The series will screen on Wednesdays at 8pm starting on 17th April on the ABC and ABC iview. (The episodes will be repeated the following Sunday at 5:30pm).
In each episode comedian, author and two-time Archibald Prize winning artist Anh Do paints a portrait of his sitters, whilst he talks to them in-depth about their life and work, as he decides how he’ll depict them. Along with Tim, this fourth series includes: Michael Clarke, Lindy Chamberlain Creighton, Leah Purcell, Walter Mikac, Dannii Minogue, Alan Jones, Saroo Brierley, Deborah Hutton, Georgie Parker, Gordian Fulde, Kylie Kwong, David Wenham and Archie Roach.
UPDATE: For those not in Australia and unable to watch on ABC iview, the embedded Tweets below show a few clips and (SPOILER ALERT) the finished portrait.
A few clips for those outside Australia and unable to watch the episode on ABC iview and finally (SPOILER ALERT) the finished portrait:
Anh wanted to capture not only @timminchin‘s amazing eyes and hair but also his intelligence and intensity. What do you think of his portrait? #ABWFpic.twitter.com/ZqHpKF5GQV
Hi. 22 years ago, I went to WAAPA to try to learn to read music. I learnt other stuff instead. Recently, they put on a genuinely special ceremony and gave me an undeserved-but-much-appreciated honorary degree. I gave them a too-long speech.
The text is below.
“Of all the unexpected outcomes of my unexpected career, one of the more annoying is that I’ve managed to get a reputation for being able to write a reasonable speech. Like with my gigs these days, I battle a pervasive feeling that I can therefore only let you down. Woe is me. With this one, I left myself a whole day – yesterday – to write, and then yesterday went to shit, and so now it’s a three-hour jobby from this morning. It might be a little rambly.
I am hugely grateful and more than a little embarrassed to be honoured like this. This institution puts out proper extraordinary artists. I was only here for two years, and yet my contemporaries include Graeme Blevins and Tommy O’Halloran and Ben Vanderwal and Libby Hammer and Troy Roberts and James Sandon and Grant Windsor and these incredible people who’ve found a level of craft I wouldn’t be able to approach in my wildest dreams. In this tent alone, there are artists who I swear you’ve put here just to make me feel like the hack that I am. I feel the same as I did when the jazz students used to come and watch our “commercial music” ensemble performances: mildly embarrassed and very threatened. And then the added cruelty of holding the event in a circular room full of mirrors: I’m not much good with the piano but I’m very good with subtext, you bastards, I know you’re telling me to take a good hard look at myself.
With a head like mine, you learn to try not to.
So this week I’m staying at the Crown Metropole hotel. It’s not my usual vibe, but the theatre I’m playing in is right there, and besides if I stay with my parents, the kettle wakes me up at half past six and I’m not having that. Anyway, presumably because my tour is attracting punters, the hotel management upgraded me, so I’m staying in some kind of penthouse suite thing. It’s about the size of my house, and feels like I’m living in an Italian furniture show room. There are just so many couches. I’m staying there on my own, yet I counted, and you could have 90 people comfortably sitting in my hotel room. I don’t know what it’s for. It’s a room built for the sole purpose of making Wankers feel like Legends. Trump would love it, you know.
When you first walk into a room like that, you initially feel really excited, but it is genuinely gross and quite miserable to stay there. That’s worth knowing, I guess, if your plan is to be a Rockstar or a famous actor. It’s not only lonely at the top, but populated by unnecessary chairs. Put that on a fridge magnet.
My time here at WAAPA was quite hard actually. Being an artist requires massive reserves of self-belief, and coming to a place like this is incredibly testing. Of course, I know now that the 2 years I spent here feeling unbelievably bad about myself were simply training for the subsequent 8 years where I felt even worse. Watching beautiful beautiful Graham Wood play piano and just wanting to give up… wanting to cut my fingers off and feed them to a swan, taught me… well, not to. I guess. It was the beginning of a lesson I’m still trying to learn: that comparing yourself to others, in any area of your life, is poison.
It was also hard here because I had really good friends in the acting course, and they were all wandering around in black tights and shagging each other and looking fabulously sweaty, while I was wandering around with the other pianist in my year, who was a sweet guy, but deeply depressed, and every day just reminded me how we were going to be poor for life and that there was no point.
And it was hard because – like you – I was making coffees and pouring beers to pay my rent.
