Vip magazine march 2015
-
Upload
vip-bookingcom -
Category
Documents
-
view
216 -
download
2
description
Transcript of Vip magazine march 2015
A BETTERVISIONROB HALLETT READ MORE ON PAGE 10
GET
IN YOUR INBOX
EVERY MONTH FREE
– SIGN UP AT
VIP-BOOKING.COM
®
vip-booking.com
THE NO1 INFORMATION RESOURCE FOR THE LIVE ENTERTAINMENT INDUSTRY
VIP-MAGAZINEEDITION #16
MARCH 2015
VIPNEWS
VIP 16#SPOT
ARNDT SCHEFFLERSelf-Ticketing
- Trends And Settings…
Read more on page 16
WELCOME TO THE VIP-MAGAZINE
You now hold the 16th edition of VIP-Magazine in your hands
presenting selected articles from our monthly online VIP-News.
VIP-Magazine and VIP-News exist to keep you
and your colleagues and peers up to date
on what is going on in the business.
Don’t hesitate to keep us informed of your activities,
opinions or any other contributions you’d like
to share with our ever increasing readership.
The VIP-Team will once again be attending
all the major industry events taking place during the year
and as usual this started at Eurosonic/Noorderslag in Holland.
A full report on this event can be found in this issue along
with interesting interviews and reports on a wide range of subjects.
We hope you enjoy this issue and look forward to meeting you out there.
THE VIP TEAM ®
vip-booking.com
#3VIP-MAGAZINE 16/2015www.vip-booking.com
#4VIP-MAGAZINE 16/2015www.vip-booking.com
1329
7
CONTENTS:
30
05 Wonderful Tallinn Music Week
06 Eurosonic 2015
08 Rob Hallett: A Better Vision
14 This Business of Live Music
16 Self-Ticketing Trends And Settings
18 Jack Daniel’s Launches Venue Initiative
20 Festivals in the Melting Pot
22 Profile Industri
24 Artist Avails
26 Multimedia For Festivals
28 Phillips CEO of Global Entertainment
30 Bestival expands in UK and Canada
VIP-MAGAZINE 16 #2015
PUBLISHING: Vip-booking | 145157 St John Street | London Ec1V 4PW | Phone +44 (0) 870 755 0092 | Fax +44 (0) 870 622 1953 | Email: [email protected] | www.vip-booking.com
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
PRODUCTION: Grefta Tryk | Markedsgade 41 | DK-8500 Grenaa | Phone +45 8632 2922 | www.grefta.dk
FRONT COVER: Lars Just/POLFOTO
To reserve your ad call +44 (0) 870 755 0092 or send an email [email protected]. Read more online www.vip-booking.com
®
vip-booking.com
22
VIP-BOOKING.COM The No 1 Information Resource For The Live Entertainment IndustryHaving the right tools for the job is often the key to success. Through our ongoing communication with key Live Entertainment Industry Professionals, we have developed a range of services to meet the demands of agents, promoters, talent buyers, venue bookers etc. It’s no coincidence that we are now considered to be the No. 1 information provider for this thriving industry.
26
14
During the last weekend of March,
205 artists from 26 countries will per-
form at the 7th edition of Tallinn Music
Week, the biggest talent festival in the
Nordic-Baltic region from 25th to 29th
March.
In its seventh year Tallinn Music Week
has grown into a major meeting point for
Eastern , Western and Central European
music communities as well as an attractive
spring time travel destination for the
region’ s music , culture and food lovers.
An annually increasing number of foreign
artists – 84 acts from 25 countries – proves
the point. This year’s international line-up
includes 12 artists from Finland, 9 from
Denmark, Latvia and Russia, 6 from Poland
and 5 from UK, Sweden and Belarus.
The seventh edition of the festival features
a special focus on Denmark – currently one
of the most exciting new music sources in
Europe. The Danish party, hosted by SPOT
on Denmark by Music Export Denmark,
JazzDanmark, World Music Denmark and
Rosa, is also the opening party of the
festival on 26th March at Von Krahl theatre
with the finest representatives of Danish
pop and rock, among them the melting
pot of ethnic and modern influences called
The Sexican, noise-pop warriors Lowly and
the adrenaline heavy hiphop act Slowolf.
Furthermore SPOT on Denmark brings you
two of the finest jazz outfits, Emil De Waal
+ Spejderrobot and Rune Funch Picture
Music.
TMW is part of CEETEP and ETEP
programme s within Eurosonic. Tallinn
Music Week’s international activities
introducing Tallinn and Estonia as an
attractive tourism destination of music and
culture are supported by The European
Regional Development Fund.
TMW’s two-day music industry conference ,
taking place at Nordic Hotel Forum’s
conference centre, traditionally covers a
wide range of topics from local cultural
policy and regional cooperation to hands-
on artist management tips and global
music business models. Panelists include
both industry professionals from abroad
and local specialists.
Throughout TMW’s existence, a number
of well-known international experts have
participated in the conference panel
discussions , among them Seymour Stein,
the legendary founder and president of Sire
Records (Madonna, Ramones), influential
managers Petri Lunden (Cardigans ,
Europe ), Edward Bicknell (Dire Straits, Scott
Walker, Bryan Ferry), Peter Jenner (Pink
Floyd) and many others.
See both festival – and conference
programme on www.tmw.ee
WONDERFUL TALLINN MUSIC WEEK
#5VIP-MAGAZINE 16/2015www.vip-booking.com
Helen Sildnais the founder and director
of Tallinn Music Week. She has been
in the music industry for more than
a decade as an Estonian-based
promoter and artist booker. In 2009
she established Musiccase, a music
promotion company, with an aim to
see more interesting international
artists in Estonia and help Estonian
acts start their careers abroad.
Among some international artists
that Musiccase has promoted:
Morrissey, Air, SigurRos, Patti Smith,
Feist, Swans, ReginaSpektor to
mention a few.
Manfred Tari [email protected]
#6VIP-MAGAZINE 16/2015www.vip-booking.com
Allan McGowan [email protected]
Eurosonic Noorderslag continues to grow, and
might I say, mature and innovate, for those
who don’t already know, Eurosonic is the in-
ternational part of the event and Noorderslag
concentrates on Dutch talent.
In fact Noorderslag is the older, or should I say
‘senior’ element of the overall event. Dutch
acts are doing well these days, with acts like
Birth of Joy becoming festival favourites, Kens-
ington selling out national venues and The
Common Linnets winning an European Border
Breakers Award (EBBA), EBBA Public Choice
Award and the Dutch Pop Award.
Selling out earlier than previously, this year’s
29th edition upped the number of venues to
50 in which 345 European acts performed to
an audience of 41,200 gig goers, from the
14th to the 17th of January in the city of Gron-
ingen, The Netherlands. The 2015 focus coun-
try Iceland showcased 19 new acts.
Eurosonic is also the home of The European
Talent Exchange Programme (ETEP), and we’re
told by the organisers that so far, 186 acts have
been selected to play at the European festivals
in the programme.
Eurosonic Noorderslag is preparing for its 30th
edition with the Central East European regions
as the focus for 2016. Each year a different
country is highlighted in order to showcase
the diversity of musical talent across Europe.
We are delighted to announce that in 2016,
13 CEE countries will be the focus region of
Eurosonic Noorderslag.
Countries that have been showcased at
previous editions include France, Germany,
Italy, Sweden, Belgium, Norway, The Nether-
lands, Ireland, Finland, Austria and Iceland.
The 30th edition of Eurosonic Noorderslag will
take place on 13, 14, 15 and 16 January 2016.
