vip magazine premium - march 2016
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VIP-News is a FREE online newsletter. VIP-News is emailed monthly to more than 20.000 Live Entertainment Industry Professionals all over the world.TRANSCRIPT
VIPNEWS PREMIUM > VOLUME 188 > MARCH 2016
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VIPNEWS > MARCH 2016
McGowan’s Musings
Over the years I have clocked up eighteen
attendances at SXSW, although I haven’t been
to the Austin, Texas event SXSW since 2010.
I did however wish that I had made it to this
edition. Apart from the sunshine, the music
of course, and the fact that Austin is a great
City – keep it weird! - I I was attracted by the
speakers, how often do you get a President
of the USA and his First Lady making separate
keynote speeches at a ‘popular’ music event,
with undeniable insight into both the music
and the nature of the event? I’ve seen Johnny
Cash, Carl Perkins, Little Richard, Neil Young,
Robert Plant and others speak at SXSW, all
of them music business statesmen of the
highest order, so a Presidential appearance
seems quite fitting! – Although I have seen
and heard another serving President speak
knowledgeably about music and artist, that’s
President Toomas Hendrick Ilves of Estonia,
and hopefully I will listen to him again in a
couple of weeks at Tallinn Music Week.
But, to get back to SXSW, another far
more unfortunate reason to want to be in
Austin, would have been to pay tribute to
a friend who passed away unexpectedly
on the morning of March 11, the morning
he’d planned to attend President Obama’s
keynote. Louis Jay Meyers was one of the
founders of SXSW, a fine musician himself,
he booked talent for South By till moving on
to other things in 1994. Louis first got me
involved in the event which has seen such
prodigious growth over the years when we
were both working on shows for MIDEM in
Cannes in the 80’s. He was a great believer
in the adage, “The Show must go on’,
and SXSW, Folk Alliance for which he was
executive director from 2005 – 2014, and
others will go on without him, but he will be
missed by many!
Having national Presidents attend rock ‘n’
roll events, and even having rock guitarists
(even if they’re also respected astronomers!)
invited to play on the roof of Buckingham
Palace, indicates how things have changed
in the way ‘popular’ music is perceived
by the establishment. This acceptance is
regretted by some of course, bemoaning
the spirit of rebellion that was perceived as
the very essence of rock, metal, reggae etc,
and of course punk, so many see as ironic
to say the least that the former London HQ
of the Sex Pistols has recently been given
listed status by a Conservative government
Heritage Minister! 2016 has been marked
down – by some – as the 40th anniversary
year of Punk, and the building in Denmark
St (once known as Tin Pan Alley) is where
the Pistols recorded the first demos of God
Save The Queen and Anarchy in the UK.
The walls of the studio on the ground floor
of the workshop building are still covered
with cartoons and graffiti scrawled by the
members of the band, with some apparently
quite good cartoons by the then still called
Johnny Rotten. Apparently these too are to
be preserved for the Nation!
Anyway, it’s been a busy month, all of the
team attended a particularly fine and very
busy edition of ILMC in London (see Manfred
Tari’s report in this issue.) Your normally
reserved Editor was captured on film with
many others raucously delivering a version
of the Beatles ‘Hey Jude’ delivered as ‘Hey
Louis” in tribute to the Louis, the barman
of Bertie’s Bar in the home of ILMC, The
Royal Garden Hotel. Louis looked after all,
inebriated, half-cut, and even sober for many
editions of the Conference, and sadly died
last year. We are all of the opinion that the
bar should change its name to Louis’ Bar!
Right, before we speak again I shall visit
Estonia and Finland – so for the time being,
Ladies and Gentlemen – The News!
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COLOPHON >
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Managing Director:Ronni [email protected]
General Manager:Peter [email protected]
Writer and editorial:Allan [email protected]
Writer:Manfred [email protected]
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VIPNEWS > MARCH 2016
Chip Hooper, the worldwide head of music at
Paradigm Talent Agency, died on March 5th
after a long battle with cancer. He was 53.
Hooper was the personal agent for Dave
Matthews Band and Phish, among others,
and oversaw Paradigm’s 115-agent team
working a roster of 2,200 clients.
Hooper, a fixture in the concert business,
joined Paradigm when the firm acquired
Monterey Peninsula Artists in 2005. MPA
was built to last back in the `70s by Fred
Bohlander and Dan Weiner, who took their
game up the California coast to Monterey.
When Bohlander and Weiner sold to
Paradigm, Hooper, already a big player,
went from star agent to star recruiter as key
alignments were forged with philosophically
simpatico agents and agencies, including
Little Big Man, Third Coast, Ellis Industries,
AM Only and most recently The Windish
Agency.
Hooper’s death was announced by Oakland
University basketball coach Greg Kampe
through Twitter late Saturday. A week prior
to his passing, Hooper kept a promise to
his son, Max, to attend one of his Oakland
University basketball games this season.
Live Nation is closing a deal to purchase a
majority stake in Founders Entertainment,
producers of New York music festival
Governors Ball.
