vip magazine sept. 2014

CatChing up with Roskildeand the new head of pRogRamme andeRs wahRén Read moRe on page 14

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Vip-magazineedition #15

august 2014

VipNEWS

Vip 15#spot

folkeRt koopmannfkp Scorpio announces

new conference…

Read more on page 13

welCome to the Vip-magazine

This magazine contains some of the best news from

the recent editions of our monthly, online vIP-News.

Please lean back and read about a New music conference,

take a trip to creative hamburg, get some points of view on

Ticketing and on youtube as a Tactical Player.

We distribute this magazine for free at the major industry events,

so as you are reading this it is most likely that you are attending one of these,

and we invite you to come and talk to the vIP-Booking team

about the services we provide.

until we meet again…

the Vip team®

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#3Vip-magazine 15/2014www.vip-booking.com


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7

Contents:

18

05 Waves Vienna Meets Bratislava Music Conference

06 (CE)ETEP latest results

08 BBC announce Music Awards

10 IMMF Moves to Strengthen the International Voice of Managers & Artists

12 Industry Profile

13 FKP Scorpio Announce New Addition to the Conference Showcase Calendar

14 Catching up with Roskilde

18 The Socialization of Ticketing

22 Survey Reveals Problems of Tent Dumping at Music Festivals

24 Artist Avails

25 MIDEM to Change Dates

26 YouTube – A Tactical Power Player

28 Tales of the City… A Trip to Hamburg

Vip-magazine 15 #2014

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DIRECToR: ronni Didriksen | [email protected]

gENERAl MANAgER: peter briggs | [email protected]

SAlES MANAgER: charlie presburg | [email protected]

AREA MANAgER (gAS): Stefan Gottwald | [email protected]

WRITER AND EDIToRIAl: allan mcGowan | [email protected] & manfred tari | [email protected]

DISTRIBuTIoN: 3.000 copies of the magazine are distributed to professionals within the Live entertainment industry free of charGe

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14

6

the opening sentence of the

announcement regarding the collaboration

of Waves vienna and the bratislava music

conference reads: “the exchange between

eastern and Western europe will this year

be manifest in the choice of location”.

this innovation is very interesting; both

cities are only 54 km apart but the

definition east/West still seems to indicate

a meeting between two different worlds.

anyhow, Waves vienna and the bratislava

music conference are strengthening their

collaboration; previously the cooperation

has been primarily focused on the exchange

of the showcase program between the

cities, but for the upcoming edition the

conference program will also take place in

bratislava.. the conference schedule now

sees the conference program starting on

october 2 in vienna, with the second day

taking place in bratislava on october 3.

for the first time the vienna conference

will take place in the university of music

and performing arts, alongside the

vienna music business research Days.

this conference is quite interesting as

it combines the world of science and

academics with that of the music business.

invited speakers among others are paul

resnikoff of Digital music news (uS), peter

Jenner (uk), keith harris of ppL (uk), and

our own allan mcGowan.

further information can be found on:

http://www.wavesvienna.com/en/update/

artikel/waves-vienna-bratislava-music-con-

ference-1/

waVes Vienna meets BRatislaVa musiC ConfeRenCe

manfred tari [email protected]



anne frank alsted [email protected]

the fourth results of the european talent exchange programme

2014 and the first ceetep results of 2014.

(ce) etep is an initiative of eurosonic noorderslag to stimulate the

circulation of european repertoire on festivals, radio and media in

europe.

ETEP: 270 confirmed shows by 89 artists from 19 different european

countries.

CEETEP: 10 confirmed shows by 9 artists from 8 different european

countries.

Royal Blood: ‘’eurosonic noorderslag was our first european show

so we’ll always remember it. a very important and well organised

event at the start of the year, highly recommend it for new artists’’.

MØ: ‘’eurosonic noorderslag is a great, and cool festival to play.

especially for up comers! it has helped me two years in a row get-

ting attention from cool media and bookers from badass festivals in

europe. When you’re there you feel the excitement for new music

amongst the people participating in the festival no matter if it’s the

guests, the scouts or the artists’’.

Kadebostany: ‘’our show at eurosonic was a success and solidified

our reputation as a live band, it helped us reach many professionals

of the scene at once. for a band like us who tour a lot, this showcase

was like a ‘’shortcut’’ to reach influental people in the live world who

didn’t know of us yet’’.

ETEP Results: top-scoring countries / top scoring act:

1. UK, 17 artists, Royal Blood, Jungle

royal blood eurosonic noorderslag session, video Jungle

2. The Netherlands, 15 artists, Birth of Joy

birth of Joy live at eurosonic noorderslag

3. Ireland, 7 artists, Hozier

video hozier, hozier live at eurosonic noorderslag (phone recording)

4. Sweden, 7 artists, Elliphant, Alice Boman

elliphant eurosonic noorderslag session

5. Germany, 6 artists, Milky Chance

milky chance live at eurosonic noorderslag

This is the complete list of ETEP and CEETEP artists and

bookings at this point. Next ETEP and CEETEP press release

will follow september 2014:

oratnitza bG 1

carnival youth Lv 1

bernays propeganda mk 1

frau casio rS 1

Goodbye to Gravity ro 1

puncke hr 1

Quimby hu 1

ti rS 1

beissoul & einius Lt 1

Ceetep:

