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Hammersmith Apollo

The Eventim Apollo, commonly known as the Hammersmith Apollo, is a historic entertainment venue located in , , , originally opened on 28 March 1932 as the Gaumont Palace cinema and renowned for its role as a premier concert hall hosting legendary musical acts since the 1960s. Designed by architect Robert Cromie in the style, the venue features a fan-shaped auditorium with an original capacity of 3,487 seats, a 35-foot-deep stage, and 20 dressing rooms, including a restored Compton 4Manual/15 Ranks theatre organ that adds to its theatrical heritage. Over the decades, it has undergone several name changes—becoming the Hammersmith Odeon in 1962, Labatt’s Apollo in 1992, and reverting to Hammersmith Apollo before adopting its current name in 2013—while evolving from a to a multifunctional space for live music, comedy, and broadcasting, such as the BBC's Live at the Apollo series. The venue's cultural significance is underscored by its history of hosting iconic performers, including , , and during its era, as well as later stars like and contemporary acts that draw large audiences to its preserved single-auditorium layout. A major refurbishment in 2013, led by Foster Wilson, restored its interiors and modernized facilities, ensuring its status as one of the United Kingdom's largest and most influential for live entertainment.

Venue Overview

Location and Architecture

The Eventim Apollo, commonly known as the Hammersmith Apollo, is situated at 45 Queen Caroline Street in , , W6 9QH, within the London Borough of Hammersmith and Fulham. This location places it directly opposite the Broadway Centre shopping area and in close proximity to major links, including Hammersmith Underground station on the District, , and Hammersmith & City lines, as well as numerous bus routes and the nearby spanning the River Thames. The venue's position enhances its accessibility, serving as a prominent landmark in the local community since its establishment. Architecturally, the Hammersmith Apollo is a Grade II* listed building exemplifying style, designed by the renowned theatre architect Robert Cromie and constructed between 1930 and 1932 for initial use as a and theatre. Groundbreaking occurred in 1930, with completion and official opening on 28 March 1932, featuring a facade that spans 57.9 meters (190 feet) in width and incorporates load-bearing brickwork combined with steel framing for structural efficiency. The exterior design emphasizes symmetrical elegance with nine pairs of double entrance doors, while interior motifs include geometric mouldings on the walls, deep ceiling coves, and remnants of original signage elements restored during later conservation efforts. The auditorium itself covers an expansive footprint, measuring approximately 51.8 meters (170 feet) in width at the rear, underscoring its scale as one of the largest surviving original in the . Key design elements contribute to the venue's functional and aesthetic integrity, including a simple moulded arch that is 19.21 meters (63 feet) wide and 9.41 meters (31 feet) high, framing a depth of 35 feet to optimize projection and . The fan-shaped configuration, paired with a broad that minimally overhangs the stalls (extending only beyond the first dozen rows), ensures excellent sightlines and acoustics throughout, supported by a massive 56-ton girder across the balcony front for stability. These features, including the 102-foot depth of the stalls area, reflect Cromie's innovative approach to blending grandeur with practicality in early 20th-century design.

Capacity and Facilities

The Hammersmith Apollo, now known as the Eventim Apollo, originally featured a of 3,487 when it opened in 1932, designed to accommodate and audiences in its fan-shaped divided into stalls, , and upper levels. In 2003, the stalls seating was removed to enable flexible configurations for standing events, altering the venue's operational scale while preserving the multi-tiered layout for improved sightlines. Since then, the capacity is 3,655 for fully seated events or up to 5,300 with partial standing (as of 2025); a major renovation in 2013 restored the interiors and modernized facilities. Backstage facilities support large-scale productions with 10 dedicated dressing rooms serving as production offices and preparation spaces, alongside a service yard for loading bays and deliveries. Green rooms provide additional artist amenities, contributing to the venue's reputation for professional event hosting. The interior, with its restored marble staircases and mosaic floors, subtly influences the modern layout by maintaining an intimate atmosphere across the tiers. Technical infrastructure includes an in-house sound system featuring K2 line arrays in stereo configuration, installed to deliver high-fidelity audio for diverse events. Lighting rigs were upgraded with energy-efficient LED fixtures during the 2013 refurbishment, including multi-colored installations on the facade and interior for enhanced visual production capabilities. Rigging supports robust setups via Prolyte modular staging, offering a 750 kg/m² loading capacity to facilitate quick transformations between seated and standing formats. Accessibility features prioritize inclusive experiences, with two step-free platforms in the rear stalls accommodating up to eight users plus companions, accessible directly from the street. Hearing loops are available throughout the for assisted listening, and lowered bar counters on the ground floor further support mobility needs.