Governors Ball, held annually each June
on Randalls Island in New York, enjoyed
its biggest year yet in 2015, drawing about
150,000 in aggregate.
The majority stake in Founders is a critically
important play for Live Nation, both in the
Northeastern U.S., and in the overall festival
scene in America.
According to Billboard Randall’s Island is
now the front line in a fierce battle between
Live Nation and AEG Live over the New York
festival market, with the latter announcing
earlier this year that it would launch its own
festival on Randall’s Island with Panorama,
scheduled July 22-24. In launching
Governors Ball, Founders was the first
promoter to crack the code of producing
a major rock festival in New York, with the
festival hosting top-tier acts and posting
consistent growth in box office.
Founders has been independent in
producing Governors Ball, but the firm does
have a history with Live Nation, with the
two partnering last year in Farmborough,
the city’s first country music festival.
Though it drew about 40,000, word came
earlier this year that Farmborough would
not return in 2016.
The sixth Governors Ball is set for June
3-5, with Kanye West, The Killers and The
Strokes headlining.
Chip Hooper dies at 53 From VIP-Daily News
Live Nation to acquire NY festival Governors Ball From VIP-Daily News
Chip Hooper dies at 53
NY festival Governors Ball
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VIPNEWS > MARCH 2016
UK Music Venues protected bynew legislation From VIP-Daily News
S C O T L A N D ʻ S M U S I C C O N V E N T I O N2 2 - 2 3 A P R I L 2 0 1 6 E D I N B U R G H
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UK Music, Music Venue Trust and Musicians’ Union have welcomed
new Government legislation to protect UK music venues.
The amended legislation comes into effect on April 6th and means
property developers are now required to seek prior approval on
the impact of noise from existing music venues when applying to
transform office space into a residential building.
It follows a wave of small- to medium-sized concert hall closures in
London over the past eight years during which the capital city has
lost 35% of its grass roots music venues.
Some of the historic venues that have shuttered in the past decade
include The Marquee, Astoria, 12 Bar Club and Madame Jojos, with
dozens more shuttered throughout the city`s outskirts. Last fall,
The Coronet announced that after almost 140 years it too would
close its doors in January 2017.
Jo Dipple, CEO, UK Music said: “Ministers Ed Vaizey, Brandon Lewis
and James Wharton deserve sincere thanks for taking up our cause
and offering to act on industry concerns. There are times when it
seems Government does not listen. When it does, and when it acts
on what it hears, we should be proud of our political masters.
The Coronet will close in 2017
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VIPNEWS > MARCH 2016
ILMC 2016 - An Inspirational Live Music Conference Manfred Tari [email protected]
The 28th sold-out edition of the ILMC
delivered much to think about. With some
superb panels and speaker contributions it
also set another milestone in the on going
transition of the live music business into a
proper industry.
For some years ILMC has been a platform
which has frequently used the term “Live
music industry” , but in the past the word
“industry” was still at a level of wishful
thinking at least in terms of its business
dimensions. Another expression often
heard at the current and past IMLC’s is
the description, a “people’s business”,
referring in most cases to the independent
entrepreneurs who invented and developed
the business. And this is the wording where
this recent milestone comes into the game.
This year’s ILMC marked clearly that the live
music business, as “people’s business” is
definitely a labelling of the past. It still fits
even today in certain cases, but in general
it describes something that worked in those
days, when the ‘good old boys-network’
still operated in an acceptable way for the
rank and file of live promotion and touring,,
before it gradually evolved into something
that deserved to be named as an “industry”.
But this is only one of the observed outcomes
of this year’s ILMC. In fact there were many
aspects mentioned here and there that
when combined draw a new picture of the
current state of the live music community.
No, the highly anticipated keynote interview
with Michael Rapino by Greg Parmley,
director of IMLC delivered no new insights
when concluding “it is a global business”
and commenting that the live music
business is “gifted with the internet”. The
Live Nation chief’s outlook turned out to
be sort of romantic analysis where the live
music sector will ,”keep doing what it is
doing”, that there will be more and more
emerging markets in Latin America and
Asia, and of course referring to the buzz
words, “the global footprint”.
Well, the global footprint in the music
sector was already paved and trodden by
Mozart, Glen Miller and the Beatles, so this
not really what is new in this business, even
though Rapino is of course right, that today
more and bigger shows can be played
globally.
Festival Forum at ILMC
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VIPNEWS > MARCH 2016
His assumption that ticket prices on the
primary ticket market are under-priced is so to
say almost idealistic and Rapino’s defence of
the secondary ticket is primarily ideologically
driven, particularly when he stated that the
eight billion dollars” or whatever the latest
market figures” on secondary ticketing
are “should all go away.” He made a very
interesting comparative reference to the
monitoring and analytical sales methods of
the watch manufacturer Rolex regarding the
resale of their watches.
But wasn’t it Live Nation that lobbied
successfully to get the merger with
Ticketmaster approved? Unlike the
French promoter association Prodiss, who
successfully lobbied for strict law against
the unauthorized resale of tickets, Michael
Rapino and his colleagues obviously instead
jinvested in the purchase of Seatwave.