Carnival Youth Bearnays PropegandaOratnitza

royal blood uk 14

Jungle uk 14

mØ Dk 9

George ezra uk 7

milky chance De 7

birth of Joy nL 7

pional eS 7

hozier ie 7

kodaline ie 6

Wild beasts uk 6

circa Waves uk 6

ballet School De 6

benjamin clementine fr 6

kadebostany ch 6

Jaakko eino kalevi fi 5

Larry Gus Gr 5

baby in vain Dk 5

emilie nicolas no 4

Lulu James uk 4

the Strypes ie 4

the animen ch 4

elliphant Se 4

alice boman Se 4

Sam Smith uk 4

hudson taylor ie 4

i am Legion uk/nL 4

Drenge uk 4

tourist uk 4

Seward eS 4

claire De 3

coely be 3

east india youth uk 3

La pegatina eS 3

Girl band ie 3

kate boy Se 3

thomas azier nL 3

Denai moore uk 3

hermigervill iS 3

Lonely the brave uk 2

mariam the believer Se 2

nadine Shaw uk 2

truckfighters Se 2

bondax uk 2

farao no 2

kid karate ie 2

Linkoban Dk 2

n’toko Si 2

russkaja at 2

the mispers uk 2

nonono Se 2

kensington nL 2

melanie De biasio be 2

Slick Shoota no 2

taymir nL 2

Ásgeir iS 2

Jenny Wilson Se 1

afterpartees nL 1

baskerville nL 1

brother & bones uk 1

c + c = maxigross it 1

cairo Liberation front nL 1

charity children De 1

DJ pravda it 1

electric eye no 1

Gudrun von Laxenburg at 1

Ja panik at 1

kit nL 1

La femme fr 1

Le Galaxie ie 1

Luca Sapio it 1

pablo nouvelle ch 1

repetitor rS 1

Scarlett o’hanna be 1

tensnake De 1

the opposites nL 1

the Wands Dk 1

traumahelikopter nL 1

noah kin fi 1

Djaikovski mk 1

rhodes uk 1

manu Delago handmade at 1

mozes and the firstborn nL 1

mister and mississippi nL 1

reverend Shine Snake oil Dk 1

bo Saris nL 1

emilie nichols no 1

cid rim at 1

klangkarussel at 1

Soul Sister Dance revolution nL 1


etep:

MØ Royal Blood Kadebostany

the bbc has announced the launch of

the bbc music awards, as part of a wide-

ranging new musical strategy by the

corporation …

aimed at celebrating the year`s best

popular music, the awards event will be

the bbc`s biggest musical presentation

after Glastonbury , uniting bbc one, bbc

radio 1 and bbc radio 2 ahead of a live

show presented by chris evans and fearne

cotton . the event will take place on 11

Decembe r at London`s earls court.

categories will include british artist of

the year and song of the year. a panel of

bbc presenters and producers will select

the best british artist and international

artist awards, with viewers and listeners

choosing the winning song of the year.

the awards will also feature a host of

performances to review the year, as well as

collaborations between well-known artists

and the bbc orchestra. bbc radios 1 and

2 and the one Show will offer behind the

scenes access to the award ceremony.

the new music strategy unveiled by

the corporation encompasses tv and

radio programming , digital services and

provisions to support emerging talent

including the introduction of classical

music to uk primary schools.

“today`s the start of something very

special for everyone who loves music,” bbc

director general tony hall said. “bbc music

is a celebration of the brilliant musical

talent across our country. We`ll be joining

up music on television, radio, iplayer and

online like never before. there`ll be new

shows, new partnerships and whole new

ways to enjoy music.”

the wide ranging plans have been

welcomed by many, but are surprising

considering recent cut backs and

redundancies , however the new strategy

is of course positive. there may also be

some consternation at the offices of the

brit awards, although the bbc are making

great efforts to convince all interested

parties that there will be no conflict –

Watch this Space!

announCemusiC awaRds

Chris Evans and Fearne Cotton will host the BBC Music Awards from London’s Earl’s Court


allan mcGowan [email protected]


Schönhauser Allee 36 · 10435 BerlinTelefon +49 30 44 315 100

[email protected]

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immf moves to strengthen the international Voice of managers & artists2014 sees the international music managers

forum (immf) taking big steps on the way

towards strengthening the international

voice of music managers and artists. With

a new seat in Luxembourg, strengthened

secretariat , new international committee

structure and several new members the

immf umbrella now represents the inter-

ests of national associations from more

than 20 countries, with an organizational

infrastructure able to leverage this ever

growing representational weight.

Kari Karjalainen, lawyer and chairman

of the IMMF Copyright Committee

explains one of the core drivers for

strengthening the IMMF:

THE NEW oRgANISATIoNAl STRuCTuRE

the new immf has been registered as a

non profit organization in Luxembourg. the

daily operations will be coordinated and

administered by Daria Wabnitz, while the

agency factory 92 will be taking over the

international press relations. committees

are the cornerstone of immf’s new

structure working as labs in order to draft

ideas, enhance international cooperation

and strengthen policy work, within the

following areas:

• EuropeanCommittee

• LiveCommittee

• CopyrightCommittee

• MarketingandpromotionCommittee

• FundingCommittee

• TrainingandEducationCommittee

immf is moreover experiencing growing

international membership demand. this

Spring the immf thus welcomed mmf

estonia as its newest national member.

mmf Latin america is furthermore being

established and welcomed into the immf.

mmf Latin america will unite managers

from argentina, brazil, chile, colombia,

paraguay, uruguay, panamá, costa rica,

Guatemala, mexico, perú and venezuela.

CuRRENT PolICY & REPRESENTATIoN ACTIVITIES

the immf copyright committee took part

in the eu copyright consultation at the

beginning of march 2014, presenting its

position paper on the issue. the position

paper stated the importance of copyright

legislation harmonization across the eu

in order to give a legal answer and a

framework for the mass usage of content.

the position paper also underlined the

necessity of an international song database

in order to build a global and efficient

monitoring tool.

immf also attended the music biz association

summit 2014 at musikmesse frankfurt in

Germany where executives from several

major stakeholder organizations presented

their concerns and opinions on recent

worldwide evolutions within copyright, eu

matters and international collecting rights.

representatives from pan-european and

international umbrella organization within

music industry areas such as entertainment

law, music publishing and concert venues

attended the event alongside immf.

in general 2014 has thus far seen immf

being represented and featured across

a wide range of international music

stakeholder events from Sun breathe music

“…People need music, and in order

to support music making , music

creators seek audiences for, and

income from their creations . For

some time the market for music

has not functioned either fairly

or efficiently, imbalances affect

the creation of new music , one

of the core problems is that the

marketplace for music rights does

not work. The growing ambition

of IMMF is thus no coincidence ,

but a necessity...”



conference in cape town (South africa)

over SxSW in austin (uS) to tallinn music

Week in tallinn (estonia).

