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VIPNEWS PREMIUM > VOLUME 178 > APRIL 2015

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VIPNEWS > APRIL 2015

McGowan’s Musings

It’s nearly time for The Great Escape to visit

my presently sunny and pleasant home town

of Brighton, so for a few days, May 14-16

actually, any vestiges of peace and tranquility

will be cancelled out as the international

music biz descends in great numbers upon

my seaside idyll! This is the tenth edition –

surely not! – I recall the first one, which was

beset by the worst weather we’d had in

ages, high winds, ferocious rain, and it was

cold! Of course I’d arranged to stage a show

on Brighton Pier, and people had to fight

against the elements to get there – highly

memorable, but ten years ago?! Since then

the weather has improved, and it has to be

said, so has the event. At the launch party

in The Tempest bar on the seafront, I was

told by organiser Kat Morris, and co-founder

Martin Elbourne, that this edition will be the

biggest ever in terms of numbers for both the

Conference aspect and the Festival. We will

of course report back on how it all goes in

the next issue – after all I won’t be able to

avoid it – not of course that I’d wish to!

I was just thinking last week that it’s about

time for the national UK press to start

publishing grim predictions about the

future of the festival market, and lo and

behold, right on cue, last weekend’s Sunday

Times came up with an article quoting the

triple horrors of market saturation, lack of

headliners and high costs – all inevitably

resulting in poor sales and eventually, we

assume, the collapse of the festival market.

Now it’s true to say that, as every year, there

are some casualties – but most of the events

they quote as being absent from the calendar,

Oygene, The Big Chill, Global Gathering and

Rockness, have previously had problems.

Ok, there will be further failures, and T-in

the Park are having problems with rare birds

(see report in this issue) but no matter how

much the broadsheets seem to want to see

the back of the outdoor events, the market

along with audience appetite, is definitely not

going away. The newspaper also states that

from only a dozen festivals in 1971 – probably

about right – the number rose to 163 last year.

163? I don’t think so, although nobody seems

absolutely sure about the number of events,

even London’s give away paper The Metro

states that there will be 750 festivals this year

- probably a lot closer to the actuality.

Certainly the industry overview of the

international festival market is not lacking in

confidence, with some players being inspired

to add yet another trade event to the already

full calendar, this season will see a brand

new London based event aimed at Festival

organisers and agents. Initiated by the team

responsible for the ILMC, The International

Festival Forum (IFF) will take place in London

from September 30 to October 1. (See report

in this issue)

Of course it may be that the UK newspapers

are just trying to get away from the

omnipresent political stories, with the General

Election looming, and most of the parties

also seeming to get their figures wrong, it’s

a relief to focus on other things. Although

following the reforming of Blur, Damon

Albarn has encouraged young popstars to

sing about politics, not platitudes. I’m not

holding my breath!

Due to the scheduling of a medical operation

on my left ear, which will bar me from flying

for a couple of months, I’ve had to cancel

my involvement at the SPOT Conference in

Aarhus – apologies, and a shame, it’s a good

event! So I wish them well and we’ll get a

report for the next issue. Check it out on

www.spotfestival.dk

Right – while the City’s still not overrun I’ll go

and buy a paper, or write a song, so much to

choose from – in the meantime Ladies and

Gentlemen – The News!

COLOPHON >

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The UK Collection Society is to review the

way live music is licensed in the UK. This

latest consideration of the way monies are

collected from the live industry will take the

form of an eight-week consultation on the

terms of its Popular Music Concerts Tariff

(aka Tariff LP).

Of course Promoters of all forms of live

music, concerts, club shows, festivals etc.,

must pay royalties to songwriters and music

publishers for the songs that are performed

at their events. These royalties become

due for collection after every performance,

whether the show consists entirely of the

artists own material, or otherwise, and

are passed on to the right owners via the

Performing Right Society.

The last review of how PRS licenses live took

place in 2010, and due to various delays

and prevarications didn’t conclude until

late 2011, with the society deciding to keep

things unchanged, leaving the performance

rate at 3% of box-office returns - one of the

lowest rates anywhere.

However, four years on, PRS now says, “we

have undertaken further investigations

into the live music industry, including

commissioning independent third party

research into consumer preferences when

attending popular music concerts and

festivals and the value song compositions

make to these events. The consultation

also follows a series of ongoing stakeholder

reviews with many of the parties concerned”.