In daily life Michael Rapino and his other
top management workmates just appear
to act as corporate concert cowboys, rough
enough to employ low wage workers under
very questionable conditions at some of
their shows in the US as the Washington
Post and LA Times reported in 2015, while
having no problems with appearing in 2016
at ILMC, fishing for compliments as some
sort of similarly smart talking and casually
dressed mini- Facebook-Boss Zuckerberg.
But, with all this in mind, was this Q&A
session with Rapino inspirational? Actually,
yes, it enlightened us on the imagination and
the mind set of a highly bullish top global
player in the live music sector, who probably
knows and loves that some subordinates at
Live Nation gave him the nick name “Darth
Vader”.
In respect to the authority of Darth Vader,
the writer of this article was even too shy
to ask Rapino at the end of the session
why and how having celebrated the 10th
anniversary of Live Nation the company still
has not not reported a profit.
Anyhow, the panel “Performance Royalties:
Shows, songs and settlements” chaired by
Jon Webster was also enlightening. It was
very interesting to see was how little some
UK and US agents and to certain extent also
accountants knew about the performance
collection fees of European Copyright
Collection Societies. The rate-schemes
appeared to some of them so complicated,
that they did not even understand how for
instance the German society GEMA applies
its discount system.
Surprisingly enough ILMC even managed
to get a GEMA representative Martin
Vierrath, to join the debate, as other PRO’s,
such as PRS and Buma had turned down
the invitation to join the discussion. But
questions by the audience revealed that the
knowledge about the art of accounting by
copyright collection societies is very much
underdeveloped in the international live
music circuit. Even more surprising is that
it took until IMLC 28 for some of those on
the panel and in the audience to reveal and
discover what appears to be just the tip of
the iceberg of this part of the music sector.
Even the summary by Webster at the
end of the panel as quoted in “The 1709
Blog”, stating : “I’d like to see us end up
with a simpler system and a much more
transparent system. Because of what has
happened over the past three or four years,
people are beginning to shine a light on
this area and it will end up in everyone’s
better interest”, perhaps reveals a certain
kind of innocent naivety. Unlike agents and
managers, copyright collection societies
have for decades lobbied at national and
international level, in Brussels, Geneva and
Washington and wherever it is needed on
national levels. And they are highly effective
in policy making, a fact that wasn’t even
mentioned on this panel.
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Michael Rapino and Greg Parmley at ILMC
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VIPNEWS > MARCH 2016
The ticketing panel under the headline “The
Disruptors” was extremely well put together
and delivered. Chaired by Tim Chambers,
this panel picked up on the business model
of disruption; a term that normally appears
in magazines such The Economist or Wired.
The set context was modern and up-to-date
and described on one hand the ‘Uberisation’
of ticketing but also addressed other areas
of the business, such as the lousy royalties
paid to artists by streaming services.
The taxi-platform Uber is in fact a perfect
example of how tech companies change
existing business models, by declining and
ignoring social aspects but nevertheless
are able to assemble huge investments
to develop anti-social business practises
promising extremely high profit margins.
High profit margins in the ticketing sector
literally means secondary ticketing and of
course service and system fees as charged by
outfits like Ticketmaster or CTS Eventim. An
evergreen in the live music sector that now
seems to move on to next level as somebody
mentioned, “Change is coming”. Mobile
ticketing, Amazon, new and upcoming
providers, leading Jason Legg ,among others
,to the conclusion “Disruption is a positive
word”. Legg furthermore said: “We don’t
care about the rules of ticketing, we are
taking care of the rules of consumers”
The German promoter Scumeck Sabottka
who is well known for his successful policies
against secondary ticketing by selling
personalized tickets for some of his shows,
via the platform tickets.de, described
disruption as good, “as long we can control
it”. But it also has been mentioned that in
today’s ticketing jungle it rather the work
load that is disruptive, when it comes to
the handling and the administration of the
many various ticket outlets that would like
grab their piece of the ticketing-cake.
The ticketing panel itself appeared to be
one of the most stimulating sessions, linking
on to other panels such as the Booking
Ring where surprising new developments
were also covered. One of these discoveries
pointed out tthe fact that especially in the
offices of the multinational major players in
companies like Williams Morris, CAA, Live
Nation that it can occur that national agents
do not even, any longer, maintain a personal
contact to the artists or their managers that
they represent in their territories. Deals
nowadays can be completed somewhere
in a headquarter office. Just a side aspect,
but a significant one as such circumstances
confirm that territorial agents apparently
now act in a similar way to product
managers in the record industry.
Out of the blue it was the one and only Ed
Bicknell in the Breakfast Meeting with Marc
Geiger who raised a concern that currently
should receive more attention than it actually
does. Bicknell in his well know style, talked
with Geiger about his career including his
agent-history, and capitalistic experiences
when Geiger failed with his former internet
site “Artist Direct”. And at one point within
the conversation he raised the rhetorical
question, what might happen if the UK leaves
the European Union and if anybody in the
room remembered what it used to be like to
cross borders with touring artists. An aspect
that was certainly underrepresented at ILMC
having already has also been neglected at
Eurosonic Noorderslag earlier on this year.
