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VIPNEWS PREMIUM > VOLUME 166 > MARCH 2014
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VIPNEWS > MARCH 2014
McGowan’s Musings
Firstly I’m afraid, some bad news from Austin ,
Texas, as we hear about three killed and 23
injured as a reportedly drunk driver mowed
people down during SXSW. One of the
fatalities was Steven Craenmehr, Creative
Director of Massive Music in Holland. All at VIP
send our condolences to the family and friends
of those killed, and wish speedy recoveries for
those injured. (See report in this issue.)
I think I’m about recovered from ILMC, but only
just! As some of you know, Brighton is only an
hour or so from London, so I’m not having to
jump on trains and planes and automobiles, as
I do with all of those international events that
I frequent, to get to The Royal Garden Hotel ,
but somehow the International Live Music
Conference leaves me more exhausted than
most. It’s a very full on event – ask anyone !
This 26th circus themed edition was again sold
out, with over a thousand live industry people
from 61 countries attending. The overall
atmosphere was very positive, apart of course
from reports of the disturbing effects of the
recent political unrest in Ukraine, Thailand and
Turkey on the business, and of course every
day life in these countries.
Much as the rivalry between the ‘big boys’ of
the international live industry, AEG and Live
Nation, is often observed and commented
upon there was quite a display of ‘We get
along just fine…!, from individuals from
both Companies on the panels. The opening
session featured executives John Reid of LN
and AEG’s Tom Miserendino. Reid pointed
out that AEG were ‘great venue people’, and
Miserendino, recently deployed from the US to
take up duties in Europe, acknowledged LN as
important clients, although he did mention the
rivalry in London, which many other promoters
are worried will push up artist fees. On the
Festival Forum, Live Nation CEO John Probyn
and AEG’s Jim King mentioned their – obvious
- friendship, but the matter of the competition
attending the staging of London Festivals did
raise its head. And the sponsorship panel went
even further with this spirit of bonhomie, as
LN’s Simon Lewis and Paul Samuels of AEG
co-chaired the session. See ILMC report in this
issue.
I like to think that this just goes to show that
the live music industry is still made up of and
run by individuals who are all, even when
working for the corporates, at heart, freelance
entrepreneurs (as George Bush Jr. once
famously said, the French don’t have a word
for entrepreneur – I’m sure he was joking…)
with respect for their competitors and for the
business, just like the pioneers who invented
the business, but as the history of the ILMC
shows, the business became an industry, and
this becomes more corporate every year. Still
the entrepreneurs are still around, and I expect
many of you reading this put yourselves in that
category – so all power to you!
After a generally awful winter in the UK and
elsewhere, here comes the spring, season of
daffodils, the snowdrops, hopeful optimism
and Festival press releases by the score. I can’t
believe we’re talking about Glastonbury again
already! Somehow after a couple of years
worrying that there wouldn’t be enough
acts to go round, and a frantic search for
other forms of entertainment, the bills for
most events seem to be as full as Northern
European floodplains. Where have these artists
come from? Macklemore and Ryan Lewis for
instance (or are they a firm of Solicitors …
Estate Agents perhaps?) A repeated theme
at ILMC was ‘Artist Development’, much was
made of the live industry taking up the A&R
responsibilities abandoned by the beleaguered
record companies , but there were few practical
description and examples of how this crucial
role was manifested, although I’ve noticed that
at many Conferences people are seemingly
now more interested in hard information than
general overview…
I’m off to Venice for a few days, then to Paris
to talk about this year’s MaMA Event, then to
Tallinn for Tallinn Music Week, before heading
back via Helsinki – I’ll report back!
In the meantime, Ladies and Gentlemen – The
News!
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VIPNEWS > MARCH 2014
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SXSW Shocked by Hit and Run IncidentAllan McGowan [email protected]
SXSW is a huge event which pretty much
takes over the City of Austin, Texas, but even
though the streets are packed at night, the
atmosphere is usually unthreatening , also,
again for such a big event, the organisers
manage to retain a sense of ‘family’ amongst
workers and visitors, so the incident that
occurred at 12.30 am on Thursday March
13 was particularly shocking. A drunk driver
tried to evade arrest by driving through a
barricade at the intersection of Austin’s
Red River Street and East 10th Street, and
speeding along a street that had been turned
into a pedestrian walkway during SXSW; he
ploughed into pedestrians, many supposed
to be queuing for a show (cancelled after
the incident) due to headlined by Tyler, The
Creator at the Mohawk bar, injuring 23. He
then sped on, killing a man on a bicycle,
and a woman on a moped. The driver then
apparently crashed with a taxi before trying
to escape on foot, he was apprehended by
police who tased then arrested the 21-year-
old man, later identified as Rashad Charjuan
Owens.
An Austin Police representative commented,
“This is extremely unusual. There have been
some very rare instances of vehicles striking
pedestrians in the entertainment area, but
this is the first time it’s ever affected a SXSW
event.” Austin Police Chief Art Acevedo
said he believed the driver was so intent on
evading police that he wilfully drove into the
crowd, he said, “It’s clear for me from his
actions , from what I`ve seen, that this is an
individual who showed no regard for the
human beings that he ploughed through
in his attempt to get away.” Austin officials
said that Owens will be charged with two
counts of murder and 23 of assault with
a Motor Vehicle. One of the injured died
in hospital some days later, bringing the
fatalities to three.
The thousands of international music
industry people in Austin for SXSW were
obviously stunned by the tragedy, made
even more poignant by the fact that one of
the fatalities was a Dutch music professional
visiting Austin for SXSW. Dutch company
MassiveMusic announced the sad news
that its Creative Director Steven Craenmehr
had died after Owens crashed into the bike
he was riding. The music firm posted an
announcement on its website stating: “It
is with great sadness that we announce
the sudden passing of our close friend and
colleague Steven Craenmehr, 35, on 13 Mar
2014 at SXSW. During the eight years that
Steven worked for MassiveMusic, we got to
know him as an unstoppable force, full of
life, love and laughter. This is an irreplaceable
loss for the MassiveMusic family and we are
grateful for the years we spent with him.
Our thoughts are with Steven’s family and
friends”.
Speaking at a press conference later on
the day of the incident SXSW MD Roland
Swenson confirmed that, despite the shock
and obvious sympathies for those directly
affected by the incident, it had been decided
to continue with. According to Billboard he
told reporters: “As much as we want to go
home and absorb the shock of this event... we
feel we have an obligation to the people who
have travelled here from all over the world”.
An afternoon showcase due to take place at
one of the venues at the scene of the incident ,
The Mohawk, was cancelled, though evening
shows went ahead as planned.
VIPNEWS > MARCH 2014
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The UK Concert Promoters Association
represents the interests of promoters
and others operating in the live sector, to
government , the wider music business, and
the public. The CPA has announced changes
to the executive committee that oversees this
work.