During the last there was much criticism

and opposition to any change from many

in the live music sector. Promoters at all

levels argued that PRS’s contention that

the live industry had gone through a boom

in the preceding years, music events were

licensed on a revenue share basis, meaning

that as the promoters did better so did the

songwriters and publishers. It is still true

to say however that PRS actually shares in

just ticketing income, and some in the live

sector make more through food and drink

sales and sponsorship deals. It was indicated

that the Society would go after a share of

other revenue sources, in the way that the

German Society, GEMA, already does.

But this new review may see some in the

live industry being more amenable to reform

in the way PRS licenses gigs, particularly if

one of the ideas reportedly considered in

2010/11 is reconsidered. This refers to a

reform of the system whereby the top end

of the live sector would pay out more than

the presently beleaguered grassroots venues

and promoters would be charged. The roots

and club venue promoters would see this as

a good and fair development.

The Music Venue Trust which works to

champion the grassroots live sector (See

reports in the last issue of VIP News) has

previously been critical of PRS’s policies, has

welcomed this new review.

It said in a statement yesterday: “We are

delighted to announce that following

extensive discussions with PRS For Music

after Venues Day 2014, PRS have today

announced a consultation and review of

Tariff LP which all music venues across the

country can engage with and play a part in

shaping. This is a significant achievement,

Paul Clements, Commercial Director, PRS For Music

PRS For Music TakesAnother Look at Live MusicAllan McGowan [email protected]


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and shows the power of working together

to make our voice heard”.

The Trust admitted that “we are

disappointed that the framework of the

review does not find space to specifically

mention the impact of the minimum fee, or

of single event reporting, both major issues

for small music venues which were loudly

talked about at Venues Day”.

But looking at the bright side, its statement

said: “However, we have a review, and we

have the opportunity to demand the end

of the minimum tariff, the collection of

royalties across a number of concerts, and

the transfer of the administration of the

collection of fees from the venues to the

rights-holders, where we believe it legally

and logically belongs”.

They concluded: “We urge all music

venues across the UK to engage with this

consultation. We know how busy everybody

is, and we will shortly be writing to all of

you with details of how we can speak with

a coherent voice to demand a fair deal

from PRS For Music. We will be providing

specific guidance on a collective position

which we hope will be positively responded

to, and which will enable you to fill in the

consultation as quickly as possible”.

Commenting on the review from their side,

PRS For Music Commercial Director Paul

Clements told reporters: “The live music

sector has changed dramatically since 1988,

when the current tariff was set by the UK

Copyright Tribunal. The purpose of this

consultation process is to engage with our

customers and members, to provide an

open dialogue in reviewing PRS For Music’s

Tariff LP. As a membership organisation,

we have an obligation to ensure that our

licensing is simple, efficient, fit for purpose

- and recognizes the valuable contribution

our songwriters and publishers make to the

live music industry”

PRS have announced that they will be running

the eight-week consultation on the terms of

the Popular Music Concerts Tariff (Tariff LP)

and invited all concerned to take part.

Find out more information on the con-

sultation, including how to take part.

The consultation will run from 13 April to

8 June 2015.

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The International Live Music Conference

(ILMC) is launching a new invitation-only

event aimed at bringing the festival world

together.

The International Festival Forum (IFF) will

take place in London from September 30 to

October 1.

Targeted at agents and festival organisers,

it will be held across two venues – Proud

Camden and Dingwalls – and will feature

showcases and Q&As with some of

the industry’s most renowned booking

agencies.

“The philosophy behind IFF is two fold,”

said ILMC’s Greg Parmley. “First, to

build a unique forum where leaders

and innovators in the festival world can

meet and exchange ideas; and second,

to provide a platform for festivals and

agencies with targeted networking, Q&As

and by showcasing the best festival-ready,

agency-signed artists.”

Founding association partners on the event

are the Association of Independent Festivals

(AIF), De Concert!, the International Jazz

Festivals Organization and International

Festivals and Events Association (IFEA)

Europe. Founding agency partners include

The Agency Group, Coda, Primary Talent

International and X-ray Touring.

The Agency Group’s MD Geoff Meall, agent

for acts such as Muse and Paramore, said:

“I’m very pleased to joining the advisory

board for the nascent IFF. I thinks it’s a

fascinating initiative that will strive to bring

festival bookers and the agents closer

together in a more productive fashion than

current exists.” .

