A season’s worth of passports, flight cases, and stories converge in a finale that refuses to fade to black. We trace the hidden arteries of live music—from a retired tour pro’s poolside idea to a globe‑spanning set of conversations with production managers, security pros, artists, superfans, and the die‑hards who kept sound and light alive in deserts, ferries, and freezing tarmacs.

We start where tours truly begin: backstage. Jake Duncan’s leap from a drum shop to Bay City Rollers and Wham captures the chance encounters that bend lives, while Steve Martin drops us into the command centre of Live Aid and the pressure of delivering David Bowie’s vision when a stage design suddenly isn’t big enough. Then the energy tilts to pure rock and roll with Stan Urban, who turns hoovers into instruments, weddings into gigs, and remembers jamming with Robert Plant before Ibiza swapped poets for package flights. It’s messy, joyful, and proof that invention beats perfection when the clock hits showtime.

The road stretches East as promoter Yatzek Slotala guides Pink Floyd past the Iron Curtain with a bag of rubles, a borrowed Air Force plane, and nerves of steel. He helps Tina Turner rebuild Private Dancer on Central European stages with borrowed backlines and bulletproof grace. In India, Rock Machine becomes Indus Creed as Uday Benegal explains why a name can trap you and how original songs, scrappy trains, and a sedated fox terrier named Scooby wrote their origin story. Two superfans rewind to first gigs—Genesis with Peter Gabriel’s theatre and Rory Gallagher’s raw voltage—reminding us why live music burns into memory.

We swing through France on a chaotic bus of Glasgow bands—Franz Ferdinand among them—proving that if your town lacks a scene, you make one, even if chairs go overboard on the ferry. Security steps forward with rare warmth as Ronnie Franklin reflects on three decades protecting George Michael, including a holstered‑gun scare diffused with calm and kindness. Finally, we walk the Memphis Mansion in Denmark, where a Rat Pack‑serenaded piano still sings, and head to the Gulf with the “desert rats,” who fought heat, sand, and fried dimmers so the show could go on.

Hit play for craft, chaos, and heart from Wham to Pink Floyd, Elvis to Indus Creed. If these stories moved you, follow the show, rate us, and share your first live gig memory—what was the song that changed everything?

It's Only Rock and Roll is a Phil Blizzard Radio Production - for your production email philblizzardmedia@gmail.com

We relive how comedy, concerts, and sheer grit brought modern live entertainment to the Gulf, from Billy Connolly and Lenny Henry to Bollywood stadium spectacles and ballet on the beach. Heat, customs, and failing gear tried to stop us; diplomacy, craft, and humour carried the day.

• British comedians breaking new ground across the Gulf
• Jasper Carrot’s late-career surge and Lenny Henry’s airport pranks
• Cancelled shows, customs hiccups, and strict cultural lines
• Bootleg tapes, censored artwork, and local media quirks
• Airport systems for moving bands and gear fast
• Indian and Arabic weddings with complex technical limits
• The Sharjah Bollywood epic with camels, horses, and balloons
• Gypsy Kings rescue plan after lighting failure
• Ballet under blistering lights and DIY power solutions
• Winning over electricians and hotel crews through respect
• Saudi gigs, Sadiqi stories, and a narrow escape
• Shout-outs to crews, mentors, and long-time colleagues

Go to YouTube for the video version of this podcast. There’s a link is- https://youtu.be/e0Yjm_wJSBA and some fabulous images of the Deserts Rats in action and more ...

If you would like to have a podcast production for your organisation, get in touch with me:phillblizzardmedia@gmail.com

It's Only Rock and Roll is a Phil Blizzard Radio Production - for your production email philblizzardmedia@gmail.com

In this, the first of two parts, we trace how a small team of promoters and techs hauled second-hand gear, charmed airlines, and built a live music circuit across the Gulf in the 80s. Stories of burning dimmers, poolside plotting, cultural shows in ballrooms,

A concert scene doesn’t just appear; someone has to drag it across borders, bolt it together in the heat, and pray the dimmers don’t catch fire. We look back at how a handful of stubborn promoters and techs built a touring circuit across Dubai, Abu Dhabi, Muscat, Al Ain, Bahrain and Kuwait in the 1980s, bringing Tina Turner, Duran Duran, Meat Loaf, UB40 and more to a region with almost no infrastructure.

Russell is joined by lighting mastermind Graham Trudgeon and sound engineer Kevin Winder to unpack the grind behind the glamour. The stories are vivid: second-hand Tasco and Brit Row rigs arriving as “excess baggage,” lighting plans sketched from the swimming pool because the stage sat at the deep end, and follow spots that fought back with live shocks. There’s the Hyatt Ballroom turned into a three-hour Meat Loaf marathon with a smart blackout to dodge a kiss, UB40 dressing room brawls that vanished by breakfast, and Chris Rea touring with a plumber’s bag while borrowing socks from the crew.

Beyond rock, the team staged cultural shows that made improbable sense: Bolshoi stars on the beach with scene changes in the wind, Swan Lake in tracksuit bottoms for Kuwait’s conservative venues, and Cossack dancers leaping off stages that were a size too small. Local heroes like Sharif, the James Brown lookalike truck driver, powered the whole effort—hauling gear up mountains, surviving electrified follow spots, and delivering hot food to remote plateaus. Promoters and hotel GMs covered pools to build stages, charmed airlines for baggage, and kept audiences coming back for more, night after night.

It’s a portrait of resilience, ingenuity and mischief that laid the foundations for today’s polished Gulf live industry—air‑conditioned warehouses, reliable rigs, and arena-level shows. If you love live music, touring history, or stories of impossible projects pulled off with tape and nerve, this one hits hard. Enjoy the ride, then subscribe, rate and share so more people can discover the desert rats who made the music happen.

It's Only Rock and Roll is a Phil Blizzard Radio Production - for your production email philblizzardmedia@gmail.com