Very impressive, but unfortunately less
well attended wasthe Show Safety-session
chaired by Okan Tombulca from EPS. At the
beginning of this panel Arnaud Meersseman
and Salomon Hazot of Nous Productions, the
local promoter of the Eagles Of Death Metal
concert at the Paris venue Bataclan together
with the band’s agent Steve Strange from
X-Ray-Touring, told the audience how they
were confronted by the terror attacks in
Paris in November.
Also inspiring and almost completing the
entire picture of a very interesting and
informative ILMC was the final question
by Michal Kaščák of Pohoda Festival as the
chairman of the “The Emerging Markets
Place” when he asked the question: “Can
guitars save democracy?”
Just one more topic that besides many
other panels and debates at this year’s ILMC
speaks for how this conference documented
some of the major changes and challenges
the live music sector is currently confronted
with. Sometime officially set as topics within
the conference agenda, sometimes just
ventured as statements within the session
itself. Taking all aspects in consideration,
a very worthwhile output for a conference
that incidentally, or perhaps on purpose
delivered a milestone on how this business
is slipping into a new era.
The Dragon’s Den with Ossy Hoppe at ILMC
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VIPNEWS > INDEPTH STORY > MARCH 2016
Having talked in the Musings about presidential visits and the way that music and music trade events
are perceived it is interesting to see the way that Conferences and Festivals (see the Yourope report in
this issue) have widened their scope, to include other art forms and social and educational initiatives.
Quite often these are developed in tandem with the Cities in which the events take place e.g Hamburg
and the Reeperhahn Festival, Austin and SXSW, Brighton and The Great Escape, and increasingly others.
Here are a couple of examples – we will of course keep you informed…
Tallinn Music Week will take place from
March 28 – April 3, and will include in this
edition, Creativity for Change - a new global
forum to discuss solutions for a fairer and
more tolerant world.
The Forum will take place on 1st April
in Tallinn and will bring together game-
changers from the arts, business, culture, civil
society, education, science, technology and
policy-making from more than 30 countries,
to explore creative approaches to reshaping
our society on the verge of what has become
known as the Fourth Industrial Revolution -
to achieve greater democracy, transparency,
tolerance, diversity, equality, true freedom
of expression and sustainable prosperity.
Among the confirmed speakers is Hamdi
Ulukaya, the Kurdish-American founder of
Chobani and globally known philanthropist.
“During its seven editions TMW has
become a unique representation of music
democracy. It’s also our contribution to a
better society. We believe that the richness
of the 21st century is in its cultural and ethnic
diversity, based on equality,” said Helen
Sildna, organizer of Tallinn Music Week and
CFCForum. “Tolerance is the glue that keeps
societies happy, healthy and successful. Talent
thrives in tolerant soil, as does democracy
and a sustainable economy.”
The world is facing unprecedented challenges
today from conflicts, poverty, mass migration
and environmental crises to emergence of
populist movements and xenophobia. To find
out how best to tap into the resources of the
creative mind and new technology some of
the most brilliant visionaries in their fields will
come together for a day of brainstorming,
contemplation and inspiration for a better
world.
The President of Estonia, Toomas Hendrik
Ilves will be joined by Hamdi Ulukaya, the
CEO of Chobani, who has signed the The
Giving Pledge and committed the majority
of his personal wealth to help bring an end
to the global refugee crisis. Ulukaya is a
member of President Obamas Ambassadors
Conference Events Widen ScopeAllan McGowan [email protected]
Tallinn Music Week presents Creativity For ChangeAllan McGowan [email protected]
Helen Sildna, organizer of Tallinn Music Week
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VIPNEWS > INDEPTH STORY > MARCH 2016
of Global Entrepreneurship (PAGE) and
Eminent Advocate of UNHCR, leading several
charity organizations worldwide.
Estonian Minister of Foreign Affairs Marina
Kaljurand, IT entrepreneurs Sten Tamkivi
and Ott Jalakas, architects Andrus
Kõresaar and Marco Casagrande,
humanitarian experts Kilian Kleinschmidt
and Brian Reich, environmentalists Tia
Kansara and Rainer Nõlvak, start-up
angel Fadi Bishara, MEP Julia Reda,
minorities campaigners Gulya Sultanova,
iO Tillet Wright and Kaspars Zalitis,
author Ben Judah, music promoters Ramin
Sadighi and Thomas Noreila, education
visionaries Conrad Wolfram and Kathleen
Naglee, scientist Lili Milani and many other
outstanding personalities in their field are
among the speakers of the forum.
The Creativity for Change Forum aims to
encourage civil society and private sector to
invest in and strive for values that will bring
along a positive transformation in the society
– tolerance, equal opportunities, diversity,
responsibility and sustainable prosperity.