CMP’s Chas Cole and Kennedy Street
Enterprise s’ Danny Betesh are standing down
from the committee. Both have campaigned
on a wide range of live sector issues for the
Organisation over the years. Betesh was a
founder member of the trade group and sat
on the exec committee for 28 years. New
committee members include Live Nation’s
Phil Bowdery, Green Man Festival’s Fiona
Stewart and Anton Lockwood of DHP Family.
Lockwood stated: “It is an honour for me to
be asked to join the executive committee of
the CPA. While promoters are often fierce
rivals , it is very important to work together
to improve the future of an industry that is
a vital and growing part of the UK economy.
The CPA is the best way of doing that, and I
look forward very much to working with my
colleagues from all of the major promotion
companies to make a significant contribution.
CPA AnnounceCommitteeChanges Allan McGowan [email protected]
Anton Lockwood
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VIPNEWS > MARCH 2014
Manager of the Year and Breakthrough Nominees Announced :
The UK Music Managers Forum Wednesday
have released information about this years
Awards: Scott Rodger is this years’ Manager
of the Year and will be presented with the
award at the show at the www.troxy.co.uk
”Troxy on April 3rd 2014 which will again be
sponsored by Spotify”.
MMF CEO Jon Webster said “Scott Rodger
had a stellar year working with legend Sir Paul
McCartney on his projects , masterminding
the Arcade Fire campaign , which produced
a Number 1 album in 40 countries, and
overseeing a diverse range of managers and
artists under the Quest Management brand.
We are delighted to honour him in this way”.
Nominees for two other awards –
Breakthrough Artist and Breakthrough
Manager – are as follows:
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Scott Rodger
Jon Webster
Artist and Manager Awards Allan McGowan [email protected]
Breakthrough ArtistBastille
Disclosure
John Newman
London Grammar
Naughty Boy
Passenger
Rudimental
The 1975
Breakthrough ManagerCarina Berthet and
Dave Wallace:
– You Me At Six
Henry Village:
– Rudimental
Matt Brown:
– Daughter
Polly Comber and Josh Smith:
– Bastille
Sam Evitt and Jack Street:
– Disclosure
The winners will be announced on the night.
Tickets for the www.amawards.org Artist and Manager Awards will be handled by www.crowdsurge.com and are available from
www.amawards.org
For Further Information contact:
CEO Jon Webster
Events Fiona McGugan
Tel: 020 7700 5755
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VIPNEWS > MARCH 2014
Peter Schwenkow is a concert organizer, cultural manager and CEO of
DEAG. After studying Communications and Advertising at the Berlin
Academy of Arts in 1976, Peter created the Konzertagentur concert
concept Veranstaltungs GmbH and acquired exclusive rights to the
Berlin Waldbühne (stage in the forest), an enormous amphitheatre
in Western Berlin. There he staged open air concerts with the Berlin
Philharmonic. In 1995 Peter founded Deutsche Entertainment AG and
was appointed Chairman of the Board of Management. Of the many
successful concerts he has organized, those of particular note include
the Rolling Stones tour of Germany in 1998 and, later that year, the
Modern Talking world tour. With the creation of separate labels for
DEAG Music and joint ventures with Anschutz Entertainment Group
and Ticketmaster, DEAG’s business has expanded considerably and
with this came new opportunities. In 2007 Peter organized Barbara
Streisand’s first appearance in Berlin, which won him the LEA Live
Entertainment Award.
VIP News spoke to him on the occasion of his 60th birthday…
How you are going to celebrate your birthday?
– With my whole family at my favourite Italian restaurant.
How did you first get into the concert business and what was
the first concert you ever promoted?
– Karsten Jahnke told me it would be fun and the first concert ever
was Frank Zappa and Peter Gabriel in September 1978.
Looking back, what in your view have been the main changes
in the music business since you started?
– It has become an entertainment industry with many, many
professionals and I do hope I am one of them.
Is there anything you miss from the early days and what would
you say has got better in the meantime?
– I am missing drunken artists and cancelled concerts and it is much
better that we do not see this any more.
Unlike many other industries, it seems that it requires a lot of
passion for music and a bit of craziness to work in the music
business. What keeps you interested in continuing to work in
this environment?
– I love people and work that is never boring. So it is the right busines s
for me.
Which of the many concerts or shows that you have promoted
stand out in your memory, and why?
– Barbara Streisand at the Berlin Waldbühne because it was so difficult
to convince her to come to Germany.
In your career you have of course experienced some difficult
times and challenges. How have you handled those and what
have you learned from these experiences?
– Rule no. 1: Any day you are not dead gives you 24 hours to solve the
problems you are having!
You are one of the very few people in the concert business
that has also been active within a political party. Pop stars like
politician s aspire to be admired for what they are doing, but
where do you see differences between the music business and
the political world?
– Politicians are as vain as artists. They do need the media and they
need people’s full attention. The reason why I went into politics was
simply because I wanted to find out how the people that spend my
tax money think.
How much has the IPO (Initial Public Offer) undertaken by SFX
Entertainment at NYSE in 1997 inspired you to do the same
with DEAG?
– The truth is that we had already finished the Due Diligence by our bank
in preparation for the IPO when we heard that SFX had the same plan.
DEAG CEO Peter Schwenkow Celebrates 60th Birthday
Peter Schwenkow
What are your future plans for DEAG and are there any projects
that you are particularly looking forward to?
– I want to grow the company as strongly as in the past 5 years. I
am very much looking forward to expanding our family entertainment
activities , and to visiting the shows with the Rolling Stones, Peter
Maffay , Lady Gaga, David Garrett, Riverdance, Black Sabbath, Anna
Netrebko, Aerosmith and Marius Müller-Westernhagen.
You have a passion for pocket squares (handkerchiefs). How
many of them do you have and what are your favourites?
– At least 250 and I love them all!
Please let us know which bars and restaurants in Berlin you
take your guests to these days?
– I am taking everybody to Borchardt in the center of Berlin, a French
style restaurant with good food, good service and a least 10 people I
know whenever I go there.
You have also started to play golf, what is your handicap and
your favourite course?
– My handicap is 28 after 2 years and my favourite golf course is Anfi
Tauro on the Canary Islands.
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VIPNEWS > MARCH 2014
VIPNEWS > MARCH 2014
The Grulke Prize was developed in honour of
SXSW friend, colleague and Creative Director
Brent Grulke, who passed away on August 13
2012. Brent was also a friend and colleague
of many in the business, including myself, I’m
proud to say…
Brent Grulke had a lengthy career in many
aspects of the music industry from music editor
at the Austin Chronicle to sound engineer or
tour manager for many Austin bands as well
as production and sound engineer in clubs in
San Francisco. He later moved to Los Angeles
to become the manager at Spindletop Records
which eventually led him back to Austin where
he was the longtime Creative Director of the
SXSW Music Festival.