CEETEP (2010 – 2015)
The focus for 2016 is the conclusion of the
Central European Talent Exchange Programme
(CEETEP). Together with 18 CEETEP festival s
in the CEE region and selected CEE media
partners , Eurosonic Noorderslag and co-
organisers Sziget and Exit Festival, have
developed a plan to encourage the circula-
tion of CEE artists and repertoire in Central
and Eastern Europe, both at festivals and in
the media. By working together, the CEETEP
festival s and their media partners aim to
help more CEE artists perform across borders
within Central Eastern Europe, and, via shows
at Eurosonic Noorderslag, throughout the
whole of Europe and beyond.
Fruzsina Szép (former programme director
of Sziget (HU) between 2009-2014,
now Director of Festival Coordination
and Public Affairs Berlin Festival and
Lollapalooza Berlin):
#7VIP-MAGAZINE 16/2015www.vip-booking.com
The conference programme, which again in-
cluded the European Production Innovation
Conference & Fair (EPIC), attracted 3,900 in-
dustry professionals from all over the world.
Highlights included keynotes from Duncan
Stutterheim (SFX, NL), Alex Macleod (ex- tour
manager of acts like Nirvana and The Smash-
ing Pumpkins), Lennart van der Meulen (VPRO,
NL) and Nic Jones (Vevo, UK). Very well at-
tended panels covered a whole raft of current
topics.
I was priviledged to be the interviewer for
the keynote with veteran German promoter
Karsten Jahnke (Karsten Jahnke Konzertdirek-
tion, DE). At 77 years of age Karsten is still go-
ing strong and speaks a lot of sense – experi-
ence and wisdom are a strong combination!
Inspired by his love of jazz he presented his first
show as a part-time promoter in 1959, becom-
ing a full time professional in 1972, his compa-
ny now employs 35 people. He spoke highly of
artists such as Herman Van Veen, and warned
that fierce competition amongst the bigger
corporate concert companies was driving up
artist fees to a point where independents were
being forced out of the market.
The Agents panel looked at the ever increas-
ing importance of the agent’s role in a busi-
ness where artists are more and more depend-
ent on live income. Alex Bruford of ATC (UK),
Marty Diamond of Paradigm Agency in the US,
Clotaire Buch, of Junzi Arts in France and Peter
Elliott of Primary Talent (UK), gave insights into
the much wider aspects of their jobs, and high-
lighted the different ways in which they now
interact with their acts. Elliott commented that
Agents are now often the first in with new art-
ists, helping them to develop, and that there
was a lack of ‘really smart’ new young man-
agers in the business. He commented that he
often got as excited meeting a new manager
with a good plan as he did meeting great new
performing talent. Bruford talked of the artist
SOAK, who’s showcases were sold out, recall-
ing that he got involved with her when she
was 16 and being managed by her Mother!
The next edition of Eurosonic Noorderslag
takes place from 13 to 16 January, 2016.
“My deep wish to strengthen the circulation
of artistic repertoire and the cooperation
and exchange of know-how between the
cultural workers, festivals, media in the CEE
region started long back in 2005. In 2006
the idea of CEETEP was born at the RegiON
music conference in Budapest. With the
only strong believe that we can build up
something together for our region, for the
artists by building cultural bridges between
our countries .
With the great cooperation between all
the wonderful people, festivals, media and
Eurosonic Noorderslag and Exit Festival
involved a 10 year period will come now to
its final phase. In January 2016 we will unite
all the positive energies and the region which
we call Central and Eastern Europe and we
will become ONE within the stages of Europe .
January 2016 at Eurosonic a long time dream
will come true… I can only say that I´m so
happy, honoured and thankful to be part
of that family and I´m honestly thankful for
every person being part of making the CEETEP
project possible.”
Peter Smidt (creative director Eurosonic
Noorderslag):
“With more or less half of the European people
living in what we call Central Eastern Europe,
Eurosonic Noorderslag feels it is crucial to
make much more and better connections
betwee n Western Europe and Central Eastern
Europe. We are curious for all talents in this
large area and would like to facilitate much
more and better business relations between
music professionals and media.”
The 13 focus countries in
the CEE group are:
Bulgaria, Croatia, Czech Republic, Estonia ,
Hungary, Latvia, Lithuania, Poland, the
Republic of Macedonia, Romania, Serbia,
Slovakia and Slovenia.
The CEE-focus will be organised by: Fruzsina
Szép (HU/DE), Exit (RS), Open’er Festival (PL),
Pohoda (SK), Waves Bratislava (SK), Talinn
Music Week (EE), Guna Zuika (Creative
Industries Council at the Ministry of Culture,
Latvia) (LV) and Eurosonic Noorderslag (NL).
EUROSONIC 2015 2016FOCUSES ON CENTRAL EAST EUROPEAN (CEE) COUNTRIES
Peter Smidt
Karsten Jahnke Photo by Mike Breeuwer
Fruzsina Szep
#9VIP-MAGAZINE 16/2015www.vip-booking.com
#8VIP-MAGAZINE 16/2015www.vip-booking.com
Allan McGowan [email protected]
Ad_JazzMachine_VIP_82,5x257_rPROD.indd 1 16/02/2015 10:07
EUROPEAN FESTIVAL AWARDS WINNERSBest Small FestivalFestival Tauron Nowa Muzyka (Poland)
Best Indoor FestivalI Love Techno (Belgium)
Green Operations Award in association with Yourope and The GO GroupRoskilde Festival and Stop Wasting Food (Denmark)
Best Newcomer ActStromae (Belgium)
Artists’ Favourite FestivalPrimavera Sound (Spain)
Best New FestivalDown The Rabbit Hole (The Netherlands)
Anthem Of The YearArctic Monkeys – ‘R U Mine’
The Health & Safety Innovation Award in association with The YES Group and ICM&SSMOJO/LOC Festivals (The Netherlands)
Best Medium-Sized Festival in association with EventbriteSea Dance Festival (Montenegro)
Promoter Of The YearLive Nation (Belgium)
Best Line-UpGlastonbury Festival (United Kingdom)
Best HeadlinerArctic Monkeys (United Kingdom)
Best Major Festival in association with PlugGoSziget Festival (Hungary)
The Lifetime Achievement AwardMelvin Benn (United Kingdom)
The Award for Excellence And Passion in association with YouropeRikke Øxner (Denmark)
Europe’s best music festivals, artists and
promoters of 2014 were revealed at the 6th
annual European Festival Awards, which took
place at Groningen’s De Oosterpoort in The
Netherlands, crowning the opening night of
Eurosonic Noorderslag.
The ceremony also featured some of
the hottest new European artists with
performances from Danish electro-pop
sensation MØ, London-based R&B musician
Jack Garratt and Norwegian singer-
songwrite r Aurora Asknes.
Hungary’s Sziget Festival reclaimed its title
of Best Major Festival (after its previous win
in 2012), with Belgium scooping multiple
gongs in the form of Best Indoor Festival
(I Love Techno), Promoter Of The Year (Live
Nation Belgium) and also Best Newcomer
Artist (Stromae).
The United Kingdom had a higher profile than
usual with Festival Republic’s Melvin Benn
receiving the Lifetime Achievement Award
(as previously announced), Glastonbury
winning Best Line-Up and the Arctic Monkeys
scooping not one but two awards (Best
Headliner and Anthem Of The Year, the latter
for ‘R U Mine’).
The event honoured its first ever winner
from Montenegro with Sea Dance Festival,
organised by the Serbian team behind Exit,
awarded Best Medium-Sized Festival.
The host country of the event (The
Netherlands ) also landed two trophies
with Down The Rabbit Hole Festival being
voted Best New Festival and MOJO/Loc
Festivals scoring the YES GROUP Health &
Safety Innovation Award which recognises
innovative ways festivals have enhanced
health and safety within their spaces.