ABouT IMMF

the international music managers forum

(immf) represents music managers and

through them the artists (performers and

authors) they manage. the core mission of

the immf is to defend the economic and

legal interests of artists on an international

scale. the immf’s vision is to create better

international trade conditions for all art-

ists across the world. the immf today

represents national mmf organizations

from 21 countries.

Contact:

• Generalinquiries:DariaWabnitz

([email protected])

• Press:ChristianHaldBuhl

([email protected])

links:

• IMMF(www.immf.com)

• FACTORY92(www.factory92.eu)

IMMF Council at Midem 2014



pRofile industry

1. A brief history of your career in the live Music industry.

Started my first promoting company in 1977, promoting and

manifesting punk and alternative concerts in Austria and developing

marketing concepts for the industry (banks etc.). In 1985 James

Brown’s manager, Jack Bart, gave me the first opportunity to progress

towards an international agency. Sal Michaels (Pyramid Productions),

Dick Allen (William Morris) to name a few, were instrumental in

giving me the opportunity to further develop the concept of “artist

marketing” throughout Europe, the Near East, Africa and eventually

the Far East and Asia. So it was a logical step to stop promoting and

focus on artist marketing from 1988 onwards.

2. Describe the highlight of your career and the biggest

disappointment.

Here’s some of the hightlights:

- When we had FOREIGNER perform at the Reunion of LED ZEPPELIN

in 2007 at the O2 in London .

- Our last tour with RAY CHARLES in 2003 – we knew this would

be our last tour with him. His dignified way of handling this was

deeply moving.

- KOOL & THE GANG at the aids benefit in 2003 in front of 250 000

people in Nairobi/Kenya.

- SEAN PAUL (2009) and 50 CENT in Casablanca (2011)/

Marocco open Air in front of 150.000.

- Our tour with CHIC featuring Nile Rodgers last year – that

comprised 80 cities across the world – and thanks to “GET LUCKY”

all sold out!

Biggest Disappointment:

When I found out at the tender age of 6 that it was my parents and

not Father Christmas who brought the Christmas tree…

3. What’s your best skill and worst habit in the context of your

work?

My best skill is to always move forward , act solution orientated, find

great people to work with and find great fun in what I am doing.

I focus a lot on the main points which is maybe also my worst habit –

I sometimes don’t pay enough attention to detail. Thank god I have

a great team who do.

4. What’s your new year’s resolution/plans for 2014?

We are working on a world tour that combines some of our Classic

R&B /Funk artists with people from the EDM scene.

Similar to what we saw happening with CHIC featuring Nile Rodgers/

DAFT Punk , there are numerous collaborations now evolving along

the same lines (e.g. GEORGE CLINTON PARLIAMENT /FUNKADELIC &

RUDIMENTAL),. The tour concept will be unique and will give the

audience a fascinating dynamic between classical & new!

5. What do you see yourself doing 10 years from now?

Hopefully still working at GLP with my team to expand the

marketing potential of the great artists we represent and devise

yet new and unexplored show formats. We will continue to be

strong in the different areas that GLP cover – Funk, EDM, show

formats (like our Burlesque show, Peter Pan on Ice etc), Rock, Jazz

and World music. Hopefully we will be booking music that does not

exist yet and continuing to expand throughout the world.

geoR

g leit

neR

Name: Georg Leitner

Company:

Georg Leitner productions Gmbh

Email: [email protected]

Roster includes:

George clinton parliament / funkadelic, kool & the Gang,

Gil Scott heron, akon, missy elliott, Sean paul, collie buddz ,

inner circle, foreigner, nina hagen and mother’s finest.

pRofile industry



fkp sCoRpio announCenew addition to the Conference

showcase Calendar

Whilst interviewing folkert koopmans i was

already aware that this outwardly calm and

even reserved man always appears to have

some new project on the go. not satisfied

with upcoming tour dates with the 100 or

so artists and 16 festivals in 4 countries that

his hamburg based company is responsible

for, he already had plans in place for a new

conference and showcase event in Sweden.

fkp Scorpio is joining the showcase

conference circuit by creating a Swedis h

event in norrköping during its bravalla

festiva l. he told billboard, “We’re speaking

to 18 venues in norrköping and we can

use several that are within walking distance

of each other, just as reeperbahn does in

hambur g and eurosonic does in Groningen.”

things are already looking good for fkp Scoroio’ s

outdoor festival business, with its majo r

twinned German festivals , the 73,000-capacity

hurricane and 60,000-capacity Southside,

having already sold out with a couple of

months to spare. folkert also expects to sell out

the second edition of bravalla, which kicked

off last year with a 52,000-capacity sellout . Sell

outs are also expected for Denmark’ s 30,000

capacity northside, started in 2010, and the

27,000 Greenfield started in Switzerland in

2005.

the new event is to be called, Where’s the

Music? fkp Scorpio say that this title is their

way to describe what state the music business

is currently at and where it is heading . their

press release goes on to explain:

this is best done live and through discussion.

the platform is a combined showcase festi-

val and music industry conference, focusing

on new music, new collaborations and new

solutions . Where’s the Music? is a festival

with two purposes, one obviously being the

music where we aim at having new artists in

focus and presented to a curious and excited

industry ready to get into new projects . the

other being a comprehensive conference

program processing and exploring subjects

related to the industry. the festival will include

artists performances as well as lectures held

by people in the music industry, sharing their

stories and experiences. the combination

will make a platform for networking, where

nationa l and international music industry will

exchange experiences and ideas, explore new

artists and find new collaborations, through

lectures and personal meetings.

folkert koopmans, ceo of fkp Scorpio is

excitedly looking forward to launch his new

festival in norrköping. “We have found a great

and trustworthy partner in upplev norrköping

while promoting bråvalla festival in 2013. it

feels great to come back to norrköping with

the new concept, Where’s the Music?, so

that we can show international professional s

in the music industry what Sweden is well

known for in europe – to find and bring

up interesting new artists and innovative

technical solutions.”