Brent’s love of music and the spirit of the
festival is reflected in the three Prize categories :
Developing US Act, Developing Non-US Act
and Career Act. The Developing Act Prize is
for artists who are breaking new ground with
their creativity and show the most promise in
achieving their career goals. The Career Act
Prize is for an established artist who appeared
at SXSW 2014 to reinvent themselves or
launch an important new project.
On March 18, 2014 - Austin, TX - SXSW
Music announced the following winners of
the second annual Grulke Prize.
The Grulke Prize winner for Developing US Act is
Future Islands, a trio that relocated to Baltimore
from Greenville, NC. The band released a few
well-received albums and EPs before signing
to 4AD. Their debut on the label, Singles, will
be released next Tuesday , March 25. Future
Islands ’ turned David Letterman into a huge fan
when they made their network television debut
earlier this month.
The Grulke Prize winner for Developing
Non-US Act is The Strypes. This four-piece
from Cavan, Ireland possess a bluesy rock
vibe that harkens back to the 60s. The lads,
who are still in their teens, have garnered
recognition from Elton John, whose
management company Rocket Music signed
the band after he saw one of their videos.
Said Sir Elton, “They have a knowledge of
R&B and blues at 16 years of age that I have
only amassed in my 65 years. They’re just
like a breath of fresh air.”
The Grulke Prize winner for Career Act is
Damon Albarn. Albarn, best known as the
lead singer for Blur and the visionary behind
the multi-platinum Grammy Award winning
virtual band Gorillaz, has had a storied
career including collaborations with African
musicians in Mali and the release of an Alan
Moore inspired production, Dr Dee: An English
Opera . Albarn was at SXSW previewing his
upcoming release, Everyday Robots, set to be
released on April 29th.
Jurors for the Grulke Prize included music
critics , industry professionals and SXSW staff
who knew and worked with Brent over the
years.
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SXSW Announce Winners of the Second Annual Grulke PrizeAllan McGowan [email protected]
Damon Albarn The Strypes
14 -17 januarY 2015
groningen, nl
The
platform
Europeanmusic
The
platform
Europeanmusic
The
platform
Europeanmusic
The
platform
Europeanmusic
EUROSONIC NOORDERSLAG WORDT GEORGANISEERD DOOR SPONSORENEUROSONIC NOORDERSLAG WORDT GEORGANISEERD DOOR SPONSORENEUROSONIC NOORDERSLAG WORDT GEORGANISEERD DOOR SPONSORENEUROSONIC NOORDERSLAG WORDT GEORGANISEERD DOOR SPONSORENThank you for attending
Eurosonic Noorderslag 2014
See you next year
Early bird registration and
act submission open May 1, 2014
Act submission closes September 1, 2014
Previous edition in numbersTotal amount of visitors (sold out) . . . . 38,500Conference visitors (sold out) . . . . . . . . 3,275Nationalities . . . . . . . . . . . . . . . . . . . . . . . . 39Acts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337Number of stages @ Eurosonic . . . . . . 36Number of stages @ Noorderslag . . . . 11Media & journalisten . . . . . . . . . . . . . . . . 307EBU radio stations . . . . . . . . . . . . . . . . . . 30ETEP festivals . . . . . . . . . . . . . . . . . . . . . . 89International festivals . . . . . . . . . . . . . . . . 419
VIPNEWS > MARCH 2014 > INDEPTH STORY > ILMC 26 REPORT
ILMC 26 ReportAllan McGowan [email protected] and Manfred Tari [email protected]
TThis – again sold out - 26th edition of the
International Live Music Conference opened
on the Friday afternoon, that’s if you weren’t
around for the IPM (ILMC Production
Meeting ) on the Thursday, various Asso-
ciation Meetings, Thursday night drinks, the
Friday morning New Delegates Orientation
etc (I told you it’s full on!), with the Flight
Attendant’s Briefing, delivered by ILMC
founder, Martin Hopewell. Martin is, after
all these years, apparently stepping back –
a little – from being the overall Ringmaster
of this venerable event – but more of that in
Manfred Tari’s interview with Greg Parmley,
furthe r on in this report…
The first full session ‘The Open Forum’ is in
effect a review of 2013, and the overall state
of the international live industry, chaired by
Greg Parmley, with guests, Paul Crockford
of PCM Management, Geoff Meall of The
Agency Group, Tom Miserendino of AEG
Europe, John Reid of Live Nation, and Cem
Yegul of Pozitif Live. Folkert Koopmans of
FKP Scorpio sent his regrets but was too ill
to fly from Germany. However this session
started with comment on the changes taking
place within the organisation of the ILMC.
Both Live Nation, represented by John Reid,
and AEG, in the person of Tom Miserendino ,
reported very good years, with AEG having
particularly good returns from festivals.
Miserendino did point out that he was not
long here from the US, and pointed out that
he was still learning the language in the UK.
Commenting on LN’s situation across various
markets, Reid said that their European
territorie s were a “loose group of federal
republics …”, and that you couldn’t just
“throw a blanket over Europe”. He claimed
that they had the best guys running things
in each territory, and to a great extent the
local managers took care of themselves.
As for CEE and The Baltics (later discussed
in the Emerging Markets panel in some
depth.), where Tim Dowdall had moved
on from Hungary to be replaced by Steven
Todd, formerl y based in Poland, LN were
apparently “keeping an eye on the markets
with suffering economies…”
Geoff Meall of The Agency Group was very
positive, and reported having broken a few
acts, including Macklemore and Ryan Lewis .
However when it came to Cem Yegul of Pozitif
Live in Turkey, the story was very different , in
fact as he said, “2013 was disastrous as a
result of the political unrest in the country.”
Pozitif had committed to renting a stadium
for a whole year, a brave move at the best of
times, but the day after a successful show with
Rihanna, as he said, “It all kicked off!” The
drastic situation resulted in the cancellation
of 20 shows, and losses running into millions,
even with some Agents apparently being as
fair and understanding as possible. Then to
make matters worse, he lost Mehmet, his
business partner. Cem is however obviously a
survivor and managed to find some positivity
in the restructuring of his Company, and
stated , “Things will recover!”
Continuing on the disturbing and ongoing
theme of political unrest Greg asked Oleg
Kovalevskyi of Anshlag Concert Agency in
Ukraine to comment on the very current
problems in his market. His daughter Tetiana
translated for him, saying that although the
situation on a day to day basis had improved
in Kiev, though the Crimea was still a major
problem, and the conflict had of course led
to all concerts being cancelled or postponed.
Ticket sales had slowed down, with none
being sold in February. Anshlag were hoping
to get back to business with a show on April
20th, but the Orthodox Church had asked
promoters to cancel all shows over Easter,
calling for forty days of mourning.
The topic then turned to Artist Development .
Geoff Meall was again buoyant, citing his
succes s with an act from Florida that managed
to sell 20,000 tickets in Europe, all resulting
from a following built up on You Tube. John
Reid, having been a Warners executive prior
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to joining Live Nation, talked of the ten years
of under investment by record companies. He
said though that we still need to ensure that
the record companies survive, and that we
all need to invest in artist development, with
promoters and other operators doing more.