“Creative industries depend on freedom and
tolerance for the new and the unexpected.
So if we don’t stand up for these values,
then who will?” asks Helen Sildna, the main
organizer of the event.
TMW delegates have free access to the
Creativity for Change Forum that is also the
official opening of the TMW conference.
The one-day forum will take place in Theatre
NO99.
TMW delegates pass grants access to the
CFCForum, the music industry conference
on 1st and 2nd April and is available at TMW
website for €275.
It’s almost atradition that
Estonian president Toomas Hendrik
Ilves joinsTMW
The next Reeperbahn Festival will take place from September 21 -
24, 2016. The Conference Ticket for Reeperbahn Festival 2016 can
be purchased online at the spring rate for only €170,- (plus 19% VAT
+ sales fee).
The Reeperbahn Festival Conference is introducing a new platform
for companies and organisations in the music industry and its related
submarkets – companies and organisations with innovations and
ideas that could change the music business.
If you have a new music-related or music-industry-related business,
project, or product you have the opportunity to secure a presentation
slot at “Corporate Sessions - Innovations and Ideas for the Music
Business”.
Reeperbahn Festival Conference Offers New Platform for Innovations and Ideas Manfred Tari [email protected]
Corporate sessions at Reeperbahn Conference
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VIPNEWS > INDEPTH STORY > MARCH 2016
The Reeperbahn Festival launches the first Reeperbahn Festival New York Edition during the A2IM Indie Week (13 – 16 June in
New York City). Support is provided by the German Foreign Office. International professionals are invited to become part of
the delegation.
The US market remains of paramount importance to anyone working in the music sector on the international level – nevertheless,
accessing this market is anything but easy. With an eye to facilitating entry for music-industry professionals, the Reeperbahn
Festival is taking a proactive role in 2016 with the introduction of the Reeperbahn Festival New York Edition and is pleased
cooperate with A2IM Indie Week.
Indie Week is a conference and networking event open only to members of A2IM. As a partner of A2IM’s Indie Week,
Reeperbahn Festival’s New York Edition offers delegates:
• Access to A2IM’s Indie Week conference (13-16 June) - including invitation-only panels, reception, and speed meetings
• Participation in additional networking activity
• Involvement in the Live Music Night @ Santos Party House presented by Reeperbahn Festival (15 June)
• Inclusion in the bespoke online and physical marketing items being prepared for our partners and participants
• Marketing packages for showcasing artists in cooperation with NYC-based promotion company Marauder Group
2016 marks the first time that a delegation of music-industry professionals will travel to New York under the aegis of the
Reeperbahn Festival, and with the kind support of the German Foreign Office, to take advantage of this highly fertile environment
and to establish and strengthen contacts in the North American music market.
This initiative will allow those accepted to present your idea
and company to leading representatives in your specific target
group. The Reeperbahn Festival will provide the perfect setting
and infrastructure as well as target-oriented promotion to an
international business audience.
If you think your business, project, or product are a perfect fit for
the Corporate Sessions, apply now – presentation slots are limited!
Call for Papers & Ideas:
Anybody who’d like to be a speaker at Reeperbahn Festival
Conference 2016, give a talk or present a project, likes to organise a
panel or workshop or simply likes to share a topic of interest is now
welcome to submit a proposal by 30 April 2016.
Reeperbahn Festival Conference is looking for topics that address
current challenges and developments in the international music
industry and fit into at least one of their thematic tracks (live
entertainment, marketing, (social) media, publishing, policy,
recorded music, synch & brands, technology).
The organisers will provide a venue equipped with the necessary
conference technology, an interested audience – approximately
3,700 music industry and business professionals attend the
conference – and will promote the proposed event as a fully-
fledged component of Reeperbahn Festival Conference
programme. In addition, you’ll receive full accreditation for the
Reeperbahn Festival with access to 700+ concerts, arts activities,
and conference events.
Reeperbahn Festival New York Edition
SATURDAYMAY 7, 2016 SHERATON CENTRE
TORONTO HOTEL
REGISTER NOWO N E - D A Y C O N F E R E N C E
Global city planners & the music industry take part in music canada’s and cmW’s international creative-economy summit
Global city planners and the music industry take part in Music Canada’s and Canadian Music Week’s international creative-economy summit “The Mastering Of A Music City.”
The day-long summit takes place during Canadian Music Week on Saturday, May 7, 2016 at the Sheraton Center, Toronto. Individual tickets are available or you can gain access with the CMW VIP pass.
The “Music City” is a true 21st Century paradigm – a shared realization that cities across the globe enjoy an often-huge economic dividend from the creation, performance and reception of music.
Whether it’s Austin, Texas, where music tourism represents half the city’s economic output from music, or Melbourne, Australia, where live music accounts for 116,000 jobs, or Toronto, where the Canadian recording industry has a $400 million impact, that song you hear is sung by robust civic economies worldwide.