But mostly, it was hard because music had always just been fun to me. Music was a thing you did at parties to pick up girls. It was something I did when I was stressed or sad. It was an escape; I could – and still can – fall asleep playing the piano, and wake up seconds later wondering how my fingers got to where they’d got. And coming here, it was work, suddenly. I had to practice. (The first year I was here remains the only year I ever actually practiced piano. Russell Holmes will confirm I certainly didn’t do any practice in second year. Somewhere a few weeks in it became clear we both preferred just hanging out and chatting.)
But I am so grateful for the two years I spent here. It is impossible to measure the value of what that diploma gave me. Much of what they were teaching me I couldn’t get at the time, but unconsciously, I put the info on some shelf in my brain to be picked up and properly examined later, when I had more time and was feeling less stubborn. I learned musical tools, performance tools, I learned to respect time, I learned to listen, I learned resilience. I learned that dominant 13th shape that is also a minor 6/9 and a dominant 7 sharp 5 sharp 9 and a major 7 sharp 11 and it’s the best shape in the world and Matilda is built on it. I never learned to read music. I don’t know whose failure that is. I’m gonna say Paul Pooley. Is he here?
I guess I’m trying to say to the students here: I know these places can be hard, but keep going. You won’t actually know what you’re really learning until years later. Just listen, keep your humility and stay tough.
Right, if this were a graduation ceremony, my role here would be to give career advice to the graduates. It’s not, but I guess I’ll try to give advice anyway, because I’m quite old now, and giving unsolicited advice is what old white guys are supposed to do. I’m gonna mansplain the arts to you.
It’s actually surprising to me how often I get asked for career advice. Young musos and actors, and parents of stagey little kids… they go, “how do you get a career like you?” And I mean, I get it. I so clearly remember in my teens and twenties thinking, what’s the trick? There must be a trick. But it still takes me aback that they ask me, because my career is so clearly such an absurd fluke. I mean, I simply got lucky. And not lucky like, I was on the bus and I got my umbrella confused with the umbrella of a guy who turned out to be the husband of a record company exec… There was no single moment of luck, nor a series of lucky events. I mean, it’s a fluke because it turned out that having my weird combination of attributes allowed me to make some stuff that happened to find an audience in a particular place and time.
And that’s the short and long of my advice really: there is no trick. You can’t have a career like mine. It’s mine. You have to have your career.
To expand upon that platitude, I’ll tell you three things I reckon are important if you’re serious about a career in music or theatre or dance or film. All three of these are total clichés, but perhaps worth reiterating.
Firstly: you have to get good. Get really good. No short-cut, no business technique, no amount of self-promotion or nice business cards, none of it means anything, really. You just have to be really, really good at what you do. Ideally, be the best. And that takes hours and hours and hours. Time when your mates are taking pills or smoking cones, time when other people are having holidays. You don’t get to have a good work-life balance. It means being a bit obsessed. And if you’re lucky, it won’t suck because you love it. And if you don’t love it, stop now. Don’t do it as a job. There are many more important jobs than being a muso or an actor, or at least as important, get one of those and play music as a hobby.
But if you’re going to do it, you simply have to spend all your time and all your energy and all your money getting good. Sorry.
There is however, a little loophole in this advice. Which is that how you define ‘what you do’ is up to you. I am the best in the world at what I do. Without a doubt. And I can say that confidently, because the number of people I’m competing with is zero. The thing I am best in the world at, is being a science-obsessed, uber-rhymey polemicist pianist singer satirist wanker. I am really, really good at that job. I am the king of Minchinland, population: this idiot.
So be really, really good at what you do. And figuring out what that is also takes hours and hours and hours. I’m sorry.
And this is related to my second bit of advice, which is:
You have to be authentic. Actors, you might authentically look like a Hemsworth and authentically love going to the gym. But I promise, as someone who has been involved in casting on both sides of the couch: all anyone wants to see is you. We want to see how you play the character, how you bring you into a character.
My career began in my late twenties when I finally stopped trying to be what I thought other people wanted from me. I was trying to get acting agents, getting headshots and cutting my hair, changing my name to Timothy, as if that crap ever changed anything. I was trying to get the silliness out of my songs in the hope that I could get a record deal. I was separating all the things I am, because I had identified what I thought was the marketplace available to me, and was trying to be various products that might be consumable. The minute, the minute, I stuck everything I am on the stage… the moment I wore what I wanted, said what I wanted, put together a show that had me doing weird poems and monologues and playing jazz and pop and rock, the moment I got authentic, my life changed.
