VIPNEWS > MAY 2013

VIPNEWS PREMIUM > VOLUME 157 > MAY 2013

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VIPNEWS > MAY 2013

So now we get to that time of the year when

all my international music business friends

come to see me, rather than me having to do

all that tiring travelling! Well to be absolutel y

accurate they come to attend The Great

Escape , the UK Conference and Festival event

that takes place in Brighton – which as you

know is where I and all my seagull enemies

live. I’m writing this on the opening night

and this edition has completely sold out, but

by the time you read this I will have been to

panels, moderated a session and seen bands

and spoken with many people, which will be

referenced in the report in this issue.

However I have been travelling as usual,

I made my first visit to the Spot Festival in

Aarhus, Denmark. I’ve intended to go many

times, but finally made it and I’m glad I went

as you will be able to tell from my report. I also

paid a flying visit to Paris to discuss this year’s

October 16-18 edition of the MaMA event.

Whilst there I called my promoter friend Ber-

nard Batzen of Azimuth who invited me to

see a show at the Divan du Monde venue in

Pigalle. The act was the excellent Rebekka

Karijords and her band, originally from

Norway , she is now based in Stockholm, on

meeting her afterwards I discovered that she

was due to play The Albert pub in Brighton –

just round the corner from where I live 3 days

later – it’s a small world!

Sad to hear about the death at the age of

74 of Ray Manzarek, keyboard player with

The Doors. I was a fan of the band and was

at the UFO club at London’s Roundhouse for

the band’s only UK performance in 1968. RIP.

As we’re moving inexorably (been looking for

an excuse to use that word for a while!) into

the Festival season, it’s interesting to note that

a recent survey conducted by MSN, indicate s

that the average age of a UK festival goer is

now 36, and that the average age of festival

headliners is 39. It seems that Mumford and

Sons are the only UK Festival headliner – at

T-in the - Park in Scotland – to have released

their first album in the past five years. Also

60% of 18-24 year olds can’t really afford

to go to festivals. Well, what with the long

range weather forecast not looking good, it’s

not really a very jolly prospect is it? However

– let’s see what actually happens..

Other things that caught my eye whilst trying

to avoid alcohol poisoning at The Great

Escape , include the news that Sigur Rós

have composed a piece of music especially

for an upcoming episode of The Simpsons.

Apparently the band is also set to feature as

animated characters in the show – now, how

did that come together? – Then, more irony –

well I see it like that – with the announcemen t

that New College Nottingham is to be the

first university in the UK to offer students the

opportunity to study a foundation degree in

heavy metal – can you teach heavy metal, or

am I just being paranoid? Then in this little list

of items that I find humorously reassuring is a

report stating that Shane MacGowan of The

Pogues is looking for a dentist, so he can star

in a Hollywood film. Just so you know Shane

and I are not related – different spelling – I

once pointed Shane out in a TV documentary

to my Mother, on hearing his name she

asked (in her Glasgow accent) “Is he related

to us?” when I replied in the negative , she

breathed a sigh of relief, saying , “Thank God

for that!”

Right, chuckles over and done with – Ladies

and Gentlemen – The News!

McGowan’s Musings

COLOPHON >

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VIPNEWS > MAY 2013

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VIPNEWS > MAY 2013

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MIDEM ReschedulesAllan McGowan am@vip-booking.com

Reed MIDEM announced on May 13 that the dates of Midem 2014

have been rescheduled to 1-4 February. Learning of the strong chance

that the Grammy Awards will take place on the 26 January 2014, so

as not to overlap with certain key sports events, Midem organisers

decided to anticipate and reschedule the date of the 2014 international

music business trade event that is Midem.

Bruno Crolot, Midem Director, comments, “We didn’t want to take

the risk of overlapping with the Grammy Awards as many of our

client s attend this important music industry event. After checking with

a great number of our attendees that they were favourable to this

change, we decided to reschedule Midem 2014 to 1–4 February. So

that people can re-organise their agendas we are announcing the new

dates as soon as possible.”