”it feels great to develop the collaboration

with fkp by creating a new festival together ,

says Stefan papangelis, ceo, experience

norrköping. “WHERE’S THE MuSIC?” is

going to improve the image of norrköping as a

music city and bring us even closer to its vision

to become the music capital of Sweden”.

fkp Scorpio will, in collaboration with

upplev norrköping, create an annual festival

that will be held in various public locations

in the unique area called industrilandskapet

in the central of norrköping. this location

adds to the experience of the festival as

being more intimate and the visitors will

be able to walk from one stage to another

in just a few minutes. our ambition is to

make this festival the best one in the nordic

countries and attract thousands of visitors

to norrköping.

“WHERE’S THE MuSIC?” is scheduled for

12-14 february 2015. this is about a month

after eurosonic and pretty close to by Larm

- a lot of professionals could be very busy

early next year!

Folkert Koopmans, CEO of FKP Scorpio


this year saw the rolling Stones play under

the orange canopy, which was originally

designed for the band in the uk for their

1976 summer tour, although this present

canopy is a new larger version designed

in 2001. the Stones performance set

the stage for a special experience for the

band, the festival and the audience. With

other headliner s including arctic monkeys,

Damon albarn, Stevie Wonder, Jack White,

major Lazer and Danish act trentemoller -

this year’s festival broke the all time record

with over 100.000 tickets sold meaning

that the festival expects to be able to

donate approximately 2.5 million euro to

charity and cultural purposes.

VIP-News spoke to Anders Wahrén of

Roskilde Festival after the event:

the team at Denmark’s roskilde festival,

undoubtedly one of the world’s leading

outdoor events, as well as being one of

greatest contributors to charitable causes

on an international scale, has remained

pretty constant for a good few years, but

the recent announcement by the well

known and respected rikke oxner that she

was stepping down from her latest position

as artistic Director has led to a ‘shuffle’

in the management team. vip spoke to

roskilde’s anders Wahrén about his past,

present and future work with the festival:

How long have you been involved

with Roskilde, and what is your

background ?

– I grew up with Roskilde festival, my first

year was 1996 when I was only 13, and

started working as a volunteer in 2001,

alongside working at a local Roskilde venue .

I went on to skip my studies and take a job at

Roskilde Festival where I booked bands from

2004 to 2007, focusing on Scandinavian

acts and upcoming Danish acts. After a 3½

year stint at Live Nation Denmark, where I

developed a roster of local talents as well as

played a central role in the startup of their

now 5-year strong metal festival Copenhell, I

returned to Roskilde in the spring of 2011 to

take a new role as head of music booking, to

allow Rikke to concentrate on management

duties.

Since your return what areas of the

event’s development have you been

concentrating on?

CatChingup with Roskilde

VIP-Booking.com – General

Manager Peter Briggs

comments on his visit to this

year’s edition of Denmark’s

Roskilde Festival:

for a second year roskilde 2014 was again

blessed with fantastic weather, adding to the

already unique experience provided by the

arrangers. very few festivals i’ve visited pay

so much attention to creating such a good

experience and atmosphere for the audience ,

providing a wide and diverse selection of

restaurants , bars and cozy areas all set off by

colourful and atmospheric lighting in both

the main festival area and backstage. i never

cease to be amazed at how well everything

seems to run and how little trouble there

seems to be in compariso n to the crime

statistics often reported during an average

weekend in a town populated by a similar

amount of people. although the 31.000

volunteers (yes 31.000!) certainly play their

part in keeping order there’s still something

to be said about easing the restrictions on

from people’s lives and just letting them do

it their own way.


CatChingup with Roskilde

– Over this last 3½ years, besides

actual music booking, I have focused

on developing our artistic profile that

also consists of street art, installations,

performance , literature and much more.

As well as the way we combine art forms,

production and the general identity of the

festival.

Will you be taking on Rikke’s role

when she steps down?

– Rikke had moved from heading the

music booking to a less hands on role as

Artistic Director. I will not take over the

full responsibilities, but I have taken over

the responsibility of programming all of

our artistic content – music and other art

forms – with the brilliant teams that make

the festival stand out.

From your point of view was this

edition particularly successful and

what stood out for you. Do you have

any specifically memorable moments

from previous editions?

– This was a very successful year for us,

not only because of a strong line-up and

remarkable ticket sales, but also because

we (again) introduced new stages,

developed a new Art area, put even more

focus on our massive Street Art project

and even with a late cancellation from a

headliner like Drake, we managed to keep

Jack White in Europe for an extra show. All

in all our volunteers impressed once again

and delivered the special Roskilde vibe

with outstanding moments like Damon

Albarn’s Arena show, the Atomic Bomb!

Tribute to William Onyeabor, an exstatic

party with Major Lazer and more intimate

sets ranging from beautiful quiet moments

with Aoife O’Donovan via Maya Jane Coles

electronic touch to extreme hardcore from

Nails. Everyone from artists to audience

and press have given nothing but great

feedback, so we are very happy and eager

to follow up in 2015.

Do you see any changes being made

in the future running of the Festival or

does the present formula continue to

work successfully?

– The good thing about the present formula

is that it is actually always a changing

event. Sure, the main lines stay pretty

much the same, but we have a history

of killing some of our darlings (stages, a

cinema, certain areas etc.) to make room

for new things. And as far as the musica l

profile goes, we take pride in the fact that

we are one of the most varied and diverse

festivals in the world, and I don’t see that

changing. I think it’s interesting to see all

the more genre-specific festivals popping

up, but diversity has always been the key


Anders Wahrén, Photo by Roskilde FestivalPhoto by Vegard S. Kristiansen


N

1

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for Roskilde, and that’s also a big part of

attracting the many different audience

types we have and who create the special

atmosphere at Roskilde. The ability to

change really is a big part of the key to

success and goes hand in hand with the

great deal of involvement from both the

hundreds of volunteers who devote time to

work with Roskilde Festival all year around

and the co-creation with our guests.

Congratulations for the

success of this year’s Roskilde

are in order , but also, on

a more personal level, the

whole VIP team would like to

congratulate Anders Wahrén

and his wife on the very recent

birth of their second son, and

Rikke Oxner on her equally

recent marriage!