VIP News spoke to IFF organizer Greg

Parmley about the new event:

ILMC LaunchesFestival Booking EventFrom VIP-Daily News

Greg Parmley, IFF/ILMC

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VIP News: Why should festival

promoters from Europe attend the

premier edition of IFF?

Greg Parmley: To meet and exchange infor-

mation amongst their peers internationally,

to learn and explore new concepts, partici-

pate in workshops, discover and book great

new music, and to meet and network with

the majority of London’s booking agents all

in one key location at a key time in the an-

nual festival industry calendar.

VIP News: Please give us an idea of the

capacities and settings in terms of the

number of delegates and showcases for

IFF...

Parmley: Numbers are restricted to just

250 delegates and we’ll only be having

one artiste showcase at a time, with no

more than 15 performances per day. With

two live rooms, everybody can see every

performance. So it’s not big numbers, but

because each partner agency is presenting

their most hotly tipped, festival-ready

signings, it should be a very targeted

marketplace. There’s simply no room for

filler!

VIP News: What themes and topics will

be featured on the conference agenda

of IFF?

Parmley: The agenda will be published in early

summer. We want to shake up the traditional

panel format and focus on presenting new

concepts, showcasing best-case examples,

and hosting workshops that either educate

or inspire. Our industry advisory board and

festival association partners will decide much

of the topics. The festival business is dynamic

and constantly evolving, and the conference

element should aim to keep delegates ahead

of the curve.

VIP News: The share of domestic

headliners on festivals in markets such

as France, the Netherlands or Germany

significantly rose in recent years. Isn’t

this development a backlash for the

relevance of UK-based agencies as local

acts meanwhile became more important

for festival promoters on the continent?

Parmley: We’re not working exclusively

with UK agencies and it’s open to all. Many

of those domestic artists will be signed to

UK agencies though and being based in

London and at that time simply reflects

what is already happening in early autumn;

that many festivals meet with agents about

bookings for the following summer.

VIP News: There are already so

many showcase festivals in Europe

going on. What are the preferences

for the showcase programme of IFF

and what kind of artists are you are

looking for?

Parmley: It’s entirely up to our partner

agencies as to what artistes they

showcase. There are many much bigger

and successful showcase events, (most of

which our team is involved with in some

way or another!) and we’re not looking

to complete with them. IFF is a niche

event aimed at two specific sectors of

the business. By being very focused, we

hope that everyone involved will find it

extremely productive.

Liverpool’s Kazimier Club is closing its

doors to the public at the beginning of

next year due to redevelopment plans

for Wolstenholme Square, where the

480-capacity venue is based.

However, the Kazimier name could yet live

on as developer Elliot Group has offered it

a new site within the scheme, and talks are

ongoing.

“We could never have envisioned the

warmth of feeling The Kazimier Club has

created since opening its doors seven

years ago, nor could we have envisioned

it surviving for as long as it has, but true

to its original ethos we believe it needs to

finish on a high, in the same bricks and

mortar as its birth,” said a statement from

management.

“As this chapter draws to a close, we want

to make it clear that this is the end of a

building - the original artistic core and the

wider Kazimier team are moving forwards

with a variety of new projects in various new

spaces.”

The Kazimier Club in Liverpool to closeFrom VIP-Daily News

“We acknowledge the financial support of the Government of Canada through the Department of Canadian Heritage (Canada Music Fund) and of Canada’s Private Radio Broadcasters.”

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VIPNEWS > INDEPTH STORY > APRIL 2015

Spinning The WheelsAround c/o popManfred Tari [email protected]

The announcement of the 12th edition of the music convention c/o

pop in Cologne presents a couple of surprising items. One is that

c/o pop is the German partner for the project “We Are Europe”, a

joint project under the leadership of the Association Arty Farty in

France that has been granted a subsidy of 1.9 million Euro by the EU-

programme Creative Europe. VIP News spoke with Ralph Christoph,

one of the founders of c/o pop and one of its spin doctors who acts

so to say as the foreign minister of this music convention. Bearing

his position in mind, besides inquiring about We Are Europe, VIP

News also asked Christoph about the festival situation in Germany

and in particular about a politically created support programme for

the creative industry in Northrhine-Westphalia that strangely excludes

support for live entertainment formats...