Historical Development

Construction and Early Years

The Hammersmith Apollo, originally the Gaumont Palace, was commissioned by the Gaumont-British Picture Corporation as part of the 1930s boom in British cinema construction, which saw the rapid expansion of grand picture houses to meet growing public demand for film entertainment. Designed by architect Robert Cromie for developer Israel Davis, the venue incorporated Art Deco elements typical of the era's theatrical architecture. Construction emphasized functionality and spectacle, resulting in a fan-shaped auditorium with a 35-foot-deep stage, 64-foot-wide proscenium, and capacity for 3,487 seated patrons, making it one of the largest cinemas in the UK at the time. The Gaumont Palace officially opened on 28 March 1932, with an inaugural programme featuring screenings of A Night Like This starring and with , supported by a live spectacle involving 80 performers and a symphony orchestra. This blend of and live variety acts established the venue's dual purpose from the outset, though films dominated the schedule in line with Gaumont-British's focus on cinematic exhibition. Early operations centered on presenting and British productions, interspersed with occasional variety performances that leveraged the venue's advanced facilities, including a Compton 4-manual for musical accompaniment. During , the Gaumont Palace, like other British cinemas, faced initial closure orders in September 1939 but quickly reopened amid rising attendance as audiences sought from wartime hardships; blackouts and disrupted evening shows, yet the venue adapted by scheduling matinees and contributing to morale-boosting entertainment efforts. Post-war recovery in the late 1940s and 1950s saw continued emphasis on film programming under ownership from 1941, with attendance peaking due to economic recovery and the popularity of American imports. By the early 1960s, the venue increasingly hosted live theatre productions and emerging concerts, including variety bills and early rock 'n' roll acts such as performances by artists like and , foreshadowing its evolution into a premier live entertainment space.

Name Changes and Ownership

The Hammersmith Apollo, originally opened as the Gaumont Palace in 1932, underwent its first major renaming in 1962 to the Odeon, marking a shift toward live under the management of , which controlled the Gaumont circuit. This name persisted for over three decades until 1993, when a £2 million sponsorship agreement with led to its rebranding as the Labatt's Apollo, reflecting the growing influence of corporate sponsorships in the venue's operations. In 2002, ownership by Entertainment prompted another change to the Carling Apollo, tied to a sponsorship deal with the that aimed to leverage the brand's association with music events. The venue remained under until 2007, when it was sold to the MAMA Group as part of a by Live Nation, with the transaction for the Hammersmith Apollo and the adjacent Forum valued at $26.9 million. In 2009, MAMA entered a with Group, acquiring a 50% stake in a of 11 venues including the Apollo for £18.25 million, resulting in the renaming to HMV Apollo to promote the retailer's music interests. Financial pressures on culminated in the 2012 sale of the venue to a between Presents and for £32 million, establishing the current dual ownership structure. The following year, the venue reopened as the Eventim Apollo, aligning with CTS Eventim's ticketing operations, though "Hammersmith Apollo" remains the widely used . These evolutions in naming and ownership have been driven by commercial partnerships in brewing and music retail sectors, adapting the to modern entertainment demands while its Grade II* listed status, upgraded in 2005, ensures preservation of its architectural integrity amid changes.