17–20 SEPT. HAMBURG/GERMANY

2014

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the soCialization of tiCketing

Which trends are you currently seeing within the ticketing

business?

– There are a lot of them., I think the most important one is that for years

people have been talking about consumer information and ‘knowing

your customers’, but it was more about putting the instruction to use.

Now, 2013 and 2014 are the years where event organizers are really

beginning to understand the values of their own relationship with their

visitors; they’re doing everything to build the strongest relationship

possible. That isn’t caused by selling a ticket or having a new headliner

on the event; it’s about knowing the people that like your brands and

knowing how to interact with them. By thoroughly knowing them

and knowing how to involve them through technology, companies

have a chance on becoming more successful, and which can make the

difference for the future. That is one of the most interesting trends, it’s

nothing new, but the change is that companies really understand it the

importance of the customer relationship now.

In which part of the event genres is Paylogic most successful?

– As we started in the Netherlands there was a very big electronic music

culture already going on for years. This market is pretty revolutionary

and very progressive, so when we started, this was one of the quickest

growing markets that we could enter. I guess that half of the tickets

sold by via Paylogic can be connected to electronic music but we also

facilitate ticketing for other events like tours, sports events and venues.

In the German market mobile ticketing is less important in terms of the

overall share of tickets sold for concerts. When do you expect mobile

ticketing to also speed up in Germany?

– Most of the tickets are bought via the internet on laptops or desktops .

However in the USA, the UK and also in the Netherlands, you see that

nearly eighty percent of event discovery happens on mobile devices,

through social media or event apps. In the US, the conversion rates of

mobile payment are growing incredibly, so they are just one step ahead

of Europe. I’m not sure, but I guess one of the reasons fewer tickets are

sold via mobile right now, is that a lot of solutions offered are not very

user-friendly. Another reason is that other well-known main players in

the German market don’t have a focus on mobile payments and push

it less than in other countries. They don’t inform their customers on

the possibilities; if they did they might sell a lot more tickets through




the soCialization of tiCketing

mobile devices. For example, a few years ago as e-commerce started

on the European markets, the Netherlands were already selling eighty

percent of the tickets online, while in Germany still over forty percent

of the tickets were sold via retail stores. I don’t think the technology

lags in Germany; the consumer behavior is different if you compare it

to the Netherlands or the US. Buying on mobile devices will become a

common way of buying tickets in Germany in 2015.

“Big Data” is a buzzword in terms of the exportation of

consumer and consumer behavior data. What kind of data

is really useful and how do you evaluate it, or how does the

promoter evaluate it?

– I think the most important thing is, if you are in a direct relationship

with the consumer (the fan), you can get more and more information

on how they behave and how they make decisions as well as how they

are buying their tickets. If you see that a consumer is always buying

tickets on the first day you’re on sale, then you know what kind of

consumer that is. If you can connect this data to his social environment

and you see that he is engaging with your event or even alerting others

to your event, then you can call him an ambassador or an influencer .

No, there isn’t a revolution going on but it seems a sort

of a progressive evolution is under way as ticketing

benefits from new technologies and consumer trends.

VIP News spoke with Jan Willem van der Meer, CCo

at the ticketing service provider Paylogic , a company

which is part of the stock market listed EDM-Imperium

SFX Entertainment.


Every brand, especially event brands, are being pushed a lot by these

influencers. Now, if you get in touch with these people and offer

additional incentives, for example a sense of exclusivity, you connect

them on a stronger level to your brand or your event. That is what we

call customer ownership. If you give them some extras and they can

share it, then they might actually sell the tickets for you. Like with a lot

of things in this world, if people are promoting what they have paid

for, it has a much stronger effect that a promotion by someone who

is just selling it. About eighty percent of the people who are going to

an event are going there because someone they know is going too.

So, who is the first one who makes the decision? If you find out who

these people are and how they make decisions, you can connect to

these people and connect them to your brand. This is very important.

You can have statistical data about how many women, how many men

or, how many people are coming by public transport; that’s interesting

data and I’m sure you can use that information. But it is more interest-

ing for the planning of an event; if you want to know how to boost

the event, how to sell more tickets and get sell out earlier , you need

to know the influencers and connect to them.

How much is social ticketing only

a buzzword or already reality ?

– Well, social ticketing is a buzzword. That doesn’t mean however

that it is not something I think of. I don’t think that social ticketing

is only on Facebook, I think Facebook is a tool like many other social

networks are tools. You should implement those tools in your entire

strategy to establish a relationship with your visitors. What I call social

ticketing is to assure that people can take their relations and friends

to the same event and that they share experiences together. You can

facilitate this in a digital way, so that could be social ticketing; it could

be a group buying process. If people buy a ticket and they have the

possibility to tell their friends/,”Hey, I bought a ticket for this event,

would you come with me?”, that is part of social ticketing. But you

should not concentrate on only one platform. A user on Facebook is

a Facebook-user in the first instance, not a user of your brand.

Do you remember the first big social network from the US? It was

Myspace, and after Myspace collapsed, there were about thirty or

forty bands that completely went out of business, because the only

access to their fans was through Myspace. So they lost their fan base

completely because they didn’t realize that they were so dependent

on Myspace. I think it is important that you use Facebook, but it

should not be to only platform you use to connect to your visitors.

What kind of plans and innovations do you have in mind,

technically or strategically, for Paylogic in 2014?

– I think the main focus for us is to be able to create strategies for

event organizers to get better connections to more people, using

a lot of different technologies in order to connect. But it’s similar

what we discussed about social ticketing, we want to connect and

understand our costumer. Together with our customer we make a

strategic plan in which we point out a list of dates and moments

in which we make the right contact points with the visitors to get

them connected to the brand. That plan is established for the ticket

sales, for pre-registration, for different kinds of contact moments.

Everybody wants a special product and everybody wants special

conditions for it. I think that, by letting our customers understand

that with the tools of Paylogic you can have so many more contact

moments, and so many more ways to get people connected to the

event, you can do much more than just putting the tickets on sale.