2016 keynote speakers
2016 speakers
“The Mastering Of A Music City” Conference – a joint event by Music Canada, the international recording industry group IFPI, Music Cities Convention and Canadian Music Week – will explore in-depth the relationship between creative city planning, quality-of-life and the music industry.
a Fantastic opportunity to enGaGe With cities From around the World
Frances mooreIFPI, London, UK
tim arnoldLondon, UK
david GriceAdeLAIde, AUstrALIA
bryce merrilldenver, CA, UsA
amy terrilltoronto, on
kate beckerseAttLe, WA, UsA
Graham hendersontoronto, on
don pittsAUstIn, tX, UsA
vanessa toulminsheFFIeLd, UK
paul broadhurstLondon, UK
Joey hendricksonCoLUmbUs, oh, UsA
ben raynertoronto, on
ohn WardleULtImo, AUstrALIA
mark davydLondon, UK
kWende keFentseottAWA, on
shain shapiroLondon, UK
alison WenhamLondon, UK
Jo dippleLondon, UK
omar lozanoAUstIn, tX, UsA
ian sWaintoronto, on
catlin WhitinGtonAUstIn, tX, UsA
neill dixontoronto, on
Jesper mardahlAArhUs, denmArK
Fruzsina szepberLIn, GermAny
timotheus WiesmannhAmbUrG, GermAny
mark Garnertoronto, on
kevin mcmanusLIverPooL, UK
mike tannertoronto, on
Jonathan WynnAmherst, mA, UsA
christopher thornberGbeACon eConomICs, UsA
lesa ukmanIeG, ChICAGo
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VIPNEWS > MARCH 2016
There are many facts that can certainly not be ignored. What
is currently going on in the Middle East, the radical political
developments in Europe and in the US, the rising inequality gap
between the rich and the rest of the society, highly brutal military
conflicts and countless terror attacks, all have an impact on the live
music sector.
Yourope the umbrella organisation for festivals in Europe is the
first trade body in the European music sector to respond to these
disastrous developments.
In a press release the organisation declared:
A Statement For Peace
Yourope took the opportunity to officially launch a Mission
Statement, highlighting the festival scene’s commitment to positively
influence festivalgoers and policy makers in times when different
crises not only threaten the well-being of individuals but also the
European concept as a whole.
Christof Huber, General Secretary of Yourope, emphasizes that
it is not a Yourope Mission Statement. He encourages all live
entertainment associations to get on board and take a stand for
acceptance, cultural diversity and peace. What is more, signees of the
Mission Statement will vow to do business in a socially responsible,
fair and sustainable way.
Mission Statement
Who are we?
We are European festival promoters, bringing culture, music, art
and design to millions of young people every year. Our events are
a peaceful and joyful get together of many different people in a
limited space over a limited time. Together with our audience we are
a community through our passion for music, culture and through
our love of festivals.
What does the European festival scene stand for?
We want to be ambassadors of the European idea. We want to be
an example for the togetherness of different people from different
countries, no matter what gender, race, religion, sexual orientation
or origin.
We stand for acceptance and cultural diversity
Our business involves social responsibility - our aim is to be fair.
We stand for a high awareness in sustainability: ecologically, socially
and economically. We want our ideas of a peaceful cultural diversity
to influence the future generation. Through our partners we want
to spread our message into politics and make an impact in a positive
way.
How can we achieve our goals?
We connect people through culture. We are bound through the
collective thought of a common goal. We want to exchange,
educate, learn from each other and spread the message.
Whom do we do it for?
For the future generation.
For the future of Europe.
For a strong community – not only in the festival sector but all over
Europe.
www.yourope.org
Mission Statement by Yourope Manfred Tari [email protected]
Christof Huber
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VIPNEWS > MARCH 2016
Organising a festival, is as I’m sure we’re
all aware, not an easy task! Setting up and
taking down the equivalent of a good sized
town with all the necessary infrastructure
and facilities, besides arranging the
staging, lighting, sound – not to mention
the entertainment – is the hardest of hard
work, and the last thing you need is further
complications! Unfortunately, that is what
T- in the – Park boss Geoff Ellis is having to
contend with!
Having changed sites last year, Ellis and
his DF Concerts team are having to bid
for this summer’s festival, showing a
radical overhaul of traffic and security
arrangements for the approval of the local
authorities of Perth and Kinross Council
who will only issue a public entertainment
licence allowing the festival to go ahead,
if they are assured that what they saw
as chaos at last year’s festival will not be
repeated this year.
The Stone Roses and Red Hot Chilli
Peppers, amongst others have already been
confirmed for July’s event in the grounds of
Strathallan Castle in Scotland.
DF Concerts application for a new public
entertainment licence includes a dossier,
which runs to hundreds of pages, and
outlines a series of major improvements
to travel arrangements and staffing issues.
One of the biggest changes this year will
be a large-scale bus station, similar to the
one used at the Glastonbury festival. In his
“statement of intent” to council officers,
Mr Ellis said: “We always strive to create
a fun-filled, enjoyable safe weekend for
everyone and my whole team is focussed
on making... a festival that we can all be
proud of once again.”