Renovations and Heritage Status

The Hammersmith Apollo received Grade II listed status from on 26 March 1990, acknowledging its fine 1930s architecture and largely unaltered interior decoration. This designation was upgraded to Grade II* on 26 July 2004, reflecting its exceptional architectural interest as a prime example of cinema design, with elaborate mouldings, shallow aedicules, and deep ceiling coves, as well as its historic role as an iconic since the 1960s. The upgrade rationale emphasized the building's status as the best surviving work by architect Robert Cromie, its technical innovations like economical steel-frame construction supporting a wide , and its cultural significance, including the rare surviving Compton installed above the . Preservation efforts have focused on balancing the venue's historical integrity with its ongoing contemporary use as a live entertainment space. The Grade II* listing specifically highlights challenges in maintaining architectural features like the ornate and original fixtures while adapting for modern safety and accessibility standards, ensuring the building's role in London's is sustained without compromising its Art Deco merit. This approach was evident in the 2007 restoration of the Compton pipe organ, which integrated with venue-wide maintenance to revive a key historical element while supporting current operations. A major renovation in 2013, costing £5 million and funded by owners and Eventim, addressed these preservation needs through comprehensive upgrades. The project reconfigured seating to enhance comfort and increase capacity slightly to 3,655 while improving sightlines, modernized the sound system with an array and lighting infrastructure, and incorporated enhancements such as updated systems compliant with regulations. The venue closed for nine weeks from early July to 7 September 2013 to allow this historically sensitive work, overseen by architects Foster Wilson, which restored original elements like marble staircases and ornate plaster while introducing subtle modernizations. Post-2020 updates have included minor improvements, such as enhanced platforms in the stalls and step-free provisions, to better accommodate diverse audiences while adhering to guidelines. These ongoing efforts underscore the commitment to evolving the venue's facilities without altering its protected character.

Signature Features

The Compton Pipe Organ

The Compton pipe organ at the Hammersmith Apollo was constructed and installed in 1932 by the Organ Company specifically for the Gaumont Palace , the venue's original name, to provide musical for silent films and live shows. This instrument, a classic example of a British organ from the , features a four-manual console with 15 ranks, including stops such as Open Diapason 8', Horn Diapason 8', Tibia Clausa 8', Tuba Horn 8', and Orchestral Oboe 8', enabling a versatile tonal palette for theatrical effects. The organ's technical design incorporates for precise control of the pipe valves, with the pipework distributed across two chambers above the stage . The console, positioned in the , was engineered to rise on a hydraulic , allowing the to be visible to the during performances and integrating seamlessly with the venue's architecture. In its operational prime, the organ supported a succession of resident organists, including Stanley Tudor from 1932 to 1935 and Robin Richmond until 1947, who used it to underscore films and variety acts. Following the cinema's transition to a concert venue in the 1960s and declining use thereafter, the organ was partially dismantled, with its console disconnected and stored in the mid-1990s, rendering it unplayable. Restoration efforts began around 2004 and culminated in 2007 under HWS Associates (later integrated with Taylor-Hammond Associates), involving comprehensive releathering of components, repairs to windchests and pipework, thorough cleaning, resurrection of the original blower, and reconnection of the console via a new main cable and multiplexer system. The revitalized instrument was officially relaunched on 25 July 2007 with a recital by renowned organist Richard Hills, attended by an invited audience and media. The organ was preserved as a heritage element during the broader 2013 venue renovation. In contemporary use, the Compton organ appears in occasional dedicated recitals and organ concerts, as well as providing atmospheric interludes for select events, such as comedian Dara Ó Briain's 2010 performance recording. Ongoing maintenance is handled by specialist organ technicians to ensure its functionality.