VIP News: Please explain the settings and the aims of the

project WE ARE EUROPE and its partners.

Ralph Christoph: WE ARE EUROPE is a project for large-scale European

cooperation which was presented as a part of the sub-program Europe

Creative Culture 2014-2020.In Europe, 127 projects applied as part

of large-scale cooperations, and only 16 projects were selected. The

WE ARE EUROPE project got the third highest ranking of all projects

presented.

With this project Arty Farty (the project leader) and the partners aim

to give a voice to a new generation of cultural activists in action for

Europe. It is for them and with them – the public, citizens, and Europe

– that we are building this cooperation project.

The eight founding partners of the project are:

Sonar festival & Sonar+D forum (Barcelona, Spain)

c/o pop festival & convention (Cologne, Germany)

Elevate festival & Discourse & Activism forum (Graz, Austria)

Insomnia festival & Movement + Ideas forum (Tromso, Norway)

Nuits Sonores festival & European Lab forum (Lyon, France)

Resonate festival & Resonate Pro forum (Belgrade, Serbia)

Reworks festival & forum (Thessaloniki, Greece)

Todays Art festival & Bright Collisions forum

(The Hague, Netherlands)

VIP News: How relevant is Arty Farty for European festival

sector?

Christoph: It is a siginificant milestone for the project leader ARTY

FARTY, as they now find themselves on the European podium for the

second time. Following three years of support from 2011 to 2014,

this renewal of support from the European Union brings them a

critical mark of recognition for what they have achieved over the last

15 years with their festival LES NUITS SONORES and the EUROPEAN

LAB FOR FESTIVALS, both in Lyon, France, and of course what they

have achieved for their commitment to Europe and cititzenship.

ARTY FARTY organizes the Indie and Electronic festival LES NUITS

SONORES in Lyon since 2003, and the EUROPEAN LAB for festivals

since 2011.

Ralph Christoph

9

VIPNEWS > INDEPTH STORY > APRIL 2015

VIP News: There will be two new festival conventions later on

this year. Will WE ARE EUROPE be so to say a third B2B event

for this part of the music industry?

Christoph: As the EUROPEAN LAB already is a forum for both

professionals and the public – with everybody who contributes to

tomorrow’s culture, WE ARE EUROPE also will not be a closed shop

and B2B event.

In today’s Europe, faced with national decline, conservatism and

populism, the project involves new generations of European cultural

stakeholders defending their critical independence from politics,

finance, religion and institutions.

The digital revolution of the creative industries, the economy

and the independence of creation, cultural entrepreneurship and

new media are at the heart of the main ideas focusing on the

emergence, innovation and evolution of public policy within the

European Union.

The EUROPEAN LAB forum 2015, which will be happening from

may 13 to 15, will surround all cultural fields (new images, media,

Internet, publishing, music etc.) that are dealing with major

economic, technological and democratic issues affecting their

future, our future, and the future of European culture in the 21st

century.

WE ARE EUROPE will be the next level: With the new generations

of European cultural activists and the public audience, the forum

questions and considers the future of culture in this time of crisis and

change facing our society.

VIP News: In Germany various new festival formats such as

Rockavaria , Lollapalooza, Summertale, just to name a few,

are to be launched. What is your point of view on the the

market situation for festivals in Germany in general and in

particular for new ones?

Christoph: Of course the situation is getting tougher. The major

battle of the festivals is affecting the whole festival market. More

than ever before, you have to make sure to make your event unique.

In our case, the situation is less problematic than for festivals with a

typical outdoor approach. c/o pop ever was and still will be more a

boutique festival for an audience who wants to discover new talent

from Germany, Europe, and around the globe.

VIP News: Where do you see the position of c/o pop located

between events such as Pop=Kultur and Reeperbahn Festival?

Christoph: Primarily, this is nothing totally new to us. In recent years,

the events in Cologne, Berlin, and Hamburg already happend in a

row. As far as I can see, Pop=Kultur is most likely a festival with a

discourse orientated add on, which is not a B2B event as we know

it. I’m curious about the first edition and I wish my colleagues all

the best!

VIP News: Arty Farty has been granted a subsidy by the

“Creative Europe”-program of the European Commission.

