seems like a half-hearted attempt when it became his whole agenda, influencing millions, and it seems like these groups are in agreeance with his forced facade attempts.  

So, could this be the death of Wireless? While their future plans are unknown, it will take a lot to build up public support and trust. Booking someone like West is always going to be a dangerous decision and the fact it went ahead may reveal a lot about the intentions of the promoters and organisers. A lack of care or a search for notoriety and profit?  

Feature – NME

Connall Doo on what it’s like running a label: “Why don’t we just start our own?”

Leeds own Connall Doo sits down for an intimate interview – Doo talks about his experiences running a label, getting involved in the music scene and how it all started for him

By Tom Hickey | 23th Apr 2026

Connall Doo. Credit: Esco Romanesco

Talking to the man behind the Leeds local favourite label, Esco Romanesco, I was excited to listen to what he had to say. Starting the label in 2023 with side man Louis Lota, beginning from nothing to becoming a Leeds staple and spreading around guitar obsessed minds across the UK. It’s hard to observe the music scene here and not catch wind of them or see one of their T-shirts.   

Metting up with Connall Doo at Hyde Park Book Club, his old dumping ground, I was excited to hear what he had to say. In a place that helped foster his shows and label it felt like a good fit. Leather jacket, flowy shirt and a fresh pack of cigarettes, I could see his appeal. 

Sat down with a coffee and a lit Marlborough and a sausage roll, I wanted to know where it all began. Moving to Leeds to study, Doo studied music electrical engineering but joked that he “wasn’t really cut out” and moved to a basic music course. Starting up the band Prima Star power, a slick love letter to 60’s suave. 

Artists think highly of getting a record deal, it is one thing that they have been told is needed to make it in the industry. “When you’re new to like music stuff, that’s kind of the end goal, you know, we need to get a label on board” so “why don’t we just make our own?” he laughed. Starting as a “cool project”, hopefully bringing some structure to the daunt of post university life, finding something they “could really sink our teeth into”. 

“Starting is kind of the hardest part […] a scary idea, but it was always a lot of fun at the start. It’s kind of only as time to progress that…
It starts looking harder”. Pausing to find the words, he joked “I guess it’s that classic thing of the more you learn, the more you realise that you know nothing.” 

“It really was just like a
spur of the moment, let’s just fucking do it you know, let’s just see what happens” 

Connall Doo. Credit: Esco Romanesco

Looking around Leeds at the time, Doo found there were not many labels in the area, noting only Que and Come Play With Me. With EMI North starting up a year into their journey and Leeds own Private Reg, “there’s a real cool Leeds music scene”. A scene that values individuality and everything new, where Doo found fit. “We had an idea that it could be something cool for us and then also cool for Leeds”. Proudly noting those around him, “Hardworking people who really care here, I think that’s Inspiring” 

Smiling while lighting up another cigarette, he shares my love for the name. There is a certain charm with how easily ‘Esco Romanesco’ rolls off the tongue. Originating from Lota, “I think it came from like an Italian tune that he’d heard on holiday once” Doo says, “just like kind of a laugh”. An inside joke they ran with. A name which gives the essence of class and style that both Doo and Lota carry with them.  

“I only work with people that I like, on a professional and personal level, I think it’s important that you click. It doesn’t mean that you have to be mates, that you’re hanging out and stuff, but, like, you’re at least you have a nice time together”.  

Doo continues, describing the ‘Esco sound’ or lack off. A man who knows what he likes and sees the only link between who he signs as “talent”. An aspect that is admirable, not confining to one area of music and embracing it all. “Cliche, but like I love music and like I love listening to music and watching live music and I love people who write good songs” he smiles. 

Doo reminisces, “there are times when it is hard to, you know, keep me going”, balancing a full-time job and a record label, “you don’t have much time”, Doo states. However, fulfilled, “I’m like an enabler to, you know, some really talented, creative individuals”. With no team behind them and feeling a sense of responsibility to help do the best for the band, Doo mentions a personal pressure but a privilege to be close to those he works with. 

“I just love helping people Tom!”. 

One such act, Vehicle, is managed and signed by Esco, “the Monkees meet stoner rock”. Doo also sits on bass duties, keeping the band alive after a close call break up. “Obviously the leather and the coolness isn’t a hinderance” he remarks. Being completely in their world, he states how it can be easier to work with them. Removing the middleman, being able to work within the band, having a close relationship, “it all works really well. Up to now!”. 

But as life goes, Doo and Lota must look forward to the future, remarking with a half-hearted smile “you have to spend money to make money” but rejoices on the year being a turning point for the label. New music, tours and festivals are in the works and even a slight hint of new artists emerging into the world of Esco. A hopeful promise of good things come to those who wait. 

Review – NME

Prima Star Power. Credit: Chopper Johnson

Prima Star Power – ‘ESCO013’ review: Leeds own revivalist 60’s nostalgia

By Tom Hickey | 27th Apr 2026

From Leeds most stylish nostalgiacs, a true love letter to the jangle and charm of 60’s rock and pop. A nod to rawness and honesty, nothing is hidden with this release. Prima Star Power presented us their third EP, ‘ESCO013’.  

A clear departure from their previous release, Theatre Fortuna, less of the strings, the intricacies and studio wizardry. ‘ESCO013’ is as raw as it gets. Recorded to cassette tape in the musical heartbeat that is Mabgate Bleach, it is a live demonstration of the band at their core. Nothing is hidden, bum notes, voice cracks, mistakes, things that feel refreshing once in a while. 

The EP has a consistent addictive hit of driven guitars delivering subtle yet tasteful moments like the lead line on ‘Little Bastard’. Connall Doo delivers his best impression of ‘she’s so heavy’ by the Beatles, whaling over the chorus under the powerful line “oh when’s it gonna end”. Lotas vocals are pushed, no more of the soft, crooner-esc performance but one of drive and a display of excitement. Lota carries a sense of swagger that emanates throughout, yet still with his poetic touch. Delivering catchy melodies such as the chorus in ‘I Finally Gave Into Myself’, he is partnered by distant backing vocals, imperfect but true, honest. Something you can truly shout along to. Hints of British invasion are sprinkled throughout this EP. A rebellious undertone that really gives the band some attitude. 

The band seem to be returning to a more simplistic way of writing, less complexities and more ‘standard’ structures and ideas. Remove the strings and piano, add the riff. ‘Keeping On’ carries this on its shoulders, a simple riff, a singable melody and a tom-heavy drum beat that drives the song with simplicity, reminiscent of Motown classics. 

Ending on the boot stomping ‘Kitty Sheals’, it makes you want to move. Sounding like it came straight from a vintage jukebox, it feels like a homage to the roots of rock n roll, early Stones, the Kinks and the Beatles. A perfect ending to the EP, “goodbye” sang amidst primal screams. 

While it may not be the sparkly clean release that we have come to expect from Prima Star Power, the live recording/ cassette sound works well in context of the music delivered. ‘ESCO013’ is a great display of the band’s versatility, a wonderful progression in what has been a unique and refreshing catalogue from the band. This release draws you in and takes you for a ride, an old Cadillac to be precise.  

Details

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