I’m an odd example, obviously, because I’ve always been obsessed by trying to do lots of different things. But the lesson stands anyway. Your career, whether you wanna be a triple threat on the west end, or a film actor, or a session percussionist: don’t make the mistake of thinking that little old you is not interesting to the world. You have lived a unique life, consumed a unique suite of ideas, marinated in a unique combination of songs and artists and influences. You will have something that no one else has, and identifying that is your key to a beautiful career. And that career might mean you are dirt poor your whole life, or it might mean you get to be a massive star. But it won’t matter, because you won’t be trying to be something that you’re not.
And the third bit of advice: Be kind. Just be kind. To everyone. Always. (Actually you don’t have to always be kind upwards. You’ll come across people above you – a director or producer, a studio boss, an A&R dude – who are arseholes. You’re allowed to tell them to f-off.) But basically you should always be kind. It seems so obvious, but it’s amazing how many people fail to understand its importance. Be kind to the monitor guys, be kind to the fly-mech, be kind to the ushers and the merch people, the gaffers, the make-up artists, be kind to your fellow performers. Whatever happens. Even if there is feedback screaming in your in-ears, even if the air-con doesn’t work in your trailer and you’re freezing, even if you’re under huge pressure and you’re under-slept and working days and gigging nights and you haven’t written a speech you have to write and you’re starving and all you want is some poached eggs and a flat white delivered to your furniture store hotel room but you’ve accidentally left your “do not disturb” sign on the door so the waiter just doesn’t deliver your breakfast for an hour and then when he does, he spills your flat white onto your poached eggs… even then, be kind. If in doubt, double down and be kinder. Not only will it make your life better, but it is really good career advice. The musicians I’m working with on this tour are some of the best players in the country, but that’s only half the reason we sought them out. They are just really, really lovely people. So just be kind. It will bite you on the ass if you’re not. And yes, there are successful arseholes – I’ve worked with a couple of the most famous of them – but, who wants to be one of them? It’s gross.
Music is not magic to me. Being a musician is not particularly romantic. Songwriting is a craft you get better at by doing it over and over again, just like cooking or surgery or painting or sex or handstands. Our ability to make art that resonates correlates very closely to our experience in life. I’m back at authenticity now. We carry our scars and our defeats and victories into how we express ourself. We bring all our experience, all our hours, all our self-loathing and self-love into our craft. At least we should.
For the third year, Yamaha are awarding one lucky school in Australia their annual Great Start Grant!
This year the grant consists of enough instruments (34 brand new Yamaha instruments) and training to get a school band program Off To A Great Start plus an in-school concert with Tim! Applications are open now.
Tim announced the grant on Today and talked about the importance of music in schools, as well as his own exposure to music at a young age and in school. (Video only available in Australia)
Robin Hood is now available on Digital in the US and will be out on 4K, Blu-ray, and DVD 19th February 2019.
Taron Egerton plays Robin Hood, with Jamie Foxx as Little John, Eve Hewson as Maid Marian, Jamie Dornan as Will Scarlet, Ben Mendelsohn as Sheriff of Nottingham and Tim as Friar Tuck.
More #RobinHoodMovie details and US purchase options here.
Release dates for other countries:
United Kingdom: available on Digital 18th March 2019 and on DVD 25th March 2019. France: available on DVD 28th March 2019 and on Digital 29th March 2019. Spain: available on Digital and DVD 29th March 2019.
Orchestrated and Produced by Daniel Denholm Engineered by Daniel Denholm at Point Blank Sound
Orchestra recorded by Brent Clark @Trackdown Scoring Stage Mixed by Tim Palmer @ 62’ Studios
Piano and Vocals – Tim Minchin
Guitar – Jak Housden Bass – James Haselwood Drums – Evan Mannell Backing Vocals – Jak Housden, Sarah Belkner, James Haselwood, Ben Vanderwal Mastering – Ryan Smith @ Sterling Sound Nashville String Section – Contractor and Leader – Veronique Serret
15 Minutes
By now we thought that there would be
Jetpacks and flying cars
Robots to do the cleaning up for us
And help with the shopping.