We did this from the start, but now we feel that our customers are

really getting it and they like it. As I said at the ILMC, it’s much more

important to become a strategic partner to your customer than just

an online cash register.

Another thing we are currently looking into is connecting in many

different ways to RFID (Radio Frequency Identification). We believe it

is important to not only know what consumer behavior looks like on

their device, it is also important to know the behavior of consumers

at the event. When you know what the consumers are doing at

the event you can be much more successful, it can bring much

more feedback and it can influence the entire event. I think mobile

becomes more and more vital. We talk a lot about a “Mobile first”

approach, which means that whatever you think of in your strategy,

you position the visibility and usability on mobile devices first after

which you roll it out to different devices.

We also want to help our customers making it possible for people

to buy different products on one website, either being music,

either being it a ticket or something else. Right now it still looks

Jan Willem van der Meer


like you promote an event on your website and you direct people

to the website of, let’s say, CTS Eventim or Ticketmaster and the

people have to buy their tickets there. This is a little bit old fashioned ,

because buying a ticket is a very simple process and there is no reason

to buy it on a separate platform. So, actually it has to be available

everywhere. The role that Paylogic plays in there is something like

“Intel inside”, it’s not about us. You should just be able to sell and to

buy the ticket on every platform.

okay, but the reality in these days seems that if you have

tickets available on various platforms, promoters end up

having a couple of terminals or printed data-lists at the door,

trying to figure out where the visitor bought the ticket.

– I think what we do is exactly what solves this problem. What

happens right now is that you work with one consumer brand

ticketing platform like Ticketmaster, Ticketonline, CTS Eventim or

anyone else. This brand has the goal to find audiences for you as

an event organizer. So you sell seventy percent of the tickets there,

but then you decide to sell tickets on Facebook or on Songkick or

wherever . What we try to explain is that we are not a destination

platform or a consumer platform, you don’t buy tickets by

Paylogic. com or on our mobile app. We are the technology in

between the consumer, the event organizer and any platform

that they want to partner up with. We give them access in one

standardized technological way, to make sure that everybody has the

best service; the consumer, the event organizer and the promoting

platform. The event organizer and the promoting platform should be

able to easily make a deal together. For example; Songkick gets one

euro for every ticket sold or fifty percent of every ticket sold in the

final week before the event when the need is higher. This should all

eventually be facilitated by technology.

People often compare us to CTS Eventim or Ticketmaster because

they think we have the same goals. But we don’t. We don’t want to

have our own relationship with the consumer; we don’t want to be

the promoting party. We are the technology facilitator; we want to

make sure that in the entire e-commerce system these three different

roles can work perfectly together. No issues at the entrance of an

event, no issues with selling out on one platform but still have tickets

available at the other. We make sure the technology works. And also

we make sure that everybody gets paid. When we collect the money

from the visitor of the event, also the platform like Songkick will get

paid immediately and we do not have to involve the event organizer.

We distribute that money with our technology. With this B2B market

place as we are creating it, ticketing platforms as we know them will

change. It might take a little while, but we think that is what the

market wants.

Choosing the SAP Arena in Mannheim, your event will have access to 8 million potential customers drawing more than 30 cities within 100 kilometers radius.

MannheiM: Smart hotspot in the middle of Europe


the Love your tent campaign and

buckinghamshire new university have

published the results of a survey of

festival- goers about the waste left

by punters on festival sites, an

increasingly big issue for the festival

sector with logistical , environmental

and commercial ramifications , and

something previously highlighted by

the a Greener festival organisation.

Juliet ross-kelly has set up the Love your

tent initiative on the back of environmental

work she has done with the isle of Wight

festival , and aims to discourage an

increasingly common practice amongst

festival- goers in the uk and beyond,

buying a dirt cheap tent for attending a

festival, with the intention of just leaving

it in the camping field at the end of the

event. So that someone else has to dispose

of it. isle of Wight festival organise r

John Giddings has talked about the tent

problem at various festival industry events

over the past years.

in the survey of 1200 festival-goers from

multiple countries, 60% admitted to

discarding tents at the end of festivals,

with a third then saying they intended

to continue doing so, and another third

unable to say for certain they wouldn’t

do it again in the future. this despite the

suRVey ReVeals pRoBlems of tent dumping at musiC festiVals


suRVey ReVeals pRoBlems of tent dumping at musiC festiVals

fact 86% of those surveyed recognised

waste was a major environmental factor at

festivals .

according to bucks new university’s teresa

moore the research confirms a growing

problem not just confined to the uk. as tent

prices get cheaper, more are discarded at

festivals. She called for retailers to take their

share of their responsibility and work with

event organisers to tackle this problem.

ross-kelly’s work at the isle of Wight

festiva l has included inviting festival-goers

to sign up to a commitment regarding

taking responsibility for their waste, and

their tents, pointing out that by camping

alongside similarly committed people

festival- goers will be able to stay in a much

more pleasant campsite for the duration

of the event. She is encouraging other

festivals to introduce similar measures,

with a bid to reducing campsite waste at

festivals by 10% year on year. She said,

“thanks to the great support and work

by bucks we can see how much work still

needs to be done to encourage a change

in audience behaviour. by targeting

festivals to reduce their campsite waste by

10% year on year we are leading a change

that will help to protect festival culture for

future generations and from the work that

we’ve done with the isle of Wight festival,

we know it’s achievable”.

ImagIne if you could go to one website and learn

aLL about the european Live music Industry?