Manager Paul Crockford disagreed, bringing
things down to earth, saying,
“It’s a greed driven business, most investment
claims are just window dressing!”
ILMC stalwart, and Agent for Michael Buble
and Brian Adams, Carl Leighton-Pope,
then joined the panel to lighten the mood
by introducing the redoubtable Australian
promoter , Michael Chugg. Chuggi has recently
celebrated fifty years in the business and
unbeknowns t to him another recognition of
this had been planned, with video tributes
from business people from all over the world
and artists such as Robbie Williams, and of
course – a cake! There were tears, and a lot
of swearing, followed as ever at the ILMC, by
a few drinks! – And that was just the first day!
VIPNEWS > MARCH 2014 > INDEPTH STORY > ILMC 26 REPORT
11
The Inspirational Live Music Conference
The 26th edition of the International Live
Music Conference (ILMC) arrived with a
few changes. While this year there was
no new boss panel, ILMC itself got a new
boss. Founder and spiritual director of this
conference Martin Hopewell handed over
to Greg Parmley, the former Editor in Chief
of IQ-Magazine and previous conference co-
worke r of this event. Parmley who continued
to work with ILMC during his last post as
head of communication of Intellitix, is the
new managing director for this industry
event that over the years established itself
as Europe’s leading gathering place for the
global concert community.
Like no other music conference, in recent years
ILMC has already undertaken many efforts to
pave the way for a generational change. But
unlike some other conferences such as Midem
in France for instance, which unfortunately
suffered from the disastrous downturn in
the recorded music sector or even worse the
decline of Popkomm following the German
convention’s move from Cologne to Berlin,
ILMC retained its unique soul and spirit.
Over the recent years, the ILMC organizers
carefully renovated and innovated its
conference agenda and settings. Its audience
became younger, while at same time the
conference themes and topics changed.
Probably one of the best examples of this
was once again the Emerging Markets
panel, this time chaired by Baris Basaran of
Pozitif Live in Turkey and Michal Kašák from
Pohoda Festival in the Czech Republic. A
few years ago this panel covered issues that
focussed on the lack of understanding of
those markets by international agents and
the lack of infrastructure . Now as this panel
reveals the situation is that many Eastern
markets pay almost similar fees for artists
as the Western markets, while at same time
Eastern promoters have been able to improve
their relationships with international concert
agents. But this panel furthermore reported
on the difficulties in countries such as Turkey
or the Ukraine, that are currently facing
political changes and challenges, that have
deeper effects than anything to be seen in
other Western countries.
As there is a danger for soapbox speeches
at panels, it has to be emphasized that the
Emerging Market panel was pretty much free
of these types of contributions. Kašák at one
stage mentioned his concerns that the ticket
prices for festivals like Sziget in Budapest or
Exit in Novi Sad are possibly becoming too
expensive for their domestic audiences; he
assume that this could cause problems for
these events in the future as local brands in
particular would consider these events as not
so useful for their sponsoring engagements
because their local target customers would
not attend the events. From the floor Carl
Leighton-Pope argued that the international
audience mix at Sziget was healthy and that
the “travelling aspect is good for our future”.
But this panel also revealed other insight-
ful views that characterize those markets.
For instance when Semyon Galperin from
Tele-Club in Russia explained the situation
with five middleman being involved in the
booking of one Limp Bizkit show, resulting in
a whole chain of communication that when
the band asked for an umbrella.
Martin Hopewell Carl Leighton-Pope
VIPNEWS > MARCH 2014 > INDEPTH STORY > ILMC 26 REPORT
12
Meanwhile, also as in Western countries,
sponsoring agreements cause problems as
sponsor deals arranged by local promoters
could cause conflicts with an existing artist
sponsor agreement. Also generally festivals
are having more and more problems to
obtain sponsors as promoter from Poland
in the audience added. Kašák furthermore
mentioned that sponsors refuse to work with
promoters that are involved in human right
activities or support such organisations.
Unlike in the past those from the emerging
markets are now also fully aware of
internationa l agents internally rating
countries into A,B,C and D categories.
In particular it is these kind of open
conversations that highlight the differences
to other music conferences. It doesn’t mean
that controversial issues are not discussed
at other forums, but debates at IMLC have
a very particular community spirit that is
differen t from most other conferences.
Other highlights were the Future of Ticketing
panel chaired by Serge Grimaux, CEO of
Intellitix . What on the first view seemed to be
a little difficult was finally revealed as a very
good choice. Grimaux is well known for the
passion of his Intellitix-mission. But on this
panel he appeared as very neutral observer
and moderator, leading the discussion almost
as a conductor and eliciting informative and
useful insight views from all participants.
Modernists were positioned on the left and
right of the panel. At one end Jan Willem
Van der Meer from Paylogic, on the other
end Ian Hogarth from Songkick. Between
these two Dean DeWulf (AXS Europe), Simon
Presswell (Ticketmaster UK), Rainer Appel
(CTS Eventim ), Renaud Visage (Eventbrite)
and Andrew Dreskin (Ticketfly) were squeezed
in. Van der Meer and Hogarth appeared to be
a bit younger than those in the middle and
furthermore were the ones that ventured ideas
and theses that caused the central players to
start defending themselves for belonging to
the ticketing establishment.
Just shortly after the panellist introductions
Grimaux tried to encourage early audience
participation, Tim Chambers raised the
evergreen question regarding extraordinary
“service fees”. Someone replied and
concluded , “the system has been abused”,
followed by Serge who then led the discus-
sion to so called “social ticketing”. A perfect
pattern for Van der Meer who answered that
this depends on the “definition” of social
ticketing but that it is rather “social aspects
that sell tickets” rather than discounts on
tickets.
Grimaux, at that stage already in animal
tame r mode (in fitting with the Circus theme
of ILMC 26) added that “50 percent of ticket s
are not sold”, while Presswell commented
that in terms of analysis methods , data
toda y is evaluated “three dimensionally”.
The discussio n then lead to aspects that
seemed to be obviousl but nevertheless
very interesting . Once again Van der Meer
played the role of the innovative youngster,
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13
equipped with new and fresh ideas who
concluded that the “transition from web to
mobile apps” is on its way and referred as
an example to taxi apps. He also scored with
his “three music app” theory, when native
digitals having one app for Spotify on their
mobile phones, one for radio and sooner or
later a concert app, when concert goers can
purchase tickets “within the app”.
Van der Meer also told the audience that when
Paylogic started they introduced themselves as
a technology company. After finding out that
promoters didn’t really understand want they
wanted to express with kind of approach ,
they switched to an introduction, describing
themselves as an “An old traditiona l ticketing
company”. This apparently worked better,
perhaps also in terms of the new Paylogic
owner SFX Entertainment, when buying 75
percent of the company for $16.2 million in
December 2013.