We’d all be famous for bit
That’s what Andy Warhol said,
Thought we’d all get our coloured head
Well the truth would rock him
He may be surprised
To wake up and find
That we have weaponised
Humiliation
In the future, everyone
Everyone will have
Their 15 minutes
15 minutes of shame
15 minutes where they
Are unforgivable.
Pick up your pitchfork and your torch
We’ll go hunt the monster down
But keep an eye out for uneven ground
We’ll turn on you if you stumble.
Don’t need perspective or a heart
Leave humility at home
Welcome to the glasshouse, hope you brought your stones
Are you ready to rumble?
I am scared to write
Anything that might
Upset my own tribe
But never mind, cos
In the future, everyone
Everyone will have
Their 15 minutes
15 minutes of shame
15 minutes where they
Are unforgivable
Irredeemable
Inexcusable scum
Fit only to be strung up
In the village square
I will see you there
I am scared to say
Anything that may
Be taken the wrong way
But fuck it, baby
In the future, everyone
Everyone will have
15 minutes
15 minutes of shame
15 minutes where they
Are unforgivable
15 minutes
15 minutes of shame
15 minutes where they
Are unforgivable, irredeemable
Inexcusable
Unforgivable, irredeemable
Inexcusable
Unforgivable, irredeemable
Inexcusable
…
ABC TV have announced that Tim will be joining a star-studded line-up for the live New Year’s Eve: The Night is Yours concert at the Sydney Opera House!
He’ll debut a brand new song, and play two covers – one of which will be a duet with Ben Folds. Then, he’ll lead the entire cast on the finale before the night is topped off by spectacular midnight fireworks over Sydney Harbour.
Hosts Charlie Pickering and Zan Rowe will be counting down to 2019 from 9.30pm AEDT and the dazzling concert includes performances by Tim, Ben Folds, Christine Anu, Ross Wilson, Daryl Braithwaite, Casey Donovan, Isabella Manfredi of The Preatures, Client Liaison, Baker Boy, Kaiit and G Flip. They’ll be performing their own hits along with songs from a party playlist voted for by the public.
The programme will be live-streamed worldwide on Facebook and YouTube:
Hey! This year, all November, December and January proceeds from my sentimental Christmas song White Wine In The Sun will be going to Aspect, a charity that supports Aussie children and adults on the Autism spectrum.
If you already have the song, you might like to gift it via iTunes or donate directly here.
Here’s my performance of the song last year, on The Late Late Show with James Corden, with Iain Grandage’s beautiful strings arrangement and a LOT of candles.
Robin Hood is in US movie theatres and UK cinemas TODAY!
It’ll be in Australian cinemas tomorrow 22nd November. Worldwide Release Dates for #RobinHoodMovie here.
Taron Egerton will play Robin Hood, with Jamie Foxx as Little John, Eve Hewson as Maid Marian, Jamie Dornan as Will Scarlet, Ben Mendelsohn as Sheriff of Nottingham and Tim as Friar Tuck.
Tim’ll be wiggling into view periodically in Orange Is The New Brown, a hilarious new sketch comedy series from Nazeem Hussain, starting Thursday 8th November at 8:30pm on Channel 7.
The series takes a look at race, popular culture, politics and life in contemporary Australia, through fast paced sketches featuring an ensemble cast of Australia’s hottest comedy stars, including Urzila Carlson, Becky Lucas and Matt Okine, plus some big-name cameos.
The untold story of the Brown Wiggle… #OrangeIsTheNewBrown
Hi lovely humans. I’m (finally) touring again! Phew.
I’ll be playing in Australia in March – April, and then in the UK in October – November of 2019. Venues and dates below.
Tickets to both tours go on sale to the masses next Thursday 6th September. BUT…
… You can get access to PRE-SALE tickets on Wednesday 5th, IF you register as Ticketmaster Verified Fan (It sounds like a bit of a wank, but it’s a system to try to curtail scalpers. It’s a good thing, I think). You need to register BEFORE 5pm AEST on SUNDAY (11:59pm BST for the UK). Details below.
I’ll also be selling 50 Premium Charity Seats every night at a ridiculously high price, and all the income from those seats will go to charity. If you have a bit of spare cash, please keep an eye out for those. Information on Australian charities here. (UK charities TBC)
Hope you can come. I think it will be very fun.