Spain’s Primavera Sound was declared the
Artists’ Favourite Festival whilst Best Small
Festival went to Poland’s Tauron Nowa
Muzyka . The Green Operations Award hailed
Denmark’s Roskilde Festival in co-operation
with Stop Wasting Food as the night’s
champions of sustainability.
The brand new Award for Excellence and
Passion , recognising an individual whose
dedication and creativity has produced a truly
magical event, went to Roskilde Festival’ s
Rikke Øxner, who retired this year after
serving the festival for two decades. Famous
for continuing to camp at the festival, with
her audience, Rikke continues to help shape
the event as its Artistic Director.
Steve Jenner, co-founder and Director
of Festival Awards Ltd, which organizes
the Awards, said: “It’s inspiring to have
a winners ’ list that is so reflective of the
cultural diversity and strength of passion ,
dedication , creativity and quality of delivery
that underpins Europe’ s incredible festival
scene today. Despite the competition in an
increasingl y crowded market, and under
some tough conditions in recent years,
tonight saw Europe’s festival organisers
gathering to celebrate as one industry. That’s
a very special thing that can only strengthen
the market and we are honoured to be the
hosts of this event. Our thanks go out to all
who took part in this year’s awards.”
Presented in association with YOUROPE
and Eurosonic Noorderslag the European
Festival Awards are the only pan-European
body solely dedicated to recognising the
contributions and achievements of the
event organisers and performing artists that
generate billions of Euros for local economies
and brighten up the summer for tens of
millions of festival-goers each year.
The winners were decided by a combination
of public votes and the EFA jury – made
up of journalists, booking agents, festival
organisers – who had a 25 per cent say in the
final outcome of the public voted categories.
More than 1.2 million votes from festival fans
all over the world were cast (an astonishing
100% increase on last year’s figure) with
festivals in more than 35 countries taking
part, showing that passion for festivals across
the continent continues to grow.
SZIGET NAMED BEST MAJOR FESTIVAL IN EUROPE > > > >
#8VIP-MAGAZINE 16/2015www.vip-booking.com
#10VIP-MAGAZINE 16/2015www.vip-booking.com
#11VIP-MAGAZINE 16/2015www.vip-booking.com
A Better Vision The following is an extract from
a 13 page inteview conducted
by Larry LeBlanc. For the full
unedited version go to www.
booking.com
Rob Hallett is back. Boy is he back!
The wily, seasoned London-based deal
broker who exited as president of
international touring , AEG Live in April, 2014
after a decade , has launched a formidable
boutique music firm.
Hallett’s AEG portfolio is filled to the brim
with unprecedented (if unlikely) triumphs,
including : Global tours by Leonard Cohen,
Jennifer Lopez, Justin Bieber, Usher, and
Black Eyed Peas; three Bon Jovi stadium
tours of Europe; a record-breaking 21 nights
of Prince at The 02 Arena in London; the
Barclaycard presents British Summertime
serie s at Hyde Park; and the Capital Radio
Summer Time Ball.
Hallett’s recently-announced new company,
Robomagic, is a 360-styled operation.
A promotion unit, Robomagic 360, seeks to
strike 360-styled deals with emerging artists,
encompassing recording, publishing, artist
management and brand management, while
making use of strategic partnerships.
Robomagic Capital offers financing to
emerging and established artists to help
them grow their businesses.
Finally, a live promotion company, Robomagic
Live, will oversee arena and stadium tours on
a national and global scale.
You have taken various components of
your career to forge this new company.
I have always been enamored with the entire
(music) industry. I think that it’s very hard to
de-compartmentalize an artist’s life. I have
tried, when I’ve been able to and when I have
been in a position to, to have an overview of
the whole thing. That is what I have kind of
done all my life. It’s not that I can’t decide
what part of the industry that I want to work
in. An artist is in all sides of the industry. Why
shouldn’t their reps be?
In essence, Robomagic is a three-tiered
company.
Yes, it is three-tiered, basically. There’s (the
promotion unit) Robomagic 360, which is
set up to sign new talent; to invest in new
talent in ways that record companies don’t.
With revenue streams across the board, I
can sign an act, like a label signs an act for
three years, for touring, and for production.
I’m not going to be a label. It’s going to be
series of partnerships. That’s how I built up
my global business at AEG, and before with
Mean Fiddler.
Still, you are acting as a label in that you
are funding acts while controlling their
musical rights.
We don’t own any music rights. Basically, we
provide capital. There are variances (with the
different licensing deals). It sort of switches
to a record company deal a little bit with the
developing acts. We lend them money. It’s
guaranteed against the income. Once they
repay the mortgage, they own their material,
however.
Rights revert back to them?
The rights go back to the artist.
Your intent is to make your investment
back?
Yes, and have an override. It flips the
(traditional record deal) model on the head.
Instead of it being 80/20 in the favor of the
label, it’s more likely to be 60/40 or better
depending on the artist’s sales base in the
artist’s favor.
Will Robomagic be involved in recording ,
publishing or management activities
where there may not be an early rever-
sion of rights?
Yeah, on the developing side. Basically,
making a fair deal for the artist is at the
heart of the company. Artists should always
own their own art. It’s hard to own stuff. In
this day and age, very few artists sign for
perpetuity for anything.
Perhaps, with their publishing.
Any act that is hot, they don’t.
Of course not. The traditional template
for the music industry is that developing
acts get screwed over for three album
cycles and then hammers the label and/
or music publisher in negotiations for
futures , and tries to regain ownership of
their full catalog.
I would rather do a fair deal, and save on
the legal costs. Do a fair deal in the first
place. Do the 10 year license, and then get
screwed with the new advance to keep it
(the licensin g deal) in 10 years’ time. You are
making the majority of the income in the first
10 years of a song anyway, unless you are
very lucky to get a band that is....
I don’t know if that’s true. For recording
income, yes, but not necessarily on the
music publishing side.
Yeah, but how many songs are there that
can be placed in syncs? Can be chosen to be
in movies, and for other things? I hear you.
There are songs that can earn money for
hundreds of years or for the life of copyright.
But that number is small, and I’d rather be
fair. Give them back (rights) after 10 years
and, because you are being fair, you hope
that they will give you a fair deal to extend
the license.
You are going to be a music publisher,
however.
We are going to be a music publisher in a
new model. I wouldn’t be signing life of
copyright. I think that artists should end up
owning everything once they get to a certain
level. It’s their pension, you know. It’s going
to be strategic partnerships. Everything is
going to be strategic partnerships. You can’t
be all things to all people.
Are there different licensing time periods
with some of the deals?
No. As long as we have a good relationship
we will be able to work together. I am still
working with Duran Duran 35 years later.
For emerging bands?
It’s all down to negotiation, if anything else.
But the heart of the model is that the artis t
at the end of the relationship will end up
owning their own stuff.
It took you 9 months to set Robomagic
up. Obviously, you set it up carefully and
as your own vision connecting the dots
in the industry.
That’s the plan. It took me 9 months because
I wanted to get it right. I didn’t want to come
out half-cocked. Having worked at the level
I had worked at I wanted to maintain that
(level). In this day and age, the independent
promoter working with his own check book,
it is virtually impossible. The big boys have
to come in. The big money is there. Without
the right backing, I just would not have been
able to work at the level I have been in the
past 10, 15, 20 years or whatever it is. I didn’t
want to become a club promoter.
Or a manager?
No. I want to be a manager. I love mana ging .
Being part of Usher’s management team
was great. I really loved, and enjoyed it. It
was one of my favorite times in my life. So
managemen t is something I aspire to again.