®

4

VIPNEWS > MAY 2013

It’s been a good month for Denmark. Various

international music industry luminaries visited

the Jutland City of Aarhus from May 1-4, for

the 19th edition of The Spot Festival, then

on May 18th the country’s entry triumphed

at this year’s Eurovision Song Contest, held

in the Swedish city of Malmo (Where VIP’s

General Manager Peter Briggs lives – just

so you know!). The favourite Emmelie de

Fores t, 20, won with 281 with her song Only

Teardrops .

Anyway – back to Spot! As I said above, this

was my first visit, and I found this to be a far

more relaxed event, even cosy as the organis-

ers say themselves, than many of the others

that I attend. Aarhus is a very attractive city

– the sort of place you can imagine living in –

it has a really good Art Museum by the way,

and is close to the sea. All the venues are in

the centre of the City and 125 acts ( I didn’t

see as many bands as I should have, but I

was particularly taken by Danish three piece

Baby In Vain.) played in the 4 main locations

which house multiple stages – I liked the fact

that the two large stages in the Scandinavian

Congress Centre are called This and That…

Gunnar Madsen, head of the SPOT Festival

hailed the 19th SPOT festival a success,

though not a sell out, saying, “With just

450 tickets of the 3800 left and more than

1000 industry people, around 4500 music

lovers wandered the many stages, halls and

places that make up SPOT Festival. This year,

sold out equals break even, so we are a littl

under . But we can live with that. It has been

a really great festival this year. I have only

received positive feedback from especially

industry people. Just as last year the interest

from international industry people has been

great.” (The honesty of this statement

regarding the figures almost won Gunna r

an Award at the YMCA’s (Yearly Music

Conference Awards) at The Great Escape!

See report in this issue.)

The Conference itself takes place in the

Musikhuset (always a good sign when a

city has a music dedicated building!). The

Agenda covered Publishing, Brands, China

and South East Asia, and localised issues

with the Nordic Playlist. I was there to chair

The Exporters’ Tool Kit to the German Music

Industry – this was an ambitious three hour

session, covering all aspects of Denmar’s

huge neighbouring territory and brought in

some very good professionals, although I was

surprised at one point to find more Germans

in the room than Danes!

Baby-in-Vain

The Spot FestivalAllan McGowan am@vip-booking.com

Jacob Bundsgaard,Major of Aarhus Gunnar Madsen, Spot

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VIPNEWS > MAY 2013

Two of the German panellists commented on

the event:

Stephan Thanscheidt – Head of Festival

booking & Local Dept FKP Scorpio

Konzertproduktionen GmbH.:

It´s always a pleasure to be at SPOT Festival

in the lovely City of Aarhus, where we´re also

partner of the NORTHSIDE Festival. So, for

me it´s the right combination of meeting my

Scandinavian business partners and having

the chance to discover some great fresh

talent . We promote quite a lot of Danish acts

on tour and/or on our festivals in Germany

and other territories, which is why it always

makes perfect sense to spend this weekend

in Denmark.

Florian Brauch – SPARTA Booking GmbH

& Co.KG:

Again, this year´s edition of SPOT was a

perfect place for making new business

contacts and meeting good friends. We

discovered exciting new bands, though I’d

appreciate to get a wider musical range of

bands next year.

Other international delegates also

commented:

Pablo Gonzalez Batista – Radio 3, Radio

Nacional de Espana (The largest radio

station in Spain):

I am very surprised that the musical level is

so high in Denmark. Every concert you go

to, you can trust that you are going to see

something good.

Kieron Tyler – Music Journalist from

Mojo Magazine (UK):

…something like SPOT, which has a pretty

well-defined and exclusive booking policy,

is a great opportunity to do that (find new

bands, ed.). You know over all that there

is going to be no rubbish here. But more

specificall y you know there is going to be

some really, really great things.