Tim x
Tim Minchin – BACK – Australia 2019
ADELAIDE Thebarton Theatre – Tuesday 5th March – SOLD OUT ADELAIDE Thebarton Theatre – Wednesday 6th March -SOLD OUT ADELAIDE Thebarton Theatre – Thursday 7th March – SOLD OUT ADELAIDE Thebarton Theatre – Friday 8th March – SOLD OUT ADELAIDE Thebarton Theatre – Saturday 9th March – SOLD OUT CANBERRA Theatre – Tuesday 12th March – SOLD OUT CANBERRA Theatre – Wednesday 13th March – SOLD OUT CANBERRA Theatre – Thursday 14th March – SOLD OUT CANBERRA Theatre – Friday 15th March – SOLD OUT CANBERRA Theatre – Saturday 16th March -SOLD OUT PERTH Crown Theatre – Tuesday 19th March – SOLD OUT PERTH Crown Theatre – Wednesday 20th March – SOLD OUT PERTH Crown Theatre – Thursday 21st March – SOLD OUT PERTH Crown Theatre – Friday 22nd March – SOLD OUT PERTH Crown Theatre – Saturday 23rd March – SOLD OUT SYDNEY State Theatre – Tuesday 26th March – SOLD OUT SYDNEY State Theatre – Wednesday 27th March – SOLD OUT SYDNEY State Theatre – Thursday 28th March – SOLD OUT SYDNEY State Theatre – Friday 29th March – SOLD OUT MELBOURNE Palais Theatre – Wednesday 3rd April – SOLD OUT MELBOURNE Palais Theatre – Thursday 4th April – SOLD OUT MELBOURNE Palais Theatre – Friday 5th April – SOLD OUT MELBOURNE Palais Theatre – Saturday 6th April – SOLD OUT MELBOURNE Palais Theatre – Sunday 7th April – SOLD OUT BRISBANE QPAC – Tuesday 9th April – SOLD OUT BRISBANE QPAC – Wednesday 10th April – SOLD OUT BRISBANE QPAC – Thursday 11th April – SOLD OUT BRISBANE QPAC – Friday 12th April – SOLD OUT MELBOURNE Palais Theatre – Tuesday 23rd April – SOLD OUT MELBOURNE Palais Theatre – Wednesday 24th April – SOLD OUT SYDNEY State Theatre – Sunday 28th April – SOLD OUT SYDNEY State Theatre – Monday 29th April – SOLD OUT SYDNEY State Theatre – Tuesday 30th April – SOLD OUT GOLD COAST The Star – Friday 3rd May – SOLD OUT GOLD COAST The Star – Saturday 4th May – SOLD OUT
Tim Minchin – BACK – New Zealand 2019
AUCKLAND ASB Theatre – Sunday 14th April – SOLD OUT AUCKLAND ASB Theatre – Monday 15th April – SOLD OUT AUCKLAND ASB Theatre – Tuesday 16th April – SOLD OUT WELLINGTON Michael Fowler Centre – Thursday 18th April – SOLD OUT WELLINGTON Michael Fowler Centre – Friday 19th April – SOLD OUT
Tim Minchin – BACK – UK 2019
UPDATE: (11/02/19)
Tim’s 2019 UK Tour ‘BACK’ has now sold out.
If you missed out or have tickets to spare Tim has appointed Twickets as his official ticket resale partner in the UK.
Twickets is a ticket marketplace that enables fans to trade tickets at FACE VALUE. It protects its users with a guarantee against fraud and overpricing and offers an alternative to the exploitative secondary ticketing platforms and ticket touts that Tim is keen for his fans to avoid. More details here.