DF Concerts has also pledged to improve
communications and briefings with
stewards and other staff. The site lay-out
will also be changed.
T in the Park Promises Major Improvements - Lodges Festival BidAllan McGowan [email protected]
Red Hot Chilli Peppers are confirmed for T In the Park
Kilimanjaro Live has expanded its team with the appointment of two
new promoters, Rhea Taylor and Georgie Donnelly.
Taylor joins from MAMA & Company, where she booked venues
including The Barfly and Hoxton Square Bar & Kitchen, both in
London. She successfully launched club night New Crush and books
with Radio X DJ John Kennedy on his X-Posure Live shows and will be
bringing in new talent across various genres.
Donnelly has more than six years` experience as a promoter and
producer of stand-up shows and will help further develop Kili’s
comedy and spoken word roster.
CAA has promotednew agentsFrom VIP-Daily News
Kilimanjaro hire twonew promoters From VIP-Daily News
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vip-booking.com
145-157 St John Street | London Ec1V 4PW United Kingdom | Phone: +44 (0) 870 755 0092
www.vip-booking.com | [email protected]
ImagIne if you could go to one website and get aLL the
contacts you need for the european Live music Industry?
WeLL you Can! www.vip-booking.com
CAA has announced the promotion of 10 trainees to agents or
executives, one of them is David Ball is located in the London Office.
David Ball, Janet Kim, Lanell Rumion, Ben Schildkraut, and Phil Quist
have been promoted to agents in CAA’s music department.
David Ball is based in London, Kim, Quist and Rumion are based in Los
Angeles, and Ben Schildkraut is based in New York.
Furthermore Matt Brownstein has been promoted to agent in CAA
Sports’ baseball department and Angela Dallas and Ali Spiesman have
been promoted to agents in CAA’s television department.
Natalie Drye has been promoted to executive in CAA Sports’ property
sales department and Allison Wruble has been promoted to executive
in its Innovation group.
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NAMES & JOBSVIPNEWS > MARCH 2016
THANKS FOR ATTENDING OUR 30TH ANNIVERSARY EDITION
Eurosonic Noorderslag is the key exchange and networking platform for European music, with a proven track record for helping to break new acts on the international live music scene. Selling out each year, the event attracts close to 4,000 professional delegates, including representatives of over 400 international festivals. Eurosonic Noorderslag presents showcases by more than 300 acts alongside a conference programme covering the latest developments in international music media, production and interactive industries.
Eurosonic Noorderslag has been responsible for kick-starting the careers of European acts like Ásgeir, Aurora, Bastille, Dotan, Ibeyi, James Blake, Jett Rebel, Hozier, Milky Chance, Royal Blood, Seinabo Sey and Vök.
Focus 2017Next years edition of Eurosonic Noorderslag will focus on music from Portugal.
Sais Nuno Saraiva from WHY Portugal: “Being focus country at Eurosonic Noorderslag 2017 is the best opportunity to bridge the gap between the new music made in Portugal and other new music markets, introducing the wealth of musical genres currently made in Portugal to a much wider audience.”
ARTIST SUBMISSION AND CONFERENCE REGISTRATION FROM MAY 1, 2016
Official numbers Eurosonic Noorderslag 2016Total number of visitors: 42,100 (sold out)Conference visitors: 4,124 (sold out)Nationalities: 40Acts: 345Number of venues Eurosonic: 42Number of venues Noorderslag: 11Media & journalists: 425EBU radio stations: 37International festivals: 424ETEP festivals: 95
11/12/13/14 JAN 2017GRONINGEN NL
ESNS: EU
ESNS: EU creative europe
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MUSIC IN SHARES
MusicIn SharesManfred Tari [email protected]
CTS Eventim- An Excursion Throughout Scandinavia
CTS Eventim announced the launch of a joint venture with the
Egmont-Group owned by Nordisk Film. Egmont, a Danish media
company brings into the 50/50 partnership the ticketing company
Venuepoint, which among other operates Billetlugen in Denmark.
The headquarters for the new company will be in Copenhagen and
operates ticketing services in Denmark, Sweden and Norway.
Last reported share price on February 22 was 31.74 Euro, this time
on March 22, it is 31.59 Euro.
DEAG- Sale Of Remaining Stake Of Jahrhunderthalle in Frankfurt
DEAG sold its 49 per cent stake of the Jahrhunderthalle for 6.9
million Euro. The company purchased the historical location, which
celebrated its 50th anniversary in 2013, from the former owner
Hoechst AG in 1999 for just one Euro.
From a previously reported 2.80 Euro up to 3.60 Euro.
Live Nation- 10 Years Anniversary Of Non-Profitability
There is a little difference between press releases and financial
reports to the SEC. The press release is spiked with the many success
stories created in the business year 2015. In the press release the
operating income is declared with $131.4 million, but nevertheless
the net loss is declared in the report to the SEC with $15.7 million
and a net loss attributable to share holders of $32,5 million or
diluted net loss per share of $0.33. But what does a loss of $15.7
million means compared to overall revenue of $7.2 billion?