Auditorium and Technical Specifications

The auditorium of the Eventim Apollo features a classic stage measuring 19.2 meters (63 feet) wide at the proscenium opening and 10.7 meters (35 feet) in depth, providing ample space for elaborate productions while maintaining the venue's intimacy. The stage extends 26.76 meters (87 feet 9 inches) behind the proscenium, supported by a fly tower reaching 18.29 meters (60 feet) to the grid at the back, enabling complex scenery and lighting setups. Acoustic treatments, including original oak-paneled walls and adjustable drapery systems, contribute to balanced sound reflection, enhancing clarity for live performances without overwhelming the space's natural resonance. Technical infrastructure has evolved significantly since the venue's 1932 origins, with a major in 2013-2014 upgrading the production capabilities to modern standards. The original analog systems were replaced with processing, including a front-of-house (FOH) SD11 console offering 48 mic/line inputs and 16 outputs for precise mixing. Lighting remains hire-in based, supported by over 100 channels in typical setups, while the rigging includes 40 double-purchase lines and up to 16 flying points on the stage grid, each with a 1-tonne load capacity, allowing for versatile overhead configurations. These updates, including the installation of a modular Prolyte StageDex platform system for flexible floor configurations, ensure the venue can adapt to diverse event formats efficiently. The acoustic profile of the is particularly well-suited to and pop concerts, featuring a natural reverb that supports energetic performances with clear vocal and instrumental projection. Post-2013 enhancements, such as the K2 system with 12 elements per side, six SB28 subwoofers per side, and distributed fills including ARCS and Kara cabinets, provide uniform coverage and high intelligibility across the seating areas, minimizing dead spots and enhancing low-frequency response for amplified music. Acoustic absorbers integrated into the under-balcony and foyer areas further refine the sound, reducing excessive buildup while preserving the venue's lively character. Production facilities include a dedicated FOH mixing position equipped with the aforementioned console and recording capabilities for high-quality captures. Video projection screens, installed as part of the upgrades, support visual enhancements for concerts and corporate events, with multiple points for rear- or front-projection setups. The venue's broadcast infrastructure enables of performances, as demonstrated in various 2020s events transmitted in high-definition via platforms like On Air Events.

Performances and Events

1930s to 1960s

In the , the Gaumont Palace primarily functioned as a but incorporated acts and stage shows alongside film screenings, marking its early role in live entertainment. Notable performers included , who appeared during this period as part of the venue's cine- programming. The Compton was frequently utilized to accompany musical films and provide interludes, enhancing the theatrical experience for audiences. Film premieres, such as the 1932 opening program featuring "A Night Like This" with , drew large crowds to the 3,487-seat auditorium. During the 1940s, the venue adapted to wartime needs under management from 1941, hosting Entertainments National Service Association (ENSA) troop shows to boost civilian and military morale. These performances, often featuring variety acts and concerts, provided essential escapism amid air raids and rationing, with the large stage accommodating ensemble productions. The 1950s saw the emergence of rock 'n' roll at the Gaumont Palace, highlighted by and ' final appearances on March 25, 1958, where they performed two shows to enthusiastic crowds. This event underscored the venue's shift toward , building on its cinema roots with increased live bookings. In the early 1960s, following the 1962 renaming to Hammersmith Odeon, the venue diversified into jazz and pop, exemplified by and His Orchestra's concert on January 13, 1963. held residencies featuring multiple performances with , capitalizing on the British Invasion's momentum. ' early major run of 20 nights (twice nightly) from December 1964 to January 1965 further solidified its status as a music hub, with attendance peaking at near-capacity for the 3,500-seat house.