Cologne is located in Northrhine-Westphalia and its district

government runs a program entitled as “Creative NRW” and

a support program named “CreateMedia.NRW”. The funny

thing is that “CreateMedia.NRW” is supplying funding for

“research & innovative creative projects”, but excludes live

entertainment event formats. As such would you say that the

responsible authorities who developed these programmes

did a proper job?

Christoph: First of all, I have to mention, that c/o pop was the driving

force behind the European Union funded project ‘From Good To

Great’ from 2008-2011, and that c/o pop also was funded through

the Culture Programme (2007-2013) in the sub-programme ‘Support

for European Culture Festivals’. But of course, there was and still is a

lot of confusion within the different programmes in the broad field

of ‘creative projects’. Yes, these programmes often do not reflect

the needs of the players in the field of Creative Industries. But more

obvious for the success of equivalent festivals in let’s say France is

the much better way of working together with public and private

partnerns on a local and regional level. I’m still missing a prudent

and evident cluster and funding policy.

c/o pop takes places on August 19.-23. in Cologne, for further

information please check www.c-o-pop.de

http://www.c-o-pop.de

10


Kubana, Russia`s biggest outdoor rock

festival to feature major foreign acts, has

come under pressure from both a rising

conservative pressure in the country, as well

as the fall of the national currency.

Local Orthodox activists are unhappy and

have protested against the event.

Recently Orthodox activist Mikhail Cherenkov

claimed that the festival “cultivates alcohol

consumption and debauchery and should

be investigated by the country`s security and

drug enforcement agencies.”

Conservative legislator Vitaly Milonov

supported Cherenkov, claiming that the

festival could turn into “a hotbed of

promiscuity, alcoholism and drug abuse.”

Fortunately for Kubana, local authorities

didn`t side with the event`s opponents.

“Kubana is definitely going to be held in the

village of Yantarny, Kaliningrad region, on

August 6 to 9,” the festival`s producer Ilya

Ostrovsky confirmed to Billboard

Meanwhile, promoters of other Russian shows

have been less lucky, and Orthodox activists

have been able to disrupt or cancel a number

of concerts over the last couple of years.

Since its inception in 2009, the festival has

hosted sets by the likes of Korn, System Of

A Down, Madness, The Offspring, Gogol

Bordello, Scooter, The Prodigy, Guano Apes

and Die Antwoord.

Another major challenge the festival is

facing is the fall of the ruble, which has lost

about 50 percent of its value over the past

year. This could make it difficult to bring

top-level foreign acts to the festival.

“We are trying to talk to foreign artists,”

Ostrovsky said to Billboard. “Some under-

stand our situation, and some don`t.”

So far, four foreign acts have been

announced, including Hollywood Undead

and Enter Shikari.

Russian Festival KubanaFestival Under PressureFrom VIP-Daily News

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The PRG LEA Awards were presented for the tenth time

on the 14th of April 2015. More than 1,300 guests from

the national and international music, special events and

entertainments scene came together to celebrate at the

jubilee gala in the Festhalle Frankfurt, which also signalled

the start of the Musikmesse Frankfurt exhibition and the

“Prolight + Sound” technology show, which takes place

alongside it.

For more information, please feel free to contact us.

LEA – Live Entertainment Award Committee e. V.

Postfach 20 23 64, 20216 Hamburg

Tel.: 040 / 41 30 55 05, Fax: 040 / 46 88 14 17

E-mail: [email protected]

Position - Public Relations GmbH Katharina Ernst

Tel.: 0221 / 93 18 06-46, Mobile: 0162 / 93 18 06-46

E-mail: [email protected]

The Winners:Arena Tour of the Year 2014

Justin Timberlake – „The 20/20 Experience”– Marek Lieberberg Konzertagentur GmbH & Co. KGConcert Hall Tour of the Year 2014Marteria – „Zum Glück in die Zukunft 2“– Four Artists Booking Agentur GmbHClub Tour of the Year 2014 presented by StröerMarius Müller-Westernhagen – „Alphatier Pre-Listening Tour 2014“ – DEAG Deutsche Entertainment AGFestival of the Year 2014 presented by PRGRock am Ring / Rock im Park – Marek Lieberberg