Keynote-speaker Keith Harris (PPL – UK)

commented on the panels and keynotes

at SPOT and what the festival can do for

Danish music:

I think that SPOT gives people a lot of

information , if they attend the panels and

stuff. They get a lot of information, which

is actually otherwise quite difficult to access ,

because Denmark is a relatively small countr y.

International expansion is actually pretty

importan t and SPOT is quite central to help

develop outside Denmark as well.

Spot is arranged by ROSA- The Danish Rock

Council in collaboration with MXD – Music

Export Denmark and the City of Aarhus.

Spot opened with a welcome from Gunnar

Madsen and an address from the Mayor of

Aarhus, Jacob Bundsgaard, who told VIP

News:

“The SPOT Festival’s excellent reputation

and great popularity have received a lot of

international publicity – and the festival has

grown to be of great significance to the

image of our city – because it reflects what

we would like to be known for in Aarhus:

International ambitions, innovation and

interesting experiences. And at the same

time, Aarhus is ‘Denmark’s Liverpool’ – a

city that has been characterised by an

internationally orientated music and cultural

life in many ways.

Denmark and Aarhus have many cultural

qualities to offer – and this is why Aarhus has

been appointed European Capital of Culture

in 2017. As Mayor of Aarhus, I am very proud

that the SPOT Festival as a concept has been

among the first movers in Europe in the field

of music when it comes to music industry

festivals. Today, the SPOT Festival is a strong

brand – and in Aarhus and Denmark, we

are delighted and pleased that the festival

this year was able to attract more than three

hundred international industry people.”

SPOT on Tour:

Spot doesn’t just confine itself to its home

base. After last year’s event SPOT on Denmar k

took Danish acts to the Montreux Festival in

Switzerland, Cologne and Vienna. This year

SPOT will head for Cologne for the third year,

and Paris for the first time since 2009, with

a couple of other locations in the planning.

Comments to the event “SPOTFESTiVAL”

Stephan Thanscheidt Florian Brauch Pablo Gonzales Batista Kieron Tyler Keith Harris

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VIPNEWS > MAY 2013

The Great EscapeAllan McGowan am@vip-booking.com

This year’s Great Escape sold out in advance ;

with some 16,500 punters buying tickets

offerin g access to 350 acts over 30 venues .

As for UK delegates and international

professionals attending I don’t have the

figures , but it appeared to me that over three

very full on days I ran into or ate, drank or

conferenced with pretty much everyone I

run into at the reasonable numbers of these

events I attend around the world. The weathe r

forecasters must have been disappointe d with

their performance, but the GE organisers and

those attending were anything but as the sun

shone and drops of rain were as infrequent

as pitchers of beer on the tables at this year’s

YMCA Awards – however let’s not be churlish

– you’re looking at, if you could actually see

me – a winner! Yes, in front of me sits the

Great Escape YMCA’s 2013 Hall of Fame

Award! – The list of other – probably more

deserving winners is contained in this report.

Brighton was definitely at it’s finest, as well

as the beautiful music industry roaming the

streets, the Brighton Arts Festival was in full

swing, with everyone from street performers

to well dressed transvestites promenading!

If I had a quid from everyone that told me

how lucky I was to be living in the City I could

afford to move somewhere else! – I’m not

seriou s, I do like Brighton and it is a good

place to live I assure you …

As it grows from year to year The Great

Escape is inevitably and definitely taking on

aspects of SXSW – too many people trying

to get into the same shows – conferences

competing with more and more parties (you

certainly won’t go hungry or thirsty during

the day, and you needn’t put your hand in

your pocket!), - morning discussions about

what you didn’t see the night before etc, etc!