1970s to 1990s

The 1970s marked a transformative era for the Hammersmith Odeon, as it solidified its status as a premier venue for rock performances amid the shifting UK music landscape from progressive rock to glam and hard rock. On 3 July 1973, David Bowie concluded his Ziggy Stardust Tour with a sold-out show, dramatically announcing the retirement of his alter ego onstage in front of approximately 3,500 fans, an event later documented in the concert film Ziggy Stardust and the Spiders from Mars. This performance exemplified the venue's role in hosting theatrical, high-energy rock spectacles that influenced glam rock's visual and performative elements. Later that year, the venue hosted multiple nights of emerging hard rock acts, drawing consistent crowds that underscored its importance in London's live circuit during the genre's expansion. In 1975, recorded their Christmas Eve concert at the Odeon, capturing a festive set featuring tracks from their early albums like and A Night at the Opera, performed before a full house of over 3,000 attendees. Released officially in 2015 as A Night at the Odeon – 1975, the recording highlighted the band's rising theatricality and the venue's superior acoustics for live albums, contributing to 's breakthrough in the rock scene. The decade saw the Odeon navigate the and transitions, booking acts that bridged with emerging energy, maintaining sell-out attendance averaging 3,000 to 3,500 per show and establishing it as a vital stop on the touring circuit. The 1980s elevated the Hammersmith Odeon to arena rock prominence, with the venue accommodating larger productions and international tours as rock diversified into new wave and heavy metal. U2 performed multiple nights during their 1983 War Tour, including shows on 14, 15, 20, and 21 March, where they debuted material from War to enthusiastic crowds of around 3,500, marking a key moment in their ascent to global stardom. Similarly, Dire Straits recorded portions of their 22–23 July 1983 concerts for the live album Alchemy, released in 1984, capturing extended improvisations on tracks like "Sultans of Swing" before packed houses that showcased the venue's suitability for intricate guitar-driven performances. Iron Maiden's frequent appearances, including sold-out runs in 1982 and 1984 supporting albums like The Number of the Beast, exemplified the Odeon's heavy metal legacy, with the band playing there 24 times overall from 1980 to 2005, often drawing maximum capacity crowds of 3,500 and fostering a dedicated fanbase during the NWOBHM movement. The Police, fresh from their late-1970s breakthrough, returned for early 1980s dates amid new wave's peak, building on their 1979 Reggatta de Blanc Tour shows at the venue to maintain its reputation for high-energy pop-rock bookings with consistent attendance exceeding 3,000. Throughout the decade, the Odeon played a pivotal role in the UK's live music ecosystem, hosting transitions from punk to arena rock and sustaining vibrant crowds that reflected the era's genre evolutions. Entering the 1990s, the venue underwent refurbishment and was renamed Labatt's Apollo in 1992 following a sponsorship deal with Labatt Brewing Company, which supported upgrades to seating and facilities while influencing a broader range of pop and alternative bookings to align with commercial trends. This period saw the Apollo embrace Britpop and alternative rock, with consistent attendance of 3,000 or more for key shows, reinforcing its central position in London's mid-sized concert scene amid the shift from grunge to indie influences. The sponsorship era facilitated diverse programming, including high-profile alt-rock acts that drew from the venue's rock heritage, ensuring sold-out nights and cultural relevance through the decade's musical transitions.

2000s to Present

In the 2000s, the Hammersmith Apollo continued to attract major rock acts, with delivering a highly anticipated one-off performance on 21 October 2003 that sold out in just four minutes, accommodating approximately 5,000 fans and marking a significant revival for the veteran band. The venue also hosted influential shows, such as Radiohead's concerts on 19 and 20 May 2006 during their tour promotion, blending intimate acoustics with experimental soundscapes to captivate audiences. The 2010s brought greater diversity in genres and global appeal following the venue's 2013 renovation, which enhanced its technical capabilities for larger productions. The reopening event on 7 September 2013 featured as the headliner for her Tour, drawing a sold-out crowd and signaling the Apollo's renewed focus on contemporary pop. British artists like performed there on 19 and 20 September 2011 amid her 21 album promotion, while took the stage on 15 October 2012 during an early leg of his rising career tours, emphasizing the venue's role in nurturing homegrown talent. The era also saw a surge in K-pop events, exemplified by Monsta X's energetic show on 17 June 2018, which highlighted synchronized choreography and fan engagement for an international audience, and Eric Nam's fan concert on 15 June 2019, blending pop and indie influences. The 2020s tested the venue's resilience amid the COVID-19 pandemic, which forced closure from March 2020 and led to widespread postponements, including the musical Sister Act being delayed to summer 2022. Reopening aligned with UK guidelines in May 2021 at reduced capacity—initially limited to 1,000 seated—before returning to full 5,000-person operations by July 2021, with added safety protocols like enhanced ventilation and contactless entry. Adaptations included virtual and streamed offerings via the On Air platform to maintain audience connection during restrictions. Reunion and contemporary acts resumed prominently, such as Blur's intimate album playthrough of The Ballad of Darren on 25 July 2023, broadcast live to extend reach beyond physical attendees. Into 2024 and 2025, bookings reflect broad appeal, featuring indie rock from Ryan Adams on 2 April 2025 and film-score concerts like Disney In Concert, alongside tribute-style events such as Love Actually in Concert on 13 December 2024. In November 2025, the venue hosted performances by Amy Macdonald and Gary Numan, continuing its tradition of diverse live entertainment. These selections underscore the Apollo's adaptability to modern entertainment, including hybrid formats with global streaming and post-pandemic capacity tweaks for health compliance.