Konzertagentur GmbH & Co. KGConcert of the Year 2014

The Rolling Stones – Waldbühne, Berlin– Deutsche Entertainment AG

Show of the Year 2014Cirque du Soleil – „KOOZA“

– Marek Lieberberg Konzertagentur GmbH & CO. KGEvent Organiser of the Year 2014Wizard Promotions GmbH, Frankfurt am MainArtist and/or Youth Promotion of the Year 2014ARD New Music Award – organised by Four Artists Booking Agentur GmbH by order of ARD-Jugendwellen

(leading: Fritz / RBB)Club of the Year 2014

Zeche, Bochum – Zeche Bochum GmbHConcert Hall / Arena of the Year 2014Schwerpunkt der Jury: kleinere Hallen mit einer Kapazität zwischen 2000 und 5000 Besuchern Tempodrom, Berlin

(Tempodrom Betriebsgesellschaft mbH & Co. KG)Local Organiser of the Year 2014Basierend auf einem Votum von 25 deutschen

TourneeveranstalternARGO Konzerte GmbH, WürzburgArtist Manager / Agent of the Year presented by IMUC Basierend auf einem Votum von 25 deutschen Tourneeveranstaltern Sascha Stadler– VOLL:KONTAKT UG (haftungsbeschränkt) & Co. KG

Jury Award 2014JazzNights – Karsten Jahnke Konzertdirektion GmbHLifetime Achievement Award 2014

Peter Rieger Konzertdirektion GmbHLife’s work as an artist managerJochen Hülder – JKP Jochens Kleine Plattenfirma GmbH & Co. KG

The PRG Live EntertainmentAwardsAllan McGowan [email protected]

LEA 2015

The Rolling Stones, Waldbühne, Berlin

Cross sector trade body UK Music has announced the appoint-

ment of a new Director Of Communications in the form of James

Murtagh-Hopkins.

He will “use his strategic publicity experience to help deliver fo-

cused and impactful communications for UK Music around all of

our core campaign objectives”, says the press release.

Commenting on his new job, Murtagh-Hopkins told reporters: “I

am incredibly excited to be joining Jo Dipple and her fantastic team

at UK Music, and am looking forward to working closely with all of

our member organisations to help highlight the core issues facing

the UK music industry today”.

Rob Prinz, who established UTA’s music department in 2001, has

joined ICM as a new partner according to The Hollywood Reporter.

Veteran concerts agent Nikki Wheeler is also making the jump from

UTA to ICM.

They are bringing a roster of established music and comedy talent

that includes Celine Dion, Hall & Oates, John Hiatt, Bob Seger & the

Silver Bullet Band, Jerry Seinfeld, Rick Springfield and more.

“I am incredibly proud to bring in Rob as a partner,” said co-head of

worldwide concerts Steve Levine, who will share the title with Prinz.

“his leadership, senior relationships in the industry, and diverse list

of iconic clients are a perfect fit for us.”

Prinz led UTA`s music and personal appearances department. He

began his career in William Morris` New York office, where he was

credited with discovering Madonna. He also spent 11 years at CAA,

where in addition to Dion and Seinfeld he repped Stevie Wonder,

Barbra Streisand and Bon Jovi.

Wheeler has followed Prinz since her career started 18 years ago at

CAA. She moved with him when he founded Principal Artists Group

in 1999 and then again when he was tapped to start up the music

department at a fledgling UTA two years later. In addition to repping

artists and comedians, she also has worked on music initiatives for

corporate clients including Amazon and American Eagle Outfitters.

New Communications Boss atUK MusicFrom VIP-Daily News

Rob Prinz Becomes Partner at ICMFrom VIP-Daily News

Rob Prinz

James Murtagh-Hopkins

13

NAMES & JOBSVIPNEWS > APRIL 2015

14

VIPNEWS > BUSINESS > APRIL 2015 MUSIC IN SHARES

CTS Eventim - Joining M-DAX

Frankfurt Stock Exchange (FSE) appointed

CTS Eventim as a successor for the travel

company TUI within the stock market index

M-DAX. Due to the joint venture between

TUI and at London Stock Exchange (LSE)

listed TUI Travel, TUI withdraw its listing in

Frankfurt. This move lead to a free place

within the M-DAX, an index limited to the

best 50 mid-cap companies listed on FSE.

As various banks offer financial certificates

or products accordingly to the performance

of this index, the CTS share experienced

another little boost. On March 23 VIP News

reported a share price of 29.88 Euro, this

time on April 22 it is 31.11 Euro.