When it came to how and where tickets are
sold Presswell emphasized on the “trust in
brands”, a statement that almost sounds
old-school when Van der Meer referred to
“tickets are sold at the event website” and
DeWulf adding that is about “front end
marketing and backend technology”.
Soon afterwards the term “multichannel”
was mentioned, leading the discussion
finally to what the ticketing-future might be
like soon. Hogarth then came up with the
conclusion of the “multiple distribution” of
tickets, certainly in favour of his company
Songlink that already acts on a meta-level,
serving six million music fans with concert
data and tickets, reaching out via YouTube,
Spotify and Vevo...
As usual the Breakfast Meeting with Ed
Bicknell convinced. This time featuring
concert agent Emma Banks as the first
female candidate for this ILMC-classic. Banks
delivered highly remarkable insightful views
of the intimate environment of the music
industry , referring to the settings of the once
stock market listed company Sanctuary , about
her early days and wages at Helter Skelter,
the difference betwee n the US-entertainment
giants CAA and William Morris , her personal
life philosophy and policy , supported all the
way throughout the 90 minute session by
Ed Bicknell more charmed than in any of his
breakfast sessions before.
There were more and other panels that
delivered very interesting information,
perhap s the only that did not reach the level
of other panels was this year Festival Forum.
According to the chairmen it apparently
had to do with exciting social networking
activities the night before. Nevertheless John
Giddings on this panel lost a bit of touch in
what goes on in terms of the relevance of
national artists for continental festivals, when
concluding that still the most relevant artists
come from the “US, UK, some from Sweden
and one from Germany”. In fact times are
changing for some of those festivals, not
drastically but gradually, when considering
a quote by the absent Stephan Thanscheid
from FKP Scorpio, who mentioned that in
2013 50 percent of the artists at Hurricane
and Southside has been domestic artists.
Other notable panels were “The Venue’s
Venue: Big tops and little tops”, the “Artist
Development : Games Within Frontiers”. Both
delivered very good discussions even when in
the Venue panel dealt with unpleasant topics ,
inferring that venues are in danger in these days.
Allan McGowan as usual delivered “The
Sunday Review” a pretty well settled debate
and analysis about ILMC-topics and other
subjects that matter for the attending
community , a good occasion to hear that also
some other panels that are not covered within
this report have also being very interesting ,
plus finding out that the panel “New
Technology : The Kabinet of Wonders”- must
have been great.
If anybody now asks why all the panels are
not covered appropriately within this report,
one answer is, there are too many at ILMC
for just one reporter, especially when there
are two good sessions on at the same time.
The other answer is, that there are plenty of
reasons to attend ILMC. Just remember, this
article is entitled “The Inspirational Live Music
Conference”. A very worthwhile description
that indicates that besides the fun in the bar
of the Royal Garden Hotel, there is much
more to be picked up and taken home. Useful
information and contacts that can help to
run your very own concert business with new
ideas and contacts.
VIPNEWS > MARCH 2014 > INDEPTH STORY > ILMC 26 REPORT
Serge Grimaux
Emma Banks
14
VIPNEWS > MARCH 2014
ILMC CHANGESAn Interview with Greg ParmleyManfred Tari [email protected]
Although remaining very much involved
Martin Hopewell, founder of ILMC is stepping
back in some areas and handing over to Greg
Parmley. VIP News spoke to him about his new
role and future plans for the Conference :
Unlike Martin Hopewell, you are a regular
visitor to other music conference s. With
this in mind, where do you see ILMC
placed within the landscape of these
events?
– What makes ILMC unique is its family feel
- it’s always been an invitation-only event
for the decision makers in the live music
industry , and because of that, it’s a focussed
meeting and delegates, rightly, feel a sense
of ownership of it.
Martin obviously managed to put
together a strong team that has put
ILMC together over the past years.
Please tell us something about the
conference team, new arrivals and the
organisational proceedings at ILMC?
– Well, most of the team is the same, I’m
glad to say. Martin Hopewell is still actively
involved , as are all of the agenda team.
There’s been a change in our production
team with our long term producer Alia Dann
Swift stepping back and Lou Percival stepping
up to fill much of her role. So there’s no
dramatic change, just a lot of positive energy
and ideas for the coming years.
At recent editions the generational
change at ILMC has already been
visible . It seems that the ILMC-team pro-
actively steered this change by getting
younger chairmen involved or adding
new conference topics. For instance
ILMC featured green issues very early on
as part of its agenda. Will this conversion
slow down a bit now since ILMC already
undertook various changes?
– The demographic of ILMC has changed
over the last few years to include much more
of a spread of ages and professions, but
the agenda must remain forward thinking
whatever happens. To continue to be as
relevant a platform for the international live
music communit y, the conference - and IQ
Magazine - must continue to engage both
the future business leaders, and those key
emerging topics on the horizon.
Following ILMC over the years, there
have been several occasions where
IMLC delegates used the conference as a
platform to discuss or to launch initiatives
that have a bearing on the entire live
music sector. Most of them didn’t
work, such as, for instance, when Leon
Ramakers , head of Mojo Concerts, in 2004
(?) suggested that a levy of one penny on
every sold ticket should be introduced to
finance lobby activities in Brussels and
elsewhere. Are such activities something
that may play a bigger role in the future
for the aspirations of ILMC?
– Definitely. Looking ahead, I absolutely
see ILMC playing a part in organizations
and initiatives that champion the live music
business , and promote best practice within
it. One recent example is that ILMC was
involved in the formation of the UK Live
Music Group which sits as part of UK Music ,
and over the last two years has proven a
very successful group to address inbound
legislation and allow the industry to speak
with one voice.
There have been marvellous themed
editions of ILMC including Startrek,
James Bond or Lord Of The Rings. Are
there any themes left that could add
to the fun of future editions of this
conference ?
– Loads! We have a list of themes locked up
in the ILMC vaults, and it’s safe to say that
there’s at least another 25 years left to go
before we start to run out!
The whole concert industry is based
on ticket sales, however, in terms of
admissio n to ILMC there have been some
players that have not actually registered
for the conference but have appeared in
the hotel lobby in the Royal Garden or
stayed in other hotel suites in London
during the conference. As ILMC is probabl y
aware of whom these people are, do you
think this is due to the ‘financia l crisis’ or
more down to social reasons?
– ILMC is the catalyst for all the meetings
and activities that take place in London that
week, so if you’re in town and benefiting,
I don’t think it’s unreasonable to expect
people to register. After all, if people are
flying over for the ILMC week they clearly see
the benefit of it...
What are your future plans for ILMC?
– There are a lot of ideas in the pipeline, for
sure, although at the moment the team is
busy wrapping up this event. I’d like to take
a long hard look at our agenda for next
year, and the workshops worked really well
so perhaps expand on that. I also think a lot
more could be done with our showcases…
At the moment it’s a little too early to say, but
it’s a really exciting time right now.