IPSWICH Regent – Tuesday 15th October – SOLD OUT IPSWICH Regent – Wednesday 16th October – SOLD OUT OXFORD New Theatre – Thursday 17th October – SOLD OUT OXFORD New Theatre – Friday 18th October – SOLD OUT OXFORD New Theatre – Saturday 19th October – SOLD OUT SHEFFIELD City Hall – Tuesday 22nd October – SOLD OUT NOTTINGHAM Royal Concert Hall – Wednesday 23rd October – SOLD OUT NOTTINGHAM Royal Concert Hall – Thursday 24th October – SOLD OUT MANCHESTER O2 Apollo – Friday 25th October – SOLD OUT MANCHESTER O2 Apollo – Saturday 26th October – SOLD OUT CARDIFF St David’s Hall – Tuesday 29th October – SOLD OUT CARDIFF St David’s Hall – Wednesday 30th October – SOLD OUT LIVERPOOL Empire – Thursday 31st October – SOLD OUT LIVERPOOL Empire – Friday 1st November – SOLD OUT PORTSMOUTH Guildhall – Saturday 2nd November – SOLD OUT PLYMOUTH Pavilions – Tuesday 5th November – SOLD OUT PLYMOUTH Pavilions – Wednesday 6th November – SOLD OUT LONDON Eventim Apollo – Thursday 7th November- SOLD OUT LONDON Eventim Apollo – Friday 8th November – SOLD OUT LONDON Palladium – Saturday 9th November – SOLD OUT LONDON Eventim Apollo – Tuesday 12th November – SOLD OUT LONDON Eventim Apollo – Wednesday 13th November – SOLD OUT LONDON Eventim Apollo – Thursday 14th November – SOLD OUT BIRMINGHAM Hippodrome – Friday 15th November – SOLD OUT BIRMINGHAM Hippodrome – Saturday 16th November – SOLD OUT EDINBURGH Playhouse – Tuesday 19th November – SOLD OUT EDINBURGH Playhouse – Wednesday 20th November – SOLD OUT GATESHEAD Sage Gateshead – Thursday 21st November – SOLD OUT GLASGOW SEC Armadillo – Friday 22nd November – SOLD OUT EDINBURGH Playhouse – Saturday 23rd November – SOLD OUT BRIGHTON Dome – Tuesday 26th November – SOLD OUT BRIGHTON Dome – Wednesday 27th November – SOLD OUT SOUTHEND Cliffs Pavilion – Thursday 28th November – SOLD OUT SOUTHEND Cliffs Pavilion – Friday 29th November – SOLD OUT SOUTHEND Cliffs Pavilion – Saturday 30th November – SOLD OUT
UPDATE: (11/02/19)
Tim’s 2019 UK Tour ‘BACK’ has now sold out.
If you missed out or have tickets to spare Tim has appointed Twickets as his official ticket resale partner in the UK.
Twickets is a ticket marketplace that enables fans to trade tickets at FACE VALUE. It protects its users with a guarantee against fraud and overpricing and offers an alternative to the exploitative secondary ticketing platforms and ticket touts that Tim is keen for his fans to avoid. More details here.
VERIFIED FAN PRESALE (NOW ENDED)
WHAT IS THE TICKETMASTER VERIFIED FAN PRESALE?
Tim is committed to getting tickets into the hands of real fans – not scalpers or bots. Since there is a limited quantity of tickets, they will be available through a registration and ballot-selection process called ‘Verified Fan*’.
*Please Note: There is no Verified Fan presale in Brisbane.
During the Registration Period, log into your Ticketmaster account and complete the Verified Fan Program registration form. If you do not already have a Ticketmaster account, you may create an account for free.
AUSTRALIA / NEW ZEALAND Verified Fan Presale: Wed 5th Sept 2018, 12pm until Thur 6th September 2018, 12pm (Local Time)* Brisbane Presale: Wed 5th September, 12pm until Thur 6th September, 12pm (Local Time) General Public On Sale: Thur 6th September, 2pm (Local Time)
(* Please Note: There is no Verified Fan presale in Brisbane)
AUS/NZ REGISTRATIONS ARE OPEN NOW AND CLOSE AT 5PM AEST, SUN 2nd SEPT
If you are selected during the ballot process, in Aus/NZ you’ll receive an SMS on Wednesday 5th September 2018 approximately 2-4 hours before presale tickets go on sale at 12pm Local Time.
So keep your phone handy!
Your SMS will include your link to purchase and your unique code to access tickets.
UK Verified Fan Presale UK: Wed 5th September 2018, 10am BST until Thur 6th September 10am BST UK General Public On Sale: Thur 6th September 2018 10am BST
UK REGISTRATIONS WILL OPEN 10AM BST THUR 30th AUG AND CLOSE AT 11:59PM BST, SUN 2nd SEPT
If you are selected during the ballot process and you’re in the UK you’ll receive an SMS on Wednesday 5th September 2018 approximately 2-4 hours before presale tickets go on sale at 10am BST.
So keep your phone handy!
Your SMS will include your link to purchase and your unique code to access tickets.