[Hallett has promoted Ushe r
since he was 14, and was
brought on as part of the
management team for the al-
bum “Raymond v Raymond”
in 2011.]
How did you attain the financing for the
company?
Through my own endeavors. One thing that I
have learned is you can’t sit back and rely on
other people. I just kept knocking on doors.
Every meeting that I had, I listened to what
they said, and I tweaked the business plan a
little. I had another meeting. “Well, we like
this, but you really need a little bit of that.” I
tweaked it again.
Did you meet with bankers and venture
capitalists?
I met with everyone. I spoke to venture
capitalists , and to equity investment
companie s. The first thing they said was,
“What’s the out in five years?” I said,
“What do you mean what’s the out in five
years? I don’t want an out. This is my life.
It’s my career .” I spoke to banks. I spoke to
privat e individuals . In the end—a magician
never gives away his secrets—however, it’s
(the financing is) a combination of private
individuals , and private banks; depending
on the capital (for projects). I put together
a jigsaw of investment people who are like-
minded , and who want to be in our industry .
They see the opportunity (in the music
industry ). They see it as a growth area, unlike
some of the pessimism that is out there. And
I really do see our industry as a growth area.
Larry LeBlanc (www.CelebrityAccess.com)
“It’s not that I can’t decide what part of the
industry that I want to work in. An artist is
in all sides of the industry. Why shouldn’t their
reps be?”
Rob Hallett:
Rob Hallett
#12VIP-MAGAZINE 16/2015www.vip-booking.com
“I have never known
so much talent being
around”
Why?
I have never known so much talent being
around. The artist being able to make music
without a recording studio has really moved
the talent hunt leaps and bounds. People
on an iPad can make music, can make hits
in their bedrooms. So the amount of talent
that is emerging is staggering. Artists don’t
have to spend 1,500 or 2,000 bucks a day
in a recording studio. The kind of talent that
is emerging because of the home recording
studio is just incredible.
As well, with the use of social media,
their potential audience reach today is
global.
And this is what I specialize in, and this is
what I want to do. I’ve got on my (office) wall
a plaque that I am looking at with Leonar d
Cohen; where he played three continent s, 30
countries, and 372 shows. Jennifer Lopez, 5
continents, and 65 cities. That’s what I do. As
you said, social networking and everything
else has made it much easier to get a message
across, and for an artist to make music and to
immediately put it out. If we had had this in
the punk rock era, the music landscape would
be very different today. The whole thing then
was everybody wanting to do it yourself, but
you couldn’t.
Nor did punks want anything to do with
branding or corporate sponsorships.
The punk ethos could have gone more
globa l with these things. Now major
corporations want to get involved with
rock music. There was a time when I was
knocking on corporation doors, and they’d
be saying , “You guys
are a bit dangerou s
with scandal s and
drugs. We’ll stick with
sports.” In the post
Tiger Woods era, it’s
kind of, “Hang on a
moment, you think we
are dangerous? Look at
them (sports celebrities). We
are actually squeaky clean (in
comparison).”
Within the music industry, it’s argued
that there’s too much money either
being left on the table or being siphone d
off by others.
Yes. Absolutely. One of my roles for the
company is to help guide new artists through
the jungle with my 35 year experience of
where all of the landmines lie. I hopefully can
use that experience with a young team to
guide people through that minefield
Labels, music publishers and managers
are all trying to do 360 deals. I don’t
think that labels can quite pull them off
well because they don’t understand live
music business.
They say they don’t. Of course, they
understan d it. It’s not rocket science. What
they don’t like is the fact that you can lose a
million bucks each time.
Manager Peter Rudge and I recently
discussed that if you go back 15 or 20
years ago, few label executive are in
the business today, but almost all of
the promoter s are. Live music is just a
differen t world.
I think it is, but I think also there’s different
ethos. Record companies don’t value people
over 40. They don’t value experience. I have
friends in the record business who, just as
they were getting great at their jobs, and
they knew everybody, they got fired, and
it’s, “We’re going to bring the kids in.” We,
in the live industry, may not have been as
good a success as them because we like
our jobs and we hang on to them. Until the
adven t of companies like Live Nation, and
AEG Live we could because we owned our
own businesse s. The live music business until
the advent of Live Nation wasn’t a corporate
business. It was a cottage industry.
What staff do you have at Robomagic?
I have 6 people. It took me awhile to find
people. I’ve got mostly a young staff that has
just left university. Young promoters. Svetlana
Scheck, my head of marketing, though, has
been with me 10 years. Then there’s a pool
of production people that i have worked with
over the years such as Kahren Williams, Keith
Morris, and Keith Wood. Keith Morris, I have
known for over 30 years.
That’s more staff you had when you
launched AEG Live in the UK.
The time at AEG was good for me. It
enhanced my reputation, undeniably. I’m
starting out now with more visibility, and
with a bigger vision. A better vision.
Larry LeBlanc is widely recognized as one
of the leading music industry journalists in
the world. Before joining CelebrityAccess in
2008 as senior editor, he was the Canadian
bureau chief of Billboard from 1991-2007
and Canadian editor of Record World from
1970-89. He was also a co-founder of the
late Canadian music trade, The Record.
He has been quoted on music industry issue s
in hundreds of publications including Time,
Forbes, and the London Times. He is co-
autho r of the book “Music From Far And
Wide.” Larry is the recipient of the 2013
Walt Grealis Special Achievement Award,
recognizing individuals who have made an
impact on the Canadian music industry. He
is a board member of the Mariposa Folk
Festiva l in Orillia, Ontario.
#14VIP-MAGAZINE 16/2015www.vip-booking.com
Small venue owners complain that promoters
don’t understand the venue business – that
venues can’t operate solely from the profit
of ‘wet’ sales (drinking at venues is in steady
and continued decline); that they can’t rou-
tinely take a hit on splitting door takings un-
less takings are sustained at capacity or near-
tocapacity levels; that the perilous economics
of running a venue are simply not understood
by other’s in the ecosystem – promoters, mu-
sicians and booking agents alike. The simple
truth is that the vast majority of small capacity
live music venues ironically can’t sustain them-
selves solely through live music; rather they
cross-subsidise live music from the profit made
by club nights and private hires. It’s a pretty
grim state of affairs.
Savages’ Jehnny Beth’s artist perspective illus-
trated just how badly-served the artist com-
munity can be by some in business of live, be
they promoter, venue or booking agent – is-
sues long-championed by Andy Inglis (who
frequently considered himself as being in the
customer service business first, and the music
industry second…)
The overzealous and pernicious way in which
noise abatement cases are brought (and on an
increasing basis and at great cost to venues) re-
main the single biggest threat, in a process that
appears to be trying to catch venues out, rath-
er than working proactively towards a mutually
acceptable solution. It’s with heavy anticipation
that the venues business awaits the outcome
of heavy lobbying, led by artist Frank Turner,
for the adoption of the ‘agent of change’ prin-
ciple. This would place the responsibility for in-
coming businesses bringing change to an area
to manage and be responsible for that change,
bringing to an end incidences of, say, new resi-
dential developments near pre-existing music
venues forcing venues to remedy noise issues.
Despite the inevitable gloom, there is a clearm
desire to make the small venue experience
great; for venues to do their bit for new mu-
sic that they all feel so passionate about. And
amidst the call for unity (literally the suggestion
of the formation of a Union for small venues),
some interesting ideas were floated: lobbying
Government for an extension of the tax status
recently afforded theatre and orchestras (VAT
is crippling small venue businesses); pooling of
knowledge via a website (to help each other);
booking agents ‘gifting’ back a successful
band, to, say a venue that helped them on
their way in the early years (supporting and
acknowledging the importance of this sector);
local authorities having to include cultural pol-
icy as part of planning policy; take a lead from
Unesco and introduce its protective status to
areas of music heritage and high cultural value;
further highlight the economic value live music
brings to cities, towns and neighbourhoods;
make a case for state funding for UK bands to
be able to do UK tours (in the same way fund-
ing is available for touring overseas); learn from
(and copy?) European statefunded models for
live music. As commented by Music Venue
Trust founder, Mark Davyd, “…the ‘rule book’
for the small venue sector was written in the
70s, little has changed since and there’s been
a definite lack in asking [government] for what
we need...it’s time to do something radical.”