VIPNEWS > MARCH 2014
15
Fire Closes Moles Venue in Bath UKAllan McGowan [email protected]
An electrical fault caused a fire in the upstairs bar of the long
established Bath live venue, Moles. The damage will require extensive
repairs and renovations and the Club is likely to stay closed until
August at least, possibly longer.
Moles’ promotions manager Liam Baker told NME, “The worst thing
is smoke damage: smoke went throughout the building, into the
studio and office too, and caused a lot of damage. And when the
fire brigade were working to put out the fire, water filled the basement
venue, which is where the bands play, so it’s now completely flooded ”.
Moles has cancelled all forthcoming shows, but there are plans to
stage pop-up nights at other locations in and around Bath while
repair work at the venue is ongoing. “We’ve been around for 35 years
and we’re going to do anything we can to survive this . setback”,
adds Baker. “We’re determined to stay open”.
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VIPNEWS > MARCH 2014
Glastonbury News Allan McGowan [email protected]
A New Ten-Year LicenceDon’t worry – if you still haven’t managed to secure a ticket for the
Daddy of all festivals, Glastonbury, you’ve got till at least 2024 to keep
trying! The event has been granted a new ten-year licence by Mendip
District Council which announced that the decision was made without
the requirement for it to be “subjected to scrutiny in a public hearing.
Glastonbury’s present capacity stands at 177,500, made up of
135,000 for public tickets, 5000 for tickets sold to locals, and 37,500
for staff. The licence extension will also organisers to increase the
capacity for staff members and performers, the number of passes for
performers and staff could rise by 25,500 to 63,000 by 2024, and
allow live music to be played (acoustically and only on certain stages)
on the Wednesday before the festival officially begins.
Organiser Emily Eavis said: “This is fantastic news. It’s so good to have
a plan that will help everything at Worthy Farm move forward. I’d just
like to say a huge thank you to all the people who have contributed so
much to Glastonbury Festival over the last 44 years, I really do believe
that the best is yet to come”.
So far the Festival has listed Dolly Parton, Blondie and Lily Allen
amongst the acts confirmed for this year’s festival, which starts on
25 June.
Jeannette Marsh, chair of the licensing board, said the process was
still one of checks and balances, adding: “We aren’t complacent -
just because Glastonbury Festival now has a licence until 2024, this
doesn’t mean it escapes the close scrutiny that any event this size
will have... if we have any doubts about this we will take action. We
recognise how important it is to get this world-famous event right,
and the huge impact that it has on the local area and community,
both positive and negative.”
Dolly Parton Glastonbury
Glastonbury Emerging Talent CompetitionEavis has also commented on the shortlist of finalists in the
Glastonbur y Emerging Talent Competition, saying: “We’re so proud
of this shortlist. It was really hard to get it down to just eight acts - the
standard this year was incredible - but I think we’ve whittled it down
to a really strong final eight. I’d like to say a big thanks to everyone
who entered, and to our team of judges for narrowing it down to 120
acts. Now bring on the live final!”
The eight acts are: - Gibson Bull, Hero-Fisher, Only Girl, M+A, FURS, The Black Tambourines, Pandr Eyez and Izzy Bizu
17
THE ROLLING STONES TO PLAY ROSKILDE FESTIVAL 2014 Allan McGowan [email protected]
Roskilde Festival announces that the legendary rock icons, Rolling
Stones, is bringing their groundbreaking show to Orange Stage. On
www.roskilde-festival.dk they write: The band will treat their genera-
tions of fans to a set packed full of classic Stones hits such as “Gimme
Shelter”, “Paint It Black”, “Jumping Jack Flash”, “Tumbling Dice”,
“It’s Only Rock ‘N’ Roll” plus a couple of unexpected gems.
The Rolling Stones - 14 ON FIRE tour sees Mick Jagger, Keith Richards,
Charlie Watts and Ronnie Wood back out on the road again.
The Rolling Stones launched the tour with their first ever gig in the
Middle East in February, and they are currently making their way
through Asia, Australia and New Zealand, before returning to play
Europe for the first time in seven years.
The Orange Stage was originally designed for a The Rolling Stones
tour back in the 70s, and apparently the band is well received by the
ticket buyers.
After the announcement of Rolling Stones the tickets for Thursday
3 July was sold out. In fact, this year Roskilde Festival is experiencing
the entire ticket sale has sped up, something they normally don’t see
before the full Line-Up announcement.
A limited number of one-day tickets to Roskilde Festival are still avail-
able for Friday 4 July, Saturday 5 July and Sunday 6 July.
More information: http://roskilde-festival.dk/
VIPNEWS > MARCH 2014
The Rolling Stones
18
VIPNEWS > MARCH 2014
Progress Report from
Two years ago the merger of two Companies, QUEEN ABOUT MUSIC
and THE ROCKING FACTORY, created the music marketing and PR
Agency, FACTORY 92. The concept was to expand on the experience
and competences learned from operating in one of Europe’s biggest
music markets (Germany) and to make available music export solutions
on the European scale. Having put everything under one roof FACTORY
92 set out to make available innovative new agency services to the
international music industry. The enterprise proved successful in 2013
with the business model generating both a profitable bottom line and
turnover in excess of that of the two former companies.
Factory 92 kicks off 2014 representing the following impressive list
of clients.
ATC Management, Believe Digital, Der Bomber Der Herzen, Crunchy
Frog, Cargo Records, FKP Scorpio, Friendly Fire, Glimps Festival,
Grönland , Hamburg Marketing, IMMF, Kartel, Last Tour, MaMA Event,
Mind of Music, Music Finland, Morr Music, MTC, MXD – Music Export
Denmark, One Little Indian, Red Bull, Rockoco, Rock en Seine, ROSA
– Danish Rock Council, Reeperbahn Festival, Secretly Canadian, Sonic
Visions, Sony Music, Sparta Entertainment, SPOT Festival, SZIGET
Festival , Trikont & TUTL.
Managing Partners Jan Clausen, and Christian Hald Buhl attribute
a successful 2013 to their team, PR manager Michael Schneider, PR
coordinator Katharina Lange, international project coordinator Anne
Kiedaisch, international coordinator (former trainee) Frodi Stenberg
and intern Cornelius Bertling. They also welcome onboard Alexandre
Pountzas who will take on the senior role as International Strategy
Manager. Alexandre comes with a 6 year track record in the French
music industry at French booking agency / management company
Caravelle for whom he headed the Paris office from September 2011
to October 2013.