However – it is definitely the place to be for

aspiring acts and aspiring businesses. As usual

there were many acts I didn’t see and should

have. Acts being talked about following

their shows included The Orwells, Parquet

Courts and Youngfathers amongst others

of course, but I was impressed by the Swiss

act Peter Kernel. And by Tom Odell, who

played in the imposing and extremely high

St. Bartholomews Church – my childhood

Catholic inhibitions found me being a little

disturbed by the Mama Group logo taking

pride of place above the crucifix on the altar!

Brighton seemed to have handed all of its

churches over to the Great Escape this year.

The Conference Agenda presented panels

connected by specific and generally

internationally themes. Three sessions

focussed on taking new talent into new

markets . Live Opportunities In Emerging

Line in front of a Venue at The Great Escape

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VIPNEWS > MAY 2013

CLICK-A-GIG.COM enables artists to MAIL their music to more than 6.000 venues and agencies worldwide…

Markets presented representatives from

China , India, South Africa and Poland

discussing the challenges and opportunitie s

for takin g new talent into these regions,

and the partnerships that can be struck up

to help make things happen. Many of the

panels took place in the two cinemas that

now occupy the upper floors of the Komedia,

so it was very convenient to go straight to the

screening of a very interesting documentar y

covering the British Council supported tour,

arranged by Split Works, of four British

bands of the outer reaches of China for the

UK Now festival last year. Archie Hamilton of

Split Works discussed this project and touring

British acts in China in general.

A Focus on Music Marketing included two

sessions looking at building profile and

engaging media in new markets, the latter

presented in association with PPL. The sessio n

investigated how music media operates in

various territories, and how open they are

to new international talent, with the help of

panelists from Australia, Japan, the US and

Poland. Poland was the featured country for

Great Escape 2013.

Finance and new talent funding was also a

main theme, and included an interview with

Remi Harris about a new research report on

access to finance she is authoring for Music

Tank. Also the Arts Council took the occasion

of The Great Escape to officially launch the

Momentum Music Fund, with the Chief

Executive of the Arts Council, Alan Davey,

delivering a keynote speech. The Fund will

make half a million available to help develop

the careers of artists and bands. Grants of

£5000 to £15,000 will be available via the

scheme, which will be administered by PRS

For Music Foundation.

Alan Davey and Vanessa Reed, Executive

Director of PRS for Music Foundation also

contributed from the floor to a panel

exploring how government-funded initiatives

in music talent development operate in

Tom Odell played in St. Bartholomews Church, Brighton

Alan DaveyArchie Hamilton

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VIPNEWS > MAY 2013

other countries, with panellists from Poland,

Canada , Scotland and Norway, moderated by

a Brighton inhabitant of your acquaintance.

Alan Davey told VIP News: “Yet again The

Great Escape was an essential gathering

for anyone interested in new music from

around the world, and a brilliant showcase

for up and coming bands and musicians. It

was great to launch the Momentum Music

fund there - something that is a small

beginnin g but which will do great things for

artists in this country. I was proud to be there to

launch something that I really believe will make

a difference . And what better place to do it.”

Vanessa Reed added, “I’m really pleased

that we were able to launch our new

Momentu m artist development fund at The

Great Escape because it’s now attracting

such an exciting range of bands and music

industry representative s from the UK and

overseas. There was a real buzz this year and

that helped us and Arts Council England to

get our message across to a very receptive

audience , including Billy Bragg who

endorsed the opportunities we’re offering ,

to younger bands at the beginning of their

career s. It was also great to have the chance

to hear from our colleagues in Norway ,

France, Canad a and Scotland about their

longer standing experience of funding

music expor t and talent development . We’re

alread y plotting what we could contribute

to this discussion next year.

Great Escape Music Convention Awards: YMCAS:The showcase festival and music convention season just ending

was celebrated with the Yearly Music Convention Awards at The

Great Escape. At a reception on Saturday afternoon , reps from across

the global music industry were handed their awards by Great

Escape co-founder Martin Elbourne.