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aRtist aVailsSee/add more artist avails at vip-booking.com

oRBITAl

Chloe Charles territory: europeperiod: September/octoberagency: paperclip agency / agent: hilde Spillephone: +31 243239322e-mail: [email protected]: www.paperclip-agency.com

Bo Kaspers orkester territory: World wideperiod: by requestagency: Lifeline entertainmentagent: michael henrikssone-mail: [email protected]: www.lifeline.se

THE oRCHESTRA starring Elo former members territory: Worldwideperiod: 2014-2015agency: World entertainment associates of americaagent: John regna - artist agent/managerphone: +1 407-993-4000e-mail: [email protected]: www.theorcheStraonline.com

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

oRBITAl ñ 25th year anniversary tour in 2014territory: the World excluding uSaperiod: may onwardsagency: value added talentagent: Dan Silverphone: +44 207 704 97 20e-mail: [email protected]: www.vathq.co.uk

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midemto Change dates

for many years music business professionals flocked to the South

of france in January to attend what was for most of those years

the industry’s biggest trade event, and hopefully for blue skies and

sunshine. but things have changed, numbers have dropped off for

midem, and often the weather seemed to take a turn for the worse.

however all is to change, as the event is to push back 6 months to

5-8 June 2015.

there will be other changes, miDem Director bruno crolot: “miDem

2015 will have a new look, new content and a new atmosphere, as

well as being partially open to the general public. We believe the

result of the changes will be a bigger, more vibrant miDem, with

more participants from more countries. all of this and a move to a

June date when cannes is at its best”.

now it seems pretty certain that the sun will shine, but what of hotel

availabilities, and high season prices for what was always the most

expensive of events, particularly in the bars? We shall see…

®



– a taCtiCal poweR playeRthe Google subsidiary youtube intends to enter the new market for

music streaming services. in recent years youtube became one of

the most important platforms for promoting music and apparently

would like to extend its position in the market joining other recently

established players such as Spotify, Deezer and Wimp...

youtube’s mother ship Google currently has a market cap of $375

billion and is known for delivering impressive business results

such as the $59.8 billion revenue and net income of $12.9 billion

reported for 2013. Google does not declare business results for

youtube within its financial reports.

however, the results itself are certainly satisfyingly for shareholders

but may cause exaggerated demands from those who produce

and supply the raw material for what actually makes youtube

popula r. in terms of the business agreements with the market

suppliers for streaming services, the decision takers at youtube

seem determined not to overpay some of these content providers.

in fact youtube is already quite well known for holding on to the

bucks. a bit like apple or amazon , adidas or burger king, and other

usually corporate companies that often attract media awareness

when it comes to allegations of poor working conditions or other

questionable business practices.

in terms of questionable business practices youtube is now

confronted by protests from independent labels who simply do not

want to sign the license agreements proposed by youtube for its

new streaming service. according to the trade organisation Win

(Worldwide independent network), the contractual demands are

considered by many labels as, ‘highly unfavourable’, setting out

non-negotiable terms, undercutting existing rates in the market-

place from partners such as Spotify and Deezer.

it is already well documented that in particular less well known

artists receive less per year in license fee payments from streaming

services than a busker normally earns per day. but what do


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these ongoing developments mean for the live music industry

community ?

the answer is simple: a trend that has already manifested itself

over more than one decade now, basically rising fees and ticket

prices! the live music business has been compensating

artists for their drastically reduced income from

recorded music for years now. on the one hand

promoters, artists and agents benefited from

rising visitor figures and ticket prices. on the

other hand the question remains what does

this development mean for the live music

industry in the long run?

the music business is a fast changing industry

that continues to re-invent itself. it is evident that the

regular introduction of new technologies has caused significant

development , amendments and innovations, from the invention

of the Gramophone, the shift from shellac to vinyl records to

cDs, the rise of radio and tv, and lately the digital distribution of

recorded music via online outlets.

yes, the live music sector has benefitted and experienced a long

lasting boom in recent years. yes, youtube reached agreements

for its new music service with Sony, Warner and universal music.

but the latest news as reported in the financial times on June 17

is that youtube is “about to begin a mass cull of music videos by

artists including adele and the arctic monkeys, after a number of

independent record labels refused to sign up to the licensing terms

for its new subscription service.”

these reports undoubtedly indicate that youtube is a

tactical power player. using its powerful position to

obtain better conditions for its new service. but while

the live music industry currently is only indirectly

affected by these kind of business practices by players

such as youtube, it is only a question of time until one

of the corporate tech & online giants such as Google,

apple or facebook will reach out and launch services such

as ticketing systems or media platforms that perhaps will be as

demanding and onerous for the live music sector.

With this in mind, it might be time that particularly the live music

industry sends a signal of solidarity towards those that are already

facing the power of youtube and their business associates. and for

those power players within the corporate concert companies it might

be helpful to bear in mind, that the profit results of Google alone are

twice as much as the overall revenue returns of Live nation...

MEGAFORCE

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My invitation from the Media Relations Dept of

Hamburg’s Marketing Dept to join a Press Trip to become

better informed about Creative Hamburg was somewhat

last minute; in fact I was in Dresden when I agreed to take

part, then in Berlin. However the sensible routing was

not for me – as usual! Rather than staying in Berlin for

an extra day then taking a leisurely train ride, I returned

to Brighton, had a day at home, then flew to Hamburg

at an hour normally associated with going to bed at the

many music trade events that I’ve still not learned to be

sensible at! Things weren’t looking good when the Ho-

tel’s brand new Wi-Fi system clearly didn’t want to have

anything to do with the rooms, I complained of course,

it’s in my aging nature…. However, stay with me – things

definitely got better!

this trip around a fast developing city, with a great trading and

docklands tradition, which i’d already become quite fond of from

my distantly remembered days of booking bands into still operating

venues like the markthalle, and several visits to the reeperbahn

festival , was not in any way exclusively to do with music.

basically this visit aimed to give us an introduction to the creative

scene of Germany’s second largest city,covering not just music, but

Design, media, Games and fashion the other journalists on the jaunt,

an interesting group of people easy to get on with, were concerned

with these sectors and architecture, travel and Lifestyle. So we

were to cover a wide field of creativity. however my first impression

that only a few stops on the tour would be relevant to my area of

experience , and hopefully, expertise, were wrong, and this trip has

reinforced my observation and contention that music, and all the

music industry’s multiple methods of production and development of

its product are connected with pretty much all areas of creativity, and

even more so in this digital age that on the one hand has caused so

many problems, but on the other has forced all areas of the industry

to embrace change..