Christian Hald Buhl explained what he considers to be the reasons for
Factory 92’s progress to VIP News, “We are benefiting from meeting
the demand driven by two key market dynamics in the European music
industry. Firstly the live sector where the projects involve significant
cashflows and investments. Secondly the diversity of international
players who are able to compete and grow on the European scale,
which in our world sees us having succesful collaborations with
companie s from Northern over Southern to Eastern Europe
[CONTACT]
FACTORY 92 / Christian Hald Buhl / [email protected]
+49 (0)40 3890738 - 10
FACTORY 92 / Jan Clausen / [email protected]
+49 (0)40 3890738 - 13
F92 Team Buhl, 2014
Allan McGowan [email protected]
VIPNEWS > MARCH 2014
GreenEvents Europe Release 4th Conference ReportThe Full Conference Report for the 4th GreenEvents Europe
Conference that took place in late November 2013 is now free for
download – www.green-events-germany.eu/fileadmin/user_upload/
pdf_daten/GreenEvents_Europe_2013_Full_Conference_Report.pdf
The 75 page pdf with minutes, links, reports and pics gives an
overview of each and every session, filters major questions and shows
the following discussions during the panels . Organiser Holger Jan
Schmidt of the Go Group tells us, “The report simply provides lots
of great info about what happened in Bonn at our most successful
conference so far. Thanks to our team and the studentsinvolved for a
great deal of work.”
Holger encourages anyone in the Festival, Touring, Venue and related
businesses to feel free to circulate and share the download link in
respective networks.
The 5th GreenEvents Europe Conference will take place in Bonn on
November 3 & 4th 2014.
Also the 5th international GO Group Workshop is planned for April
7 & 8 in Vienna.
This time it deals with the two day topics “challenges & design” and
“communication & audience involvement”. This seminar features
great speakers from Austrian spearhead events like FM4 Frequency
Festival and Beatpatrol, from the creative and design sector such
as Hugh Dutton Associés, Service Design and Charged Mind and
of course institutions like JUMP - young environmental platform,
Austrianenvironmental Agency, Bucks New University, Green Music
Initiative and Sounds For Nature Foundation e.V.!
Holger Jan Schmidt says, “The GO Group motto is spreading all
across the European events industry and we are finding more and
more followers of the green events philosophy. Festivals from all over
the continent have taken the lead on this journey and spearhead
the movement, but still there’s a long way to go. The last and very
successful international GO Group workshop in Paris showed there is
need for this interactive, open and communicative format we set up
to stimulate exchange, cooperation and inspiration – between event
organizers, suppliers and science.
More info: www.go-group.org/2014
Holger Jan Schmidt
19
VIPNEWS > MARCH 2014
20
PRG Live Entertainment
Awards 2014 Allan McGowan [email protected]
The 9th edition of the LEA Awards took place
at the Festhalle Frankfurt. 1300 guests from
the national and international music, event
and entertainment industry, including Klaus
Meine and Rudolf Schenker (Scorpions),
the singers Rea Garvey and Helmut Lotti,
Germany’s ‘Pop Idol’ winner Beatrice Egli
and the acting siblings Ben and Meret Becker
attended the Gala Ceremony.
The event again marked the official opening
of the Musikmesse Frankfurt and the technical
fair Prolight + Sound. 13 awards were
presented for promoters, artist managers,
concert agents and venue operators, with
LEA No 14, the award for exceptional youth
promotion/support having already been
handed over to the Freundeskreis der Anne-
Sophie Mutter Stiftung e. V. at the press
conference on 13th February 2014.
Ingo Nommsen, who opened the show as
guitar player of The Baseballs, hosted the
three-hour gala. The Baseballs performed
their song ‘Mo Hotta Mo Betta’, a contendor
in the German selections for the Eurovision
Song Contest. German singer-songwriters
Annett Louisan, Cäthe and Meret Becker
also appeared, as did the musicians from the
drum show Power! Local comedian Bodo
Bach presented scenes from his latest cabaret
programme ‘Auf der Überholspur’, and DJ
Bobo together with 16 dancers and artists
from his new show ‘Circus’ completed the
live acts on stage.
‘Arena tour of the year’ was the first
Award, and was won by Die Toten Hosen
for their ‘Krach der Republik’ tour.
VIPNEWS > MARCH 2014
The 14 winnersof LEA 2014
Arena tour of the year Die Toten Hosen – “Der Krach der Republik – Tour 2013” – KKT GmbH – Kikis Kleiner Tourneeservice
Concert hall tour of the year Status Quo / Uriah Heep – “Bula Quo Tour 2013 + Very Special Guest Uriah Heep” – KBK Konzert - und Künstleragentur GmbH
Club tour of the year presented by Ströer Mrs. Greenbird – „Shooting Stars & Fairy Tales Tour 2013“ – Meistersinger Konzerte & Promotion GmbH
Festival of the year presented by PRGJury focus: Festival series Olé Party Sommer 2013 – Pro Event Entertainment GmbH
Concert of the year Muse in Berlin | Waldbühne | 14.07.2013 – ct creative talent gmbh
Show of the year Sascha Grammel – Panta Management GmbH
Event organiser of the year Marek Lieberberg Konzertagentur GmbH & Co. KG
Youth promotion of the year The Freundeskreis der Anne-Sophie Mutter Stiftung e. V.
Club of the year – Jury focus: Club legends Café Hahn | Koblenz – Café Hahn GmbH
Concert hall / Arena of the year – Jury focus: cult venues Grugahalle, Essen – Messe Essen GmbH
Jury Award P. S. E. Promotion for „Night of the Proms“
Lifetime Achievement Award Prof. Hans-Werner Funke
Local organiser of the year Trinity Music GmbH – Berlin
Artist manager / agent of the year Jan Mewes – Künstlermanagement Jan Mewes
Promoter Kiki Ressler (KKT) couldn’t
receive his award personally but sent
greetings from his holiday in Costa Rica.
The newly established category ‘Concert
Hall Tour of the Year’ for concert tours in
medium size venues went to KBK Konzert -
und Künstleragentur for the successful
package of veteran acts, Status Quo and
Uriah Heep. ‘Heep’ members Mick Box
and Bernie Shaw travelled to Frankfurt
to celebrate this ward with Heinz Preisch,
who received the trophy for KBK.
Marek Lieberberg, who was accompanied
by his son André Lieberberg, won ‘Promoter
of the Year’, (formerly ‘Tour Promoter of the
Year’ for the sixth time).
PRG LEA is organised by concert industry
associations : Since 2006 the LEA Committee
organises the German Live Entertainment
Prize in cooperation with the Bundesverband
der Veranstaltungswirtschaft (bdv) as
Initiator of the Award, the Verband
Deutscher Konzertdirektionen (VDKD) and
the Musikmarkt Verlags-GmbH with its
industry magazine “Musikmarkt” and many
other considerable companies from the
German event industry.
Besides the event technology supplier
PRG (Production Resource Group) and the
Musikmesse Frankfurt, the main partners of
the German Live Entertainment Prize are the
ticketing company CTS Eventim, the city of
Frankfurt/Main and the Frankfurt Economic
Development GmbH. Further sponsors are,
among others, Ströer, GEMA, the ÖVB Arena ,
PMS Crew support, Riedel Communications ,
accente, Skoda, beyerdynamic , Düsseldorf
Congress Sport & Event, the Grugahalle
as well as the Stadium Essen, Elements
Entertainment , Laserfabrik as well as the
international full service provider for concert
and event logistics Rock-It Cargo.