Having over-regulated music in small capacity
venues to within an inch of its life the Govern-
ment has latterly set about to de-regulate it in
part (small venue capacity exemption), and for
its part has proved it is listening. Much more
could and should be done, however. There’s
a powerful economic and cultural argument
encompassing employment, GDP and cultural
value that aren’t in anyone’s interests to be ig-
nored. Reproduced by kind permission.
Allan McGowan [email protected]
#15VIP-MAGAZINE 16/2015www.vip-booking.com
#15VIP-MAGAZINE 16/2015www.vip-booking.com
THIS BUSINESS OF LIVE MUSIC
ings of sell-out stadium tours commanding
ever-higher ticket prices (and for which there
seems no limit to consumer appetite), and the
vital small capacity venues sector that forms
the bedrock of grass-roots live performance,
which is fighting for its very survival.
With that in mind, the Music Venue Trust
should be congratulated in facilitating Tues-
day’s Venues Day, which drew a capacity au-
dience of venue owner/ operators the length
and breadth of the UK, unanimously galva-
nized in their daily struggle to stay afloat.
Presented as celebration of small venues rather
than a funeral wake, it necessarily began as
gloomy discussion whose role call of ‘macro’
issues remains all too depressingly familiar –
relaxed planning laws, threats from develop-
ment, indifferent landlords, over zealous licens-
ing enforcement, neighbourhood intolerance
and hard-nosed breweries, chief among them.
But there are ‘micro’ issues that continue to
stifle. Informal conversations with a range of
stakeholders present revealed internal mechan-
ics of an industry that doesn’t always appear to
pull in the same direction at the same time…
For a country which punches well above
its weight as one of only three global net
exporter s of music, the disconnect between
that and the grass roots live music sector and
its role in supporting the next-generation of
hit-makers has arguably never been greater.
Little appears to have changed in the ten years
MusicTank has looked at issues afflicting live,
from noise abatement, and Licensing Act re-
form to form 696 and secondary ticketing.
In some areas the sector appears overburdened
in regulation which duplicates pre-existing law
(the Licensing Act 2003), yet is crying out for
more considered regulation in others (ticketing
and noise abatement). Above all, regulation
desperately needs to better balance the live
sector’s ecosystem with consumers’ interests.
It’s beyond the realm of this editorial to cover
‘chapter and verse’, the complex and at times,
conflicting interests of the live music business,
but the ‘helicopter view’ is one of a (appar-
ently) healthy, burgeoning sector that’s pretty
much out-performed the recorded industry
since 2009. Focusing in on the detail reveals
a stark division between the record gross tak-
First published December 2014, by MusicTank here:http://www.musictank.co.uk/
blog/dec-newsletter
THE VITAL IMPORTANCE OF SMALL VENUES
… with infrastructure by epsWe o� er a wide variety of rental equipment and services for concerts,festivals and further productions.Find out what eps can do for you. Get in touch!
SEATING
TURF PROTECTION
BARRIER SYSTEMS
SANITARY SYSTEMS
ADDITIONAL EQUIPMENT
GROUND PROTECTION
SECURITY GATES
GRANDSTANDS
Learn more about us:www.eps.net
North AmericaLos Angeles, Chicago,Washington, [email protected]
South AmericaRio de Janeiro,São [email protected]
AustraliaMelbourne, Sydney, Brisbane, Adelaide, [email protected]
EuropeCologne, Munich, Berlin, Copenhagen, Udine, Winterthur, Wrocł[email protected]
Make each event your best …
eps_Anzeige_VIPMagazine_170x126mm_2015.indd 1 28.01.2015 11:32:05
One of the main areas of concern for the future of our business is the development of new talent – the
headliners of the future, and the importance of the small venues that are able to give these new artists the
opportunity to develop their acts in front of audiences which will become their vital fan base. Many of these
venues throughout Europe are struggling to survive and many are having to close down.
To put focus of this challenge, Director, Jonathan Robinson has kindly agreed to act as our guest writer and
to let us feature his report on the small venues situation in the UK.
which they are responsible anyway. We see ourselves as partners
and service providers who prefer to stand in the background.
What are the trends in ticketing from the perspective of
White Label eCommerce in terms of ticket buyers and also
for promoters in 2015. Also, is the in-house ticketing only
supplementary to the distribution channels of CTS Eventim
or TicketMaster or already a fully-fledged alternative?
– The proportion of online ticket sales will continue to rise, the
trend towards e-commerce is unstoppable and it will influence all
aspects of trade. This creates a great opportunity for all promoters
of events, to at least do a part of their business, especially B2C
related , by themselves. Nevertheless, the multi-channel approach
by established ticket providers will stay relevant for many more
years. But it is crucial to know about the ticket buyers and their
buying behaviour, where the ticket price caps are, and which
personal preferences the consumers have.
In my view, a promoter should devise his ticket distribution
policy according to the target group for an event, as there
are no black or white solutions any more. I can only advise to
try new things and encourage to take advantage of the latest
technology available on the market. The digitisations is certainly
unstoppabl e and promoter s should no longer be tools to be used
by third parties, when they are actually able to take care of their
own belongings.
At ILMC ’14, Jan Willem Van der Meer, Managing Director of
Paylogic, raised the topic of, “Social Ticketing”. How does
White Label eCommerce handle this subject and how have
promoters already adapted to associated aspects such as
altered online marketing, or data analysis?
– While the term might be confusing, “Social Ticketing” is an
integra l part of our service and produces above average growth.
Our clients sell a significant portion of their tickets using our
software on social networks, whether Facebook, Twitter or the
artist’s own online environments. Thanks to the analysis tools
of our software, this can be accurately measured and each new
impuls e on these platforms causes additional sales.
What is striking here, is the high percentage of mobile users who
access with smart phones or tablets. According to a research report
published by the Allensbach Institute at the end of November 2014,
already 44 percent of the German internet using population, is
usin g a smart phone or internet-enabled mobile phones. Compared
to the previous year, this number has increased by over 24 percent.
In summary, this offers new great opportunities for promoters and
artists to develop their customer base and benefit from much better
fan relationships. Therefore we invest a lot of time and work in the
creation of features to support these trends.
SELF-TICKETINGTRENDS AND SETTINGS
Arndt Scheffler
Arndt Scheffler worked as vice president of sales at CTS Eventim
till June 2012 when he left the company and in the same year
launched the company White Label eCommerce, a ticketing
service provider offering a DIY ticketing-platform for promoters
and artists . Today White Label eCommerce serves 76 clients,
among others the Wacken Open Air, the concert promoter
Bomber der Herzen and lately DEAG with their own ticketing
portal Myticket.de.
VIP News spoke with Scheffler about what it needs to serve
promoters that sell a 1000 tickets per minute and what is on the
ticketing-trend-agenda in 2015....
What is the difference between White Label E-commerce
and the Business model of companies such as Ticketscript,
Paylogic or Amiando?
– Our scope is actually much wider. Besides the ‘Do It Yourself’-
aspect we also offer a full-service approach, with accompanying
services such as merchandise products for instance. For
merchandise in particular we can even offer storage solutions on
request. The opportunity of offering a variety of products in our
clients’ shopping carts is a big advantage and provides the option
to gain additional income.
