Cowgatehead in Edinburgh, scene of the ‘Free’ power tussle
The last couple of days, this blog has been devoted to – mesmerised by – one topic.
Welcome to Day Three.
There can only be two sensible explanations for the wild madness of the current Cowgatehead venue debacle in Edinburgh.
One is that it is an astonishingly intricate attempt to win an increasingly prestigious Malcolm Hardee Cunning Stunt Award for best publicity stunt at the upcoming Edinburgh Fringe.
The other is that it is all some fly-on-the-wall pilot for an upcoming TV comedy series.
Those are the only two sensible explanations but, of course, any sort of sense has long since been thrown out the window in this ongoing debacle involving an Edinburgh Fringe venue apparently owned and run by three members of the same family, all of whom are called Kenny Waugh and one of whom was the chairman of Hibernian Football Club.
You can do your own Googling and there are more recent articles, but a piece in the Edinburgh Evening News in 2006 described one of the Kenny Waughs (the Lord only knows how you define which) thus:
The son of former Hibs chairman Kenny Waugh Jnr, 44, is now the owner of Festival Inns – the operator that owns numerous city bars and clubs including The Three Sisters, Beluga and Cargo.
Initially working part time in the pubs run by his father, the former joiner developed a feel for what was required to cut the mustard in Edinburgh’s bar scene.
He went on to form his own public house business, Thistle Inns, in 1990 with his cousin, pub operator Billy Lowe. In 1997 they sold out to brewing giant Scottish & Newcastle for £20 million. “Billy was a pub operator and it seemed an ideal partnership where I could find and build the pubs and he would run them,” Waugh has said.
He then set up Festival Inns, which now owns bars and clubs in Edinburgh, Bridge of Allan, St Andrews and Aberdeen, and has an annual turnover of £25 million.
In a recent survey from The Publican magazine, Mr Waugh was positioned 63rd in the 100 richest people involved in Britain’s licensed trade, with wealth estimated at £13.3 million.
Now back to the current Edinburgh Fringe debacle.
Yesterday afternoon, the Freestival issued a press release. It read:
Freestival board member Jools Constant met with the licensee of Cowgatehead, Kenny Waugh, this afternoon and has hammered out a compromise agreement under which Freestival would retain the lower 3 floors which are already booked in. Under this arrangement no Freestival acts would be required to move, and all existing time slots would be honoured. PBH would take the upper floors and would have ample space for the 6 rooms he has proposed and would be able to book those as he sees fit. A meeting to discuss this is arranged for next week. Freestival and the Licensee have already confirmed attendance. All that remains is for Peter and the Free Fringe board to sit down with us and work out the details.
We have sent an e-mail to Peter requesting that he meet with us in the spirit of cooperation and in the best interests of the acts.
One might have thought this was an ideal outcome.
Both sides – the Free Fringe and the Freestival – claim to have the welfare of the performers at heart.
This proposed compromise would mean the already booked Freestival shows could go ahead as planned, as paid for and as listed in the Fringe Programme. And the Free Fringe could book in extra shows not printed in the main Fringe Programme (which comes out next week).
Then the Free Fringe posted this as a message on the closed Free Fringe Facebook page. It refers to PBHFF, which means PBH Free Fringe. PBH is Peter Buckley Hill, the man who originated and still controls the Free Fringe organisation:
Performer Doug Segal’s take on the Cowgatehead debacle
As most of you know since 2010 I have been assisting Peter and the PBHFF Artistic Directors with venue sourcing, negotiating, retention etc amongst other voluntary duties that we all get involved with.
Whilst, understandably, people are looking for information regarding the Venue Cowgatehead, I feel it only right that our own members be given the facts so that we can put a stop to the speculation that PBHFF are somehow to blame for Freestival’s predicament.
To alleviate any doubt, I can confirm that PBH Free Fringe have agreed terms and exchanged signed venue contractual agreements to provide performers at Cowgatehead & Cowshed during Edinburgh Fringe 2015. This information was passed to the fringe office on Thursday 21st May 2015. Copies will be sent to the relevant bodies only.
One thing that most of you weren’t aware of is there were several parties interested in leasing the Cowgatehead space this year, at least four including a bid from Freestival in conjunction with a new sponsor to operate the bars.
When I spoke with the owners during Feb/March this year I expressed our interest in using the Cowgatehead spaces during Edfringe 2015. I was informed by the owners that several bids had already been submitted to lease the entire building and that they were presently considering their options on either leasing as one unit or whether to split into two units. I was also asked if they split into two would PBHFF be interested in also using the top floor levels (George IV Bridge) again as we did in 2014, obviously I said yes and that I would discuss the terms with our license operators and get them to discuss further with the owners and their agents. During my discussions with the license operators I was informed that Freestival had also approached them with an interest in using the entire building.
At this point PBH informed the fringe office that PBHFF may be using the building this year and that no other promoters have confirmation from the owners or lessors to use CGH. PBH also advised the fringe office that they should be wary of accepting adverts from any performers until the licensees and promoters status was confirmed. I also know this information was relayed to Freestival as they had informed the fringe office that they have confirmed use of the spaces for 2015.