DEAG - A Preliminary Drawback

The news situation regarding low ticket

sales for the three new festivals of DEAG

lead to a backlash for the share price of the

company. The news that DEAG announced

moving the festival formerly known as “Der

Ring Grüne Hölle Rock” from Nürburgring

under a new name to the Veltins Arena in

the Ruhr-District additionally affected the

share price.

Prior to the announcement to re-locate the

festival DEAG informed investors that it

was undertaking a risk prevention which

foresaw that marketing expenses for their

newly launched ticketing platform Myticket

would be included within the 2014business

results instead of 2015. Within this news

DEAG furthermore announced to release

the business results for 2014 on April 20.

On the website the company announced

the release of the figures on April 30. The

share price now came down to 6.70 Euro,

previously VIP News reported 7.11 Euro.

Live Nation - Business Results For Q1

Are In Sight

Live Nation will announce its business results

for the first quarter on April 30. However,

since black market ticketing successfully

became part of the value chain not only for

Live Nation (Seatwave) and CTS Eventim

(Fansale), Live Nation faces an antitrust

lawsuit by the black market ticketing

platform Stubhub, a subsidiary of Ebay.

Stubhub claims within its company blog that

this case : “seeks to stop unfair and illegal

anti-competitive business practices that

prevent fans from deciding how they want

to resell their tickets and which artificially

drive up ticket prices.”

What an amazing case this probably is

going to be. The share price for Live Nation

currently is at $25.97 compare to $25.43 as

reported in the last issue.

SFX Entertainment - The Buy Out

Experience:

$4.75 per share is the offer by company

founder Robert Sillerman for the buy back

scheme for shareholders of this company.

Well, still a bit to go according to the current

share price of $4.47...

MusicIn SharesManfred Tari [email protected]

Go online - www.vip-booking.com

Need to know who is touring Europe? ®

vip-booking.com

VIPNEWS > MISC > APRIL 2015

8:58 PAUL HARTNOLL from ORBITALTerritory: World excl USAPeriod: May 2015 onwardsAgency: Value Added TalentAgent: Dan SilverPhone: +44 20 7704 9720E-mail: [email protected]: [email protected]

Chris Thompson (Ex-Manfred Mann¥s Earth Band)Territory: WorldPeriod: Available all year on requestAgency: Live Concept Entertainment GmbHAgent: Michael WidmannPhone: +49 7203 9219180E-mail: [email protected]: www.christhompson-central.com

DIE KRUPPSTerritory: WorldwidePeriod: September 2015Agency: IBDAgent: Sabine WaltzPhone: +49 (0) 8202 9049870E-mail: [email protected]: www.facebook.com/diekruppsofficial?fref=ts

Patti Smith Territory: EuropePeriod: 2015Agency: Primary Talent InternationalAgent: Andy WoolliscroftPhone: +44 20 7400 4500E-mail: [email protected]: www.primarytalent.com/patti-smith/

THE ORCHESTRA starring ELO former members Territory: WorldwidePeriod: 2015Agency: World Entertainment Associates of AmericaAgent: John Regna - Artist Agent/ManagerPhone: +1 407 993 4000E-mail: [email protected]: www.THEORCHESTRAonline.com

Karl Seglem Territory: WorldwidePeriod: June - December 2015Agency: Artist VisionAgent: Eivind BrydoyPhone: +47 4504 8048E-mail: [email protected]: www.karlseglem.com

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Starting up as a local agency in Germany’s Ruhr area in 1993, Contra Promotion has

grown to become an established brand in the country’s events industry. Founder

and managing director Björn Gralla leads a dedicated team. From their headquar-

ters in Bochum, they organise around 500 concerts and shows throughout Europe

every year.

In 1997, Contra Promotion began arranging tours for Göttingen rock band Guano

Apes. The band played a major role in the agency’s success. After splitting up sev-

eral years ago, the Apes are now doing a comeback tour – and they’re back on

Contra’s books. The agency has also made a name for itself with other acts from

Germany and abroad. They include HIM, Sunrise Avenue, Nightwish, H-Blockx,

Kevin Costner and Oomph!. Contra Promotion works with a wide range of genres,

covering everything from metal and pop to jazz and soul – and even comedy acts.

15

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