of course berlin is Germany’s largest city, and the competition between

the two is more than easily detectable. however, hamburg is recog-

nised as Germany’s design capital with more than 14,000 designers

living and working there. according to edgar ruhe, ceo of ham-

burg creative Gmbh, 80,000 people work in the creative industries in

hamburg, 8% of the total work force, producing a turnover of€10.5

billion. hamburg is also financially better off than berlin, and appar-

ently has 42,000 millionaire inhabitants, whereas the once divided

city has only 10,000. however berlin is way ahead on business ‘start-


tales ofthe City…a tRip to hamBuRg


tales ofthe City…a tRip to hamBuRg

Elbphilharmonie


ups’, though hamburg is fast catching up and determines to use ‘old

money’ to finance ‘new start-ups.

our first guided tour was around the spectacular and still under

construction hafen city hamburg – europe’s largest inner-city

development project. the city is currently turning old harbour

warehouses into ateliers and event venues especially for the city’s

creatives . there is also a brand new university which we visited,

where i was struck by the image of a young student concentrating

on the construction of an architectural model somehow seemingly

not distracted by a spectacular view through the huge floor to ceiling

window of large ships entering the harbour.

hafen city also gave us our first view of a development specifically

concerned with music. the nearly completed and very beautiful new

concert hall - the elbphilharmonie, situated right on the waterfront of

the river elbe, on the western tip of the hafen-city. the glass structure

is built upon the massive red brick construction of the former

warehouse known as the kaispeicher a and rises up to a height of

110 metres. the hall contains a world-class concert hall with a seating

capacity for 2,100 guests and a height of 50 metres, plus two smaller

concert halls, along with a hotel, a restaurant, 45 residential flats and

a plaza with a 360° panorama view which is open to the public. the

project is currently guaranteed completion of the whole building on

31.10.2016. the opening will probably take place in Spring 2017.

the elbphilharmonie and the prestigious hundred year old Laeiszhalle

in the city centre are under one management. the concert series

‘elbphilharmonie konzerte’ will present a multifaceted, modern and

cosmopolitan programme of classic, jazz and world music in about

100 concerts each season.

further visits included the very impressive if Design exhibition, and the

still under construction offices of designxport. the 25 hours hotel,

is described as a maritime design hotel, but could definitely qualify

as a rock ‘n’ roll hotel with its highly imaginative design, much of it

explained to us by the english designer, Stephen Williams. i wish we’d

been staying there! www.25hourshotels.com/en/hafencity/home/

home.html

visits to buzzing and attractive areas of the city like Schanzenvierte l

reminded me a lot of the Laines in brighton and parts of east London

like Dalston. the energies shown by the new businesses, assisted in

terms of start –up advice and support through access to funding ,

including crowd funding, and provision of affordable work, and

rehearsal , space reminded me of the ways that the music industry in

the uk is finally beginning to receive support from parts of regional

and national government.

We met with hamburg Startups at coworking space betahaus

hamburg , and were told about eifflewerk, a new centre for

coworker s specialising in digital media startups. i asked how many

applicants referred to themselves as operating, or intending to, in the

music business. no actual figures were available, but the sector is well

represented, though currently it lags behind games.

i was surprised by the number of references to SxSW, although we

at vip generally think of the austin event as specifically a music and

artist showcase, (which of course it was till a few years ago) kreative-

gesellschaft, www.kreativegesellschaft.org the funding and advi-

sory body operated by hamburg creative, saw it as an event offer-

ing export opportunities to a wider raft of creative companies. they

Hamburg by Night


had in fact financed attendance in austin, using a variety of means

including ec social and cultural funds, for a hamburg delegation

including the reeperbahn conference and festival.

they were also working with the reeperbahn festival conference

to integrate non-music companies to the exhibition areas of the

event. co-founder and organiser Detlef Schwarte, well known to vip,

explained the history of the event to the journalists. (We will catch

up on plans for this year’s September edition in the next issue.) the

staging of the festival, started by promoter karsten Jahnke, in the

red light reeperbahn district was quite an initiative in changing the

reputation of the area, and it could be said, helped give the green

light to take over properties in the area to develop spaces for creative

use alongside the facilities originally provided to attract needy sailors

and now curious tourists.

it seems that as the ever growing number of music conference

and showcase events develop they are attracting more delegates

and exhibitor s, from gaming and other digital media companies,

includin g the new companies and individuals, the sort of startups

being backed by the city of hamburg. it appears that music which

has always provided content for all forms of media, marketing and

entertainment , now also provides promotional outlets and vehicles!

our full on tour took in visits to the aDc festival which celebrates

and awards best practice in German advertising, product Design and

creative communications, and Jung and matt, one of Germany’s

most successful advertising agencies.

other music related stops were at a brand new and impressive

recording studio run by micky berg of the German Wahnsinn team,

micky explained that they had located this state of the art facility close

to the reeperbahn to benefit from the music activities, and the access

to the growing number of local musicians.

We also met with karsten Scholerman of clubkombinat and

Livekomm , who i had sat with on a panel that i moderated at last

year’s reeperbahn. he explained some of the work his organisation

was undertaking to help live clubs in hamburg and beyond, there was

some good news, but still problems, including the loss of hamburg’s

long established molotov club due to the rebuilding in the area of

Spielbudenplatz (many of you who attend reeperbahn regularly will

know about this.) the clubs are having their problems but fighting

back using initiatives like Die nacht der clubs, the club night will

take place on September 5th, with shows in 25 clubs all available for

entrance with one ticket. www.dienachtderclubs.de

i haven’t told you all; fancy dancing in one of the biggest clubs

i’ve ever seen – once a fish market? need a stuffed camel or a

huge portrait of elvis, or the prow of a galleon perhaps? Just visit

hanseatische materialverwaltung for whatever props you may need

for your creative project – another successful startup…as i say, it was

a very full three days!

my thanks to Lu yen roloff and matthias beer of hamburg marketing

for arranging the trip, and for feeding, watering and looking after us

all. i suggest you all book a weekend in hamburg, or i’ll see you at

reeperbahn – just ask me anything about creative hamburg…!

vip magazine sept. 2014

Documents

vipmagazinethis magazine

againthe vip

new music conference

online vipnews

thriving industry

new addition

new conferenceread

music awards10 immf