However, with this result in mind, Live Nation since its IPO at NYSE
celebrated its 10 years in a row of not delivering any profits to its
shareholders, nevertheless the share price proves that they must
enjoy this sort of tradition, the share price went up from $20.04 up
to $22.91...
SFX Entertainment - The EDM-Adventure Is Over
SFX Entertainment slipped under the bankruptcy protection, the
latest recorded share price occurred on February 9 with $0.0125...
VIPNEWS > BUSINESS > MARCH 2016
50 CENT & G-UNITTerritory: Europe & aroundPeriod: Summer festivals & upon requestAgency: Georg Leitner Productions GmbHAgent: Georg LeitnerPhone: +431 914 86 15E-mail: [email protected]: www.glp.at
ÁrstíðirTerritory: Germany, Austria, Switzerland, Liechtenstein, DenmarkPeriod: April - May 2016Agency: NivalisAgent: Maria ChelnokovaPhone: +79 169 227 376E-mail: [email protected]: www.arstidir.com
MICHAEL BOLTON Territory: Europe & aroundPeriod: Before / after August 27th & upon requestAgency: Georg Leitner Productions GmbHAgent: Georg LeitnerPhone: +431 914 86 15E-mail: [email protected]: www.glp.at
LARA CONLEY Territory: UK based, WorldwidePeriod: 08/01/2016 - 01/11/2016Agency: Ragged MoonAgent: Niks PatelPhone: +44 (0) 1453 569770E-mail: [email protected]: www.laraconley.co.uk
PAUL HARTNOLL (ORBITAL) Territory: World excl. USAPeriod: Spring 2016 onwardsAgency: Value Added TalentAgent: Dan SilverPhone: +44 (0) 2077 049720E-mail: [email protected]: www.vathq.co.uk
BANCO DE GAIA Territory: UK / EuropePeriod: March 2016 onwardsAgency: Value Added TalentAgent: Dan SilverPhone: +44 (0) 2077 049720E-mail: [email protected]: www.vathq.co.uk
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ARTIST AVAILS
Michael Bolton
MEMBER PRESENTATION
CACTUSFESTIVAL is a colourful festival,
with a refreshing view on modern
musical culture; enclosed in a cosy
atmosphere and with a surprising
program.
The Minnewaterpark (“Lake of Love”-
park) in Brugge is the unique spot
where this three-days lasting musical
happening takes place.
CACTUSFESTIVAL guarantees a different
atmosphere and philosophy.
The festival intends to stay a “human
sized” musical happening, with a limited
number of bands, which all play full
concerts and which are presented in a
unique global atmosphere.
CACTUSFESTIVAL keeps on looking
for new discoveries and combines
these with artists with an established
international reputation. Year after
year a wide variety of musical genres is
presented; a “global” presentation card
of what the worldwide music scene has
to offer, in all it’s diversity.
CACTUSFESTIVAL hosted in the past
a.o.: Massive Attack, Elvis Costello,
Erykah Badu, Gnarls Barkley, Bryan Ferry,
Paul Weller, Tori Amos, The Afghan
Whigs, Flaming Lips, Jamie Lidell,
Mogwai, dEUS, Macy Gray, Joss Stone,
Regina Spektor, Michael Kiwanuka,
Gotan Project, David Gray, John Hiatt,
Daniel Lanois, Joe Jackson, Lauryn Hill,
Bonnie ‘Prince Billy, Bootsy Collins,
Janelle Monae, Aloe Blacc, Beach
House, Yeasayer, Amadou & Mariam,
KT Tunstall, Kate Nash, Isobel Campbell
& Mark Lanegan,16 Horsepower, Fun
Lovin’ Criminals, The Frames, Marianne
Faithfull, Burning Spear, Michael Franti
& Spearhead, Youssou N’Dour, Rufus
Wainwright, Lamb, Ani DiFranco, St
Germain, Mark Lanegan, Calexico, The
Gutter Twins, Marc Ribot & Cubanos
Postizos, John Cale, Ziggy Marley,
Tindersticks, Dinosaur Jr, Compay
Segundo, Cold War Kids, Lee Perry, Salif
Keita, Low, Emiliana Torrini, Tinariwen,
Israel Vibration, My Morning Jacket,
Asian Dub Foundation, Stereo Mc’s,
Soulwax, Arno, Toots & The Maytals,
Bonnie Raitt, Heather Nova, Jose James,
Razorlight, The Kills, The Ting Tings,
Blonde Redhead, The B 52’s, Conor
Oberst, Jamie Woon, Caribou, Banks,
Beach House, …
CACTUSFESTIVAL is a production of
Cactus Muziekcentrum vzw, which a.o.
is active as concert promoter (a.o. Cactus
Club, MaZ, Concertgebouw, ...), festival
promoter (Cactusfestival, Moods!,
Benenwerk) in Brugge (Belgium).
®
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VIPNEWS > MISC > MARCH 2016
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