21
VIPNEWS > MARCH 2014VIPNEWS > BUSINESS > MARCH 2014 MUSIC IN SHARES
Music in SharesManfred Tari [email protected]
SFX EntertainmentShopping Around Prior to the Announcement
of Q4-2013 Business Results
SFX Entertainment will announce its results for the 4th quarter of
2013 on March 27. Prior to this the company already reported on
the results of its latest acquisitions and the list of eligible dance music
businesses available for purchase seems to be long. On March 3 SFX
announced that it completed the purchase of B2S Holding BV in the
Netherlands for $14.3 million. B2S promotes the live events Decibel,
Hard Bass, Thrillogy, Knock Out and Loudness.
On March 17 the company announced the purchase of the US-
ticketing company Flavorus for $18 million. On March 18, SFX
reported a purchase agreement with React Presents including Clubtix.
Inc., owned by Lucas King and Jeffery Callahan, Inc for a price of $5
million According to media reports React Presents which promotes
around 200 dance events in Illinois, Wisconsin, and Michigan gained
more than 375,000 visitors. King and Callahan also own a 50 percent
stake in West Loop Management, owner of venue The Mid in Chicago .
Since the beginning of January the share price of SFX
Entertainment dropped from $11.36 to $8.05 on March 19.
Live NationHigher Revenue & Lower Net Loss
As with CTS Eventim, the annual Live Nation results for 2013
have been released after the last VIP Newsletter was completed.
Nevertheless here now are the two most relevant figures relating to
the business performance of Live Nation in 2013. The revenue went
up from $5.8 billion in 2012 to $6.47 billion, the net loss improved
from $163.2 million the year before to a loss of only $43.3 million...
Since January 2 the share price went up from $20.19 to 23.13.
DEAGPut Circus Roncalli On Tour
Since the Circus themed edition of ILMC is now history, DEAG
announced an agreement with the prominent Circus Roncalli. The
deal foresees a two-year period where Circus Roncalli will tour
through German regions new to the touring extravaganza. DEAG
expects to attract around 500.000 visitors during this tour.
Since the beginning of January the share price rose from 4.21
up to 5.69 Euro.
CTS EventimGrowth In Terms Of Figures & Companies
CTS Eventim has acquired ticketing units from the Stage Entertainment
Group for 25 million Euros. The package deal includes See Tickets
Nederland BV, See Tickets Entradas SA in Spain and Top Ticket France
SAS. Additionally CTS Eventim has taken over the ticketing distribution
for two Stage Entertainment theatres in Russia. The company expects
a revenue contribution of 20 million and an Earnings Before Interests,
Taxes, Depreciation & Amortisation (EBITDA) of 5 million Euros per
year due to the takeover.
Shortly after the last VIP Newsletter went to press, CTS Eventim
released its preliminary business report for 2013. According to the
Company, the figures show an increase of 20.8 percent from 520.3
to 628.3 million Euros. The exact figures will be reported at the end of
March, when CTS Eventim will also announce its dividend payments.
Since the beginning of January the share moved up from 38.24
to 43.78 Euro.
23
Chloe Charles Territory: EuropePeriod: September/OctoberAgency: Paperclip Agency / Agent: Hilde SpillePhone: +31 243239322E-mail: [email protected]: www.paperclip-agency.com
ORBITAL ñ 25th year anniversary tour in 2014 Territory: The World excluding USAPeriod: May onwardsAgency: Value Added Talent / Agent: Dan SilverPhone: +44 207 704 97 20E-mail: [email protected]: www.vathq.co.uk
Alan Parsons Live Project Territory: WorldwidePeriod: 2014Agency: World Entertainment Associates of AmericaAgent: John Regna - Artist Agent/ManagerPhone: +1 407-993-4000E-mail: [email protected]: www.AlanParsonsTourPromo.com
GlasvegasTerritory: EuropePeriod: 2014Agency: Primary Talent InternationalAgent: Ben WinchesterPhone: +44 20 7400 4500E-mail: [email protected]: www.glasvegas.net
THE ORCHESTRA starring ELO former membersTerritory: WorldwidePeriod: 2014-2015Agency: World Entertainment Associates of AmericaAgent: John Regna - Artist Agent/ManagerPhone: +1 407-993-4000E-mail: [email protected]: www.THEORCHESTRAonline.com
Patti Smith Territory: EuropePeriod: 2014Agency: Primary Talent InternationalAgent: Andy WoolliscroftPhone: +44 20 7400 4500E-mail: [email protected]: www.pattismith.net
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Orbital
VIPNEWS > MISC > MARCH 2014 MEMBER PRESENTATION
Sziget festival is the biggest musical and cultural festival in Central Europe–a seven-
day multicultural expo offering more than 800 programs on more than 30 venues.
Sziget means island in Hungarian and the festival, in addition to being on an island
in the heart of Budapest, is an island in the metaphorical sense. Sziget has a unique
atmosphere: it is a meeting place, a musical and cultural show, a life-style, an
enormous cafe and party place, a place of learning about the world and each other.
No matter what style of music you like listening or dancing to, you will find the place
of your taste.
You can enjoy performances, shows, you can party and dance or just walk around
and gaze at the ever-increasing flow of interesting and different people passing by.
From the beginning in 1993 until 2001 Sziget’s capacity has grown from 43,000 to
over 360,000 over the seven days of the event presenting stars such as:
Jethro Tull, Ten Years After, Jefferson Starship, Byrds, Blood, Sweat and Tears, Eric
Burdon, Stranglers, Jeff Healey, Clawfinger, Slash, The Bates, Stone Roses, Iggy Pop,
The Prodigy, The Levellers, Sonic Youth, Therapy?,Galliano, David Bowie, Apollo 440,
Motörhead, Toy Dollz, Rollins Band, Chumbawamba, Faith No More, Foo Fighters,
New Model Army, Cardigans, DEUS, Boney M, Shane McGowan, Coolio, Trans-
global Underground, Rammstein, Mory Kante, Goldie, Patti Smith, Green Day, Brand
New Heavies, Kool and the Gang, Suede, Faithless, Guano Apes, Jovanotti, Baaba
Maal, Apocalyptica, The Klezmatics, Liquido, Rachid Taha, Paradise Lost, Asian Dub
Foundation, Suzanne Vega, Mambo Kurt, The Bloodhound Gang, Lou Reed, HIM,
Bad Religion, Oasis, The King, H Blockx, K”s Choice, Bomfunk MC’s, Noir Desir, Run
DMC, Fun-Da-Mental, Morcheeba, Leningrad Cowboys, Frestylers, Incognito, Eagle-
Eye Cherry, Ash, Placebo
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