Furthermore we offer premium colour tickets with a customizabl e
print on the backside, another potential additional income
source for our clients. Basically we benefit from our wide-ranging
knowledge regarding the needs and requirements of the ticketing
market, which is also reflected in the diverse functions of our
software .
Our clients support us by giving valuable feedback regarding
the ongoing development of our software and services and we
are able to adapt very fast, thanks to the use of state-of-the-art
technology . With these obvious advantages over our competitors
we are able to gain many customers from various sectors.
What are the technical and human resources of White Label
e-Commerce available to service business partners such as
the Wacken Open Air (WOA)?
– This depends heavily on the degree of cooperation. ICS, the
promote r behind WOA, largely operate the ticketing for its festival
themselves, we take care of the performance of the technical
platform . High loads occur particularly in the launch phase of
ticket sales, which requires a very solid IT infrastructure.
We were lucky to attract the WOA festival, as one of the best-
selling top events worldwide, as our first customer. This allowed us
to design our software and hardware infrastructure appropriately
from the very beginning and create a system that is able to
serve clients selling thousand tickets per minute. Most systems
are initiall y designed to service significantly smaller events and
graduall y grow as the number of customers increase. But this type
of growth causes a constant renovation process and brings a lot
of problems. Our software framework has already proven many
years ago in other e-commerce environments that it perform s well
under high load. Additionally, the experience of our IT staff in
terms of building portals and redundant infrastructure with more
than 10 million views per day is an important groundwork for
the design of our software. The modern structure of our system
is certainl y one of the reasons why we, as a relatively young
company , in terms of the performance, are able to do even better
than many of the established players.
White Label eCommerce recently launched a cooperation
with DEAG for their new ticketing portal Myticket.de. How
did this deal come about?
– Well, DEAG has dealt extensively with the issue of ticketing and
got in contact with us. They performed a professional evaluation
process, in which we were able to convince.
Also the ticketing giant CTS Eventim intend to launch a
white label shop solution. How can and, how will, a much
smaller company like White Label eCommerce respond to
such a challenge?
– The term white label is not clearly defined, there are many ways
of interpretation. As a matter of fact, Ticketmaster Germany
promoted their white label solution many months ago. However ,
it is not comparable to our offer. We are neither the first nor
the only provider of white label solutions; more important is
the business model behind it and the respective benefits for the
participant s of the business. We help our clients to retain their
identity and help them to gain more out of the value chain for
white labeleCommerce
white labeleCommerce
#16VIP-MAGAZINE 16/2015www.vip-booking.com
#17VIP-MAGAZINE 16/2015www.vip-booking.com
Manfred Tari [email protected]
JACK DANIEL’S LAUNCHES VENUE INITIATIVE
From VIP-Daily News
The Tennessee Whiskey brand Jack Daniel’s has launched an initiative
supporting some of the UK’s independent small venues. Jack Daniel’s
will team up with venues across the country to host regular events
featuring both up and coming talent and established acts.
It is third time Jack Daniel’s up-weighted its music budgets and it now
represents 30% of the whiskey brand’s total spend on marketing.
Jack Daniel’s senior brand manager, Michael Boaler, says:
“Independent venues such as the Southampton Joiners and the
Brighton Joker are essential to every new band’s development, playing
the small venue circuit is how you learn your trade. From a fan’s point
of view it’s about those real memorable moments, discovering ‘that
band’ playing to a handful of people before going on to headline
Glastonbur y years later.
“That’s why we think it’s important to support and put a spotlightn on
these places by creating an initiative dedicated to smaller, independent
live music venues as part of our music plan – we really hope that our
Jack Rocks nights help the venues to continue the great work they’re
doing whilst discovering some top notch new bands along the way.
Manfred Tari [email protected]
#18VIP-MAGAZINE 16/2015www.vip-booking.com
UNIQUE AND DOUBLY GOOD
ThE hALL DUO IN NEckArpArk
STUTTGArT cATchmENT ArEA: mOrE ThAN 3 mILLION pEOpLE • hANNS-mArTIN-SchLEYEr-hALLE: Up TO 15,500
SpEcTATOrS • pOrSchE-ArENA: Up TO 7,500 SpEcTATOrS • 2015: … rEA GArvEY, LIONEL rIchIE, QUEEN, UDO JürGENS,
hErBErT GröNEmEYEr, DEf LEppArD, rOxETTE, mArk kNOpfLEr, SImpLY rED, SIDO, DEEp pUrpLE, SANTIANO, pUr …
Tel. +49 (0) 711/9554-40Fax +49 (0) 711/9554-500
AZ_in_stutt_VIPmag_2015_RZ.indd 1 25.11.14 12:24
Join our 10th birthday edition!
23 – 26 SePt.15 h
aM
bu
rG
/Ge
rM
an
y
2015
presenting concerts of international newcomers · mUsic relateD art programmes · an inspiring conference with 100 sessions for the music and digital creative industries, 25 international showcases, 50 networking events, award shows, and meetings · 1,600 companies anD organisations from 40 nations · register now at the spring rate!
reeperBahnfestival.com
org
anis
er: r
eep
erb
ahn
Fest
ival
Gb
r a
nd in
fern
o e
vent
s G
mb
h &
Co
. KG
#18VIP-MAGAZINE 16/2015www.vip-booking.com
#20VIP-MAGAZINE 16/2015www.vip-booking.com
#21VIP-MAGAZINE 16/2015www.vip-booking.com
EUROSONIC NOORDERSLAG IS ORGANIZED BY
IN COOPERATION WITH
HOSTED BY
MAIN SPONSORS
THANKS FOR COMING AND SEE YOU AGAIN NEXT YEAR!
EARLY BIRD REGISTRATION AND ACT SUBMISSION OPEN MAY 1, 2015
WWW.EUROSONIC-NOORDERSLAG.NL
jouercommuniquervibrerrêverbouquiner
CENTRE CULTUREL RÉGIONAL
Centre culturel régional «Aalt Stadhaus» Differdange / 38, av. Charlotte / L-4530 Differdange
E-mail: [email protected] / (+352) 58 77 1-1900
WWW.STADHAUS.LU
INTIMATE VENUEI N LUXEM BO U RGCONCERTS - THEATER - CONGRESSES
CAPACITY: 200 SEATED
Annonce_82.5x126_VIP_Book_2015.pdf 1 11/02/2015 11:38:04
But the recent past has already proved that all
events are not assured of success. Within just
five years the Swedish market saw the depar-
ture of events such as Hultsfred, Arvika and
Peace & Love. The Greenville- Festival by Crea-
tive Talent failed in 2014 and the unknown
events (okay, amongst others and for the
record: the Berlin Festival) who have already
suffered losses are indicators and presages for
what the industry could expect in 2015. Sziget
Cultural Management, the promoter of the
Sziget Festival in Hungary, for the first time has
started to book an edition of the winter sport
combined with music event into its neighbour-
ing country for the first time in Vienna on No-
vember 21-22, running simultaneously with
the edition in Budapest on November 21-24.
Due to the mild winter the Vienna edition has
been re-located in the indoor arena Marx Halle.
The line up of both events varies but both edi-
tions features an extensive DJ-program with
top acts such as Fedde Legrand, Moguai,
Grandmaster Flash and Paul Kalkbrenner.
Fruzsina Szep, once a booker for the Sziget
festival has left Hungary and moved to Berlin
to work on the new Berlin edition of Lollapa-
looza. Particularly the situation in Germany has
definitely heated up, so this one is certainly
an event that faces a challenges as the festi-
val market in the German capital has already
showed that it is more than tough.