Cultural Impact

In Popular Culture

The Hammersmith Apollo has been prominently featured in several films, often standing in for other iconic venues to capture its grandeur and atmosphere. In the 2006 romantic comedy Just My Luck, starring , the British band performs a scene at the Apollo, which serves as a substitute for New York's , highlighting the venue's role in showcasing emerging pop acts. Similarly, the exterior and interior of the Apollo appear in action sequences of (2017), where it represents a high-profile event space during a dramatic raid. Other films, such as (2017) and (2016), have utilized the venue's facade and auditorium for period-specific scenes evoking mid-20th-century entertainment culture. In television, the Apollo has served as a central filming location for music and comedy programming, reinforcing its status as a hub for live performance broadcasts. The BBC's Later... with Jools Holland marked its 30th anniversary with a special live episode recorded at the venue in October 2022, featuring a diverse lineup of artists performing in front of over 3,000 audience members, broadcast later that year. Additionally, the long-running stand-up comedy series Live at the Apollo (2004–present) is entirely filmed there, with episodes capturing comedians like Jack Dee and Russell Howard delivering routines to packed houses, establishing the space as synonymous with British humor on screen. Concert documentaries have also immortalized performances at the venue, such as the 1983 film Ziggy Stardust and the Spiders from Mars, which documents David Bowie's final show as his alter ego at the then-Hammersmith Odeon in 1973, blending archival footage with interviews to explore rock persona mythology. The venue's cultural footprint extends to literature and music videos, where it symbolizes rock history and live spectacle. In David Bowie's memoir : The Life and Times of (co-authored with Mick Rock, 2002), the author reflects on the 1973 finale as a pivotal moment in his career transformation, detailing the show's theatricality and audience impact through personal anecdotes and photographs. In music videos, artists have incorporated live footage from Apollo performances; for instance, Kelly Clarkson's 2004 "Breakaway" features clips from her concert there, edited to enhance the song's themes of escape and reinvention. These representations underscore the Apollo's enduring allure as a backdrop for artistic evolution in media.

Legacy and Notable Recordings

The Hammersmith Apollo has left an indelible mark on through several iconic live recordings captured during performances at the venue. Queen's A Night at the Odeon – Hammersmith 1975, recorded on December 24, 1975, and released in 2015, documents the band's energetic Christmas Eve show, originally broadcast by the , featuring tracks from their early albums like and A Night at the Opera. Similarly, Dire Straits' double live album Alchemy: Dire Straits Live, recorded over three nights from July 22 to 24, 1983, and released in 1984, captures the band's expanding popularity with extended renditions of hits such as "Sultans of Swing" and "Telegraph Road," peaking at No. 3 on the charts and No. 2 in the . The Who's performances at the venue in late 1979, part of the Concerts for the People of Kampuchea, contributed to live releases including footage and audio from December 28, 1979, highlighting their raw energy during the era of . The venue has served as a crucial "finishing school" for emerging and established rock acts, honing their stage presence amid London's vibrant music scene. Genesis' Duke Tour in 1980 featured multiple nights at the venue from March 27 to 29, showcasing the band's evolving progressive rock sound post-Duke album and marking a key step in their transition to arena rock status. These residencies influenced the UK rock landscape by providing a high-profile platform for technical innovation and audience connection. Beyond specific recordings, the Hammersmith Apollo's legacy lies in its enduring contribution to live music heritage, having hosted thousands of performances since its 1932 opening as a turned hall. From the onward, it became a cornerstone for legendary acts like , , and , fostering a tradition of intimate yet grand-scale rock events that shaped British culture. By 2025, the venue continues to draw global artists, with ongoing events underscoring its role in preserving and evolving live entertainment traditions.

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