As you now know PBH was contacted by the newly announced lessor of the building and asked if he would promote the venue this year. When PBH informed him that we had discussed providing the entertainment with one of the other interested parties he said he already knew this. When we also told him that Freestival had already informed the fringe office that they were using the venue and that they had already booked acts, the lessor was furious and stated that he did not nor would he be giving them permission. He also stated that he couldn’t have given such permission anyway as he had not yet secured the lease himself.
As we had already received an indication from the owners that PBHFF, to at least some degree, would be operating as the venue promoters this year we put on standby several performers for the venue. However, we decided not to declare this until we had 100% confirmation and a signed contractual agreement.
Having further discussed the offer to promote the venue with our Artistic Directors we met with the lessor the following day and signed the agreement contracts.
With regards to St John’s (Bar Bados) the lessor informed us that it was decided last year that no shows would be programmed into the venue for 2015 should the venue be made available to him. The reason being sound pollution from the bar was interfering with the performances and the performers were asking that the bar area be kept quiet or not be used during all performances. As a result bar taking suffered. The lessor also confirmed that no agreement is/was in place with Freestival to use the venue this year and we also have a signed venue contractual agreements to provide suitable musical acts this year.
With regards to Tron Kirk we also have a signed venue contractual agreements to promote all acts during the fringe and our Artistic Directors for music and cabaret have been informed.
Whilst the allocations and booking of acts has absolutely nothing to do with me, I have been assured that every consideration will be given to the performers affected and that PBH and the Artistic Directors are presently working on the list.
There also seems to be some discussion about the number of available spaces/stages within CGH this year. We have discussed this with the lessor and it is totally impractical to put 9 stages in the available floors. We are presently discussing options for the best usage of possible additional space within the building and hope to announce the details in a few days.
This has been an extremely busy time for all the team at PBHFF, not withstanding looking after 40+ Venues with 60+ stages this year, whilst trying to accommodate a backlog of 100’s of performance applications over and above those that were promised slots by Freestival.
It is now disappointing to see that some people are going on the attack without first knowing the circumstances. However it is even more disappointing to read the statements made by Freestival basically accusing PBH of stealing their venue out of spite.
For the record, when I spoke to the parties that were involved in tendering for the CGH space they informed me that Freestival were never promised use of the venue. From what I now read they are saying that negotiations was with their sponsors it was their sponsor that negotiated the agreement due to their involvement with the building. That statement is inaccurate as their sponsors have no connection with CGH and are/were not in a position to give any assurances that Freestival would be the venue promoters no matter who were the licensees.
I also find it extremely disturbing that Freestival claim to have entered into discussions with two of the parties that were tendering for the site and agreed with them to provide all their entertainment, a claim that is denied by the parties, and then go directly to the property owner and submit their own bid to lease the site and run the bars along with another new sponsor they had approached.
PBHFF have now had to suffer a backlash of derogatory comments in the press and on social media about how the PBHFF team operates. Let me assure you that we are not smarting over this situation and completely sympathise with the performers that have been let down due to the mismanagement of their promoters. We have conducted ourselves in a professional and ethical manner during our negotiations with all parties involved. However, we will not accept unjustified criticism from the people that caused this situation just to try and save face.
PBHFF will continue with the same ethos to promote the true free non for profit model that was put together by most of the performers involved in these discussions. We do not accept sponsorship or grants, we work in harmony with the goodwill of our venue owners and performers to offer a totally free platform for the performers. We don’t pay for venues, we don’t charge our performers a registration fees or take advanced audience bookings to watch a free show for £5.
The PBHFF model has worked for the last 20 years and we hope for it to continue for the foreseeable future.
I trust this explains the situation thus far, well from my perspective anyway. Let’s hope that, given the opportunity, the performers issues can be resolved amicably and we all have a really good Edinburgh Fringe 2015 and beyond!
UPDATE: The PBHFF team are working extremely hard to resolve the situation for the Freestival acts. Having just now discussed the situation with the licensee, in light of recent Freestival claims, PBH will remain as venue promoter for Cowgatehead & Cowshed. A further planned meeting has been arranged for later this week and all performers will be updated.
Call me old-fashioned, but the phrase “completely sympathise with the performers” used in the above does seem tailor-made for any proposed TV sitcom based on all these shenanigans.
I am merely a bemused observer, but all this seems to me to be more about controlling a venue and not about the welfare of and financial consequences to the performers. A classic case of the road to Hell being paved with long-forgotten good intentions.
There was a sentence in there that said: “Let’s hope that, given the opportunity, the performers issues can be resolved amicably.”
It seems to me that a possible opportunity arose and was rejected.
Copstick and me, both bemused, at the Grouchy Club Podcast
Yesterday, between the issuing of the Freestival press release and the Free Fringe Facebook posting, comedy critic Kate Copstick and I recorded our weekly Grouchy Club Podcast.
Now overtaken by events, it may still be of interest. It discusses, among other things, the Cowgatehead chaos, Copstick’s admiration for Peter Buckley Hill and Scottish law under which (unlike English law) an oral agreement is legally binding.
The 40-minute podcast is available in audio
– on Podomatic
– on iTunes
And in vision on YouTube.