In Denmark alone FKP Scorpio found their an-
nouncement of Tinderbox, being referred to
as a “declaration of war” by Gunnar Madsen
of the Danish Rock council Rosa. Hopefully it
won’t be so dramatic, but certainly the festival
season 2015 will become more than interest-
ing...
We can take it for granted that the festival
landscape in 2015 will look very different. First
announcements for new festivals such as Tin-
derbox in Denmark by FKP Scorpio, Der Ring
Grüne Hölle Rock at Nürburgring and its sister
events Rockaviaria and Rock in Vienna in Aus-
tria by DEAG and an edition of the US-Event
Lollapalozza in Berlin are only the tip of a festi-
val iceberg heading into some sort of a climate
change.
Competition is heating up. Newcomers such as
Bravalla in Sweden or the Best Kept Secret in
the Netherlands by the local branches of FKP
Scorpio or Down The Rabbit Hole by Live Na-
tion subsidy Mojo Concerts have already indi-
cated the new movement in the festival circuit.
Without any doubt the trend is that the big
players within the concert industry are aiming
to gain market shares and to occupy niche-
playgrounds as well as the battlefield of big
major festivals.
Good News
Manfred Tari [email protected]
#22VIP-MAGAZINE 16/2015www.vip-booking.com
PROFILE industry
1. Brief history of career…
I started my business on July 23, 1971 as a promoter of sorts.
I ran small events such as dances and local shows in New Jersey
and worked my way into concerts by 1972. In my late teens, when
beginning college, I was fortunate enough to occasionally work as
a back-up musician for Bo Diddley, Chuck Berry, The Shirelles and
others . It was through those relationships that I went onto meet
Dionne Warwick who is still a client, as well as many other stars
in all areas of music. I went on to promote shows for Bette Midler,
Kool & The Gang, Focus and a number of other performers. I was
also fortunate to work on shows during the early years of Bruce
Springsteen and Cheech & Chong and then to diversify working in
Rock, R&B, Bluegrass and with a number of Motown artists.
2. Highlights of career.…
This is a difficult question to answer. I would have to say that
successfully breaking into the international market to book tours in
1984 was the beginning of the most important and interesting part
of my career. I currently conduct business in 53 countries. I have
great relationships with venues, promoters, festival organizers as
well as fellow agents and managers which allow me to book my
own artists and to consult with purchasers who require assistance
with negotiations for artists we do not represent on an exclusive
basis . While it is not music, we also have a robust business with
family entertainment shows which we produce and book all over the
world. This segment of our business started in 1988.
3. The best skill and worst habit…
I think I share a particular good skill with certain other of my
colleagues which is the ability to ask questions which give a clear
picture of the conditions of a project before discussing money. Too
often a representative might quote a price without first spending
a few minutes going over details. By reviewing facts beforehand,
it allows a representative to qualify or disqualify a certain artist or
show due to financial or production limitations. The best deal is a
comfortable deal for all parties. We have virtually no cancellations or
postponements and we attribute it to this way of working. My worst
habit is that I work too many hours.
4. Your New Year’s resolution…
On a personal note, it’s to have a little more time to give to my
2 grandsons. On a professional note, it is to grow our business
in another 3 to 4 countries which could be considered emerging
markets . There are a tremendous number of people who would like
to do business in certain countries and with the many calls and letter s
I receive from emerging markets, I believe 2015 and 2016 will be
exciting years.
5. 10 years from now…
I believe that with the many changes that are taking place in the live
performance industry, those of us who have been in this field for
many years will be searched out for new and interesting projects . It
will also be the case that as the careers of certain of today’s artists
go up and down, certain of us will be called upon to bring clarity on
goals they must set to sustain their touring business.
JOHN
REGN
A Name: John Regna
Company: World Entertainment Associates of America, Inc.
Email: [email protected]
Direct Phone: (407) 993-4000
Years in Music Industry: 44
Favorite artist: Eric Clapton
Favorite Interest outside of music: Reading Live Entertainment
#24VIP-MAGAZINE 16/2015www.vip-booking.com
Go online - www.vip-booking.com
Need to know who is touring Europe? ®
vip-booking.com
ARTIST AVAILSSee/Add more Artist Avails at VIP-Booking.com
Bo Kaspers Orkester
Orquesta Buena Vista Social ClubTerritory: Scandinavia, Eastern EU, UK, IrelandPeriod: June-JulyAgency: Sasa MusicAgent: David FlowerPhone: +44 20 7359 9232E-mail: [email protected]: www.sasamusic.com
Patti SmithTerritory: EuropePeriod: 2015Agency: Primary Talent InternationalAgent: Andy WoolliscroftPhone: +44 20 7400 4500E-mail: [email protected]: www.primarytalent.com/patti-smith/
THE ORCHESTRA starring ELO former members Territory: WorldwidePeriod: 2015Agency: World Entertainment Associates of AmericaAgent: John Regna - Artist Agent/ManagerPhone: +1 407-993-4000E-mail: [email protected]: www.THEORCHESTRAonline.com
8:58 PAUL HARTNOLL FROM ORBITALTerritory: The World excluding USAPeriod: May 2015 onwardsAgency: Value Added TalentAgent: Dan SilverPhone: +44 207 704 97 20E-mail: [email protected]: www.vathq.co.uk
Basement JaxxTerritory: EuropePeriod: 2015Agency: Primary Talent InternationalAgent: Peter EilliotPhone: +44 20 7400 4500E-mail: [email protected]: www.primarytalent.com/basement-jaxx/
Dionne Warwick Territory: WorldwidePeriod: 2015-2016Agency: World Entertainment Associates of AmericaAgent: John Regna - Artist AgentPhone: 407-993-4000E-mail: [email protected]: www.DionneWarwickTourPromo.com
Dionne Warwick
SYSTEM 7 FEATURING STEVE HILLAGETerritory: WORLD INCL USAPeriod: MAY 2015 ONWARDSAgency: VALUE ADDED TALENTAgent: DAN SILVERPhone: +44 2077049720E-mail: [email protected]: www.vathq.co.uk
Bo Kaspers Orkester Territory: World widePeriod: By requestAgency: Lifeline EntertainmentAgent: Michael HenrikssonE-mail: [email protected]: www.lifeline.se
TrickyTerritory: EuropePeriod: 2015Agency: Primary Talent InternationalAgent: Ben WinchesterPhone: +44 20 7400 4500E-mail: [email protected]: www.primarytalent.com/tricky/
Alan Parsons Live Project Territory: WorldwidePeriod: 2015-2016Agency: World Entertainment Associates of AmericaAgent: John Regna - Artist Agent/ManagerPhone: +1 407-993-4000E-mail: [email protected]: www.AlanParsonsTourPromo.com
Kölner Sportstätten
#27VIP-MAGAZINE 16/2015www.vip-booking.com
#26VIP-MAGAZINE 16/2015www.vip-booking.com
MULTIMEDIA FOR FESTIVALS Previously to promote a concert or a festival it just took
some billboards, flyers, perhaps some advertisements
and proper PR-work for printed press and radio. Today
of course it needs more. Communications around live
events have changed significantly and it is not only the
generation of digitals natives who know how to serve
and to handle a modern communication environment
for music events. The conversion of communication
and new media services is an ongoing process. Beside s
social media gadgets such as Facebook, Twitter or
Instagram it is furthermore music streaming services
such as Deezer, Spotify or SirusXM, that take up the
opportunity to replace the old school media format
radio. With this in mind, VIP News spoke with Richard
Zijlma from Amsterdam Dance Event and Eric van
Eerdenburg from Lowland Festival about their findings
regarding new media experiments and the experience
gained from them.
On the ADE website various new media services such as
Instagram, Facebook, Twitter and Google are prominently
displayed. Nevertheless, the “media reports” section is also
make this efficient for both parties and were able to control this
content . We broadcast live and also recorded dedicated shows.
Total reach was about 30 million listeners globally so a great next
step. Serius SM for example had a reach of 9 million listeners in
the states!
What are your main conclusions regarding the data gained by
Spotify in reference to this years ADE edition?
– Richard Zijlma: Very interesting of course; we just hired a staff
member purely focused on data, cause we now want to interpret all
the data we collected from all platforms, our own website and ticket
sales for example. To be honest some outcome even surprises me,
on the other hand I have to be honest, this is also for us a relatively
new field.
On the Lowland website various new media services such
as Instagram, Facebook, Twitter and so on are prominently
displayed . Whoich of them are so called ‘media partners’ and
which are perhaps sponsors?
– Eric van Eerdenburg: None of them are sponsors. None of them
are official media partners. Again, the fans subscribe to our festiva l
pages on these services. They are communication channels. We
need to be where the fans are.
spiked with many media reports from ranging from 3voor12,
BBC, Guardian NBC News. How much has ADE meanwhile
turned itself into a media venture and what is the strategy
behind this?
– Richard Zijlma: The essence is simple; we try to connect and to
engage with both electronic music lovers and music professionals
worldwide . I think, as we all do, nowadays, that we all switch during
the day to new media and old media, between online and off line
all the time. I think ideally the presence of an event like ADE should
be prominent in all those fields. And of course we are focused on
increasing presence online more and more. For example I think
a communication staff member should start watching his phone
instead working behind a desktop, cause most online time is now
spent on the phone. The whole landscape has changed over the
years. I love the challenges and specifically we like to work with those
companies because they know how to connect with the audience,
have a lot of relevant data and they are upfront when in comes to
innovation which fits the key values ADE has. For example we worked
also with Spotify and agreed to work on specific values; bring reach,
engagemen t and innovation. The partnership ended very successfully.
For example we had homepage takeover in several countries during
ADE for example USA and Mexico!
You even ran ADE Radio for the first time. How does it work
and what is your experience of working with SiriusXM?
– Richard Zijlma: There was a lot of demand from international
radio station to cover ADE. With ADE Radio we were able to
What are your main conclusions regarding the data gained by
Spotify in reference to the previous Lowland edition?
– Van Eerdenburg: It gives a great insight into the importance of
festivals in discovering new music. The dynamics of a festival are
different from a headline show, or small specialized festival. People that
don’t necessari ly buy a ticket for the festival to see certain acts, still
try to find out about the acts that they do not know. And this survey
proves they do it in large numbers. Unlike a lot of other big festivals
Lowlands is a festival that does not exclusively thrive on headliner s,
but on ‘subliners ’ and debuting acts; an ideal festival to put on the
acts that are looking for a bigger audience. In the old days one tried
to sell ticket s at the specialize d record stores for unknown acts. That’s
the place where the true music fans would be. Almost 70% of the
Lowlands fans use Spotify . This number will grow since it’s a very well
organised service. We need to be where the music fans are. Artists that
are not on this type of service are not of this age. It’s this, or it’s piracy.
How many people are working for Lowlands to serve the
various new media channels?
– Van Eerdenburg: I have three people working on promotion, mixed
on- and offline at the peak promotion times. It’s not a separate thing.
They run Lowlands & Down The Rabbit Hole. More and more Social
Media gains importance in communication with our audience.
Manfred Tari [email protected]
MEGAFORCE
A concert without our stage is like a body without a soul
WWW.MEGAFORCE.DEMegaforce Veranstaltungs GmbH
Jöhlinger Straße 118D-76356 Weingarten
Phone: +49 7244/7202-0Fax: +497244/7202-22Mail: [email protected]
Eric van Eerdenburg, Photo by Sanne CouprieRichard Zijlma, Photo by Aico Lind
#28VIP-MAGAZINE 16/2015www.vip-booking.com
armentertainment.com
Legendary EntertainmentICONIC , CLASSIC, CONTEMPORARY
Allan McGowan [email protected]
Randy Phillips
Randy Phillips, former AEG Live CEO, is
now the CEO of Global Entertainment, a newly-launched U.S. division
for London-based Global, The Media and Entertainment Group.
The multifaceted company will include touring, label, publishing, artis t
management, branding/sponsorships and marketing divisions, with
new headquarters based in Los Angeles and a London office. Phillips
will be based in LA and oversee U.S. affairs and worldwide content for
Global Entertainment.
Phillips believes the Global model is the way of the future. “I believe
that within three to five years, all of the major labels that exist will look
like Global”, he told billboard earlier this year.
Global founder/executive president Ashley Tabor has used U.K.’s
largest commercial radio company Global Radio as a base to create
an entertainment company that now includes Global Television and
Global Publishing (Ellie Goulding, Corinne Bailey Rae, LMFAO), with
the latter to be part of the Global Entertainment U.S. division under
Phillips.
“This is a defining moment for Global as we open our first office in
the U.S. and create a new type of content company,” Global founder
Ashley Tabor said earlier this year.
“Our goal is to redefine the possibilities for a 21st century music
and entertainment company and I am thrilled to have Randy and the
team on board.”
Phillips comes to Global Entertainment after 13 years as CEO at AEG
Live, where he promoted world tours by artists such as Justin Timberlake ,
Bon Jovi, Justin Bieber, Kanye West, Jennifer Lopez, Enrique Iglesias , Rod
Stewart, and Prince. He oversaw the expansion of AEG Live`s Festival
Division (Coachella, Stagecoach, New Orleans Jazzfest) and produced
films featuring Michael Jackson, Bieber and Katy Perry. Phillips also
managed or co-managed Stewart, Toni Braxton, Lionel Richie and Usher,
and, with former partner Arnold Steifel.
Phillips surprisingly left in late 2013 a year after he signed a new five-
year contract. The departure came shortly after a jury found AEG not
guilty in the wrongful death suit filed by the family of Michael Jackson.
PHILLIPS CEO OF GLOBAL ENTERTAINMENT
#30VIP-MAGAZINE 16/2015www.vip-booking.com
Rob da Bank
Keep a cool head.
www.novitas-hamburg.de
novitas insurance brokers. In any event.
novitas_Anzeige_VIP_2015_A4_03.indd 1 10.02.15 13:55
BESTIVAL EXPANDS IN UK AND CANADA Bestival recently announced a new festival in
Toronto, which will take place on the city’s
Hanlan’s Point Beach on 12-13 May.
“We have waited twelve years to decide to
launch another Bestival outside of the UK. It
took a really special city, and an even more
exciting site, with Toronto and Toronto Island,
to make us take the leap. So, the waiting is
over and we are so excited to be launching in
North America in June, with a classic Bestival
line-up waiting to thrill, intrigue and party”,
Rob da Bank said to CMU earlier this year.
The event is being launched in partnership
with Canadian promoters Embrace and the
ever expansive SFX Entertainment.
Allan McGowan [email protected]
Team Bestival has also expanded their UK
operations with their new city-based festival
in Southampton called Common People. That
is due to take place 23-24 May, with the first
day headlined by Fatboy Slim.
Rob da Bank says about this:
It’s the first new venture since we
started Camp Bestival seven years
ago. We have been inundate d
with offers to start new
festivals every year but it
wasn’t until we found the
beautiful site of the Common
that we felt it was right to start a new chapter
in Bestival’s history. This isn’t a camping show,
it’s not a tents, wellies and car packed to the
rafters experience… it’s a metropolitan two
day show easy to access and
open to all ages, compact
but packed with
experiences and
priced very, very
reasonably. ”