And the winners of the core categories were as follows:

Best Delegates Bag:

BigSound - Australia

Best Hotel/Convention Centre:

ITC Grand Central, Mumbai

(Nokia Music Connects - India)

Best Delegates Bar:

Breakout West - Canada

Best App:

Reeperbahn Campus - Germany

Best Export Office:

Swiss Music Export - Switzerland

Best Networking, Event,

Trip or Service:

Paris Venues Tour (MaMA - France)

Best Awards Show:

The Indies (Canadian Music Week - Canada)

Best Regional/Smaller Festival:

M For Montreal – Canada

Oh – and did I say there was

also a Hall of Fame Award…?

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VIPNEWS > MAY 2013

One of the best party and showcase events at The Great Escape

was presented in my local music pub, The Prince Albert. Estonia,

represented by Tallinn Music Week, and Latvia pooled resources to

provide a breakfast/brunch, including imported local delicacies, and

present four bands, including Ewart and The Two Dragons from

Estoni a, and Pr ata Vetra from Latvia. The fact that this event took

place and that acts from Eastern Europe are attracting attention from

Western companies and events owes a lot to the hard work of people

in the region, not least Helen Sildna of Tallinn Music Week and artist

manager Guna Zucika from Latvia.

Guna is seeing some success with her band, Prata Vetra. After becoming

a household name in it’s native Latvia, the band took a chance on

reaching out to audiences beyond the borders of their motherland.

During their career Prata Vetra have released albums in Europe and

Russia, supported bands like R.E.M., The Rolling Stones, Depeche

Mode, and others. As photographer Anton Corbijn has described :

“There is this beautiful thing that great bands have, something …

identity , and I think Prata Vetra has that..” The new album “Another

Still Life” was written and recorded in the historic town of Hudson, in

the Hudson valley upstate NY, and was mixed in a small studio beneath

Radiohead’s management office in Oxford, England. Prata Vetra last

summer toured native Latvia playing to 89, 500 people over 7 dates.

From autumn 2012 throughout 2013 the band tours Russia in support

of the album release in C.I.S. as well as playing The Great Escape Prata

Vetra will also play the following festivals this season: Glastonbury,

UK, Music Matters, Singapore, Nashestvije, Kuban and Red Rocks,

Russia , Summer Sound, Latvia, Watergate, Estonia and Culture Collide ,

USA. On 27th of June band will play a “Glastonbury” warm-up gig at

London’ s “The Garage”, promoted by MAMA.

Prāta Vētra

Allan McGowan am@vip-booking.com

Out of the East - Prāta Vētra

Guna Zucika

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VIPNEWS > MAY 2013

93 FEET EAST Wins Back LicenceAllan McGowan am@vip-booking.com

East London club 93 Feet East is coming back five months after

a police raid led to the venue having its licence revoked by Tower

Hamlets Council amidst allegations the business had not done

enough to combat the dealing and consumption of illegal substances

on the premises.

But late last week Thames Magistrates Court seemingly upheld an

appeal against the actions of Tower Hamlets Council, which means

the venue can now reopen with pretty much immediate effect.

In a statement on the club’s website, 93 Feet East management

said: “We are delighted to announce that on 17 May 2013, Thames

Magistrate s’ Court allowed 93 Feet East’s appeal against the decision

of Tower Hamlets Council on 7 Jan 2013 to close 93 Feet East. 93 Feet

East, which has been at the heart of Brick Lane’s evening economy

since the year 2000, is free to reopen immediately”.

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VIPNEWS > MAY 2013

When Analyses Produce Answers! An Interview with Agent Rob Chalice Manfred Tari mt@vip-booking.com

The number of live music professionals that

can be asked about general developments

that concern the concert business is limite d.

Rob Challice is possibly too young to be

counted amongst the elder statesme n

and pioneers of the live music industry

but is nevertheless a well established,

respected , and experienced representative

of professional s involved with this business

since the early eighties.

Rob Challice is a founding partner of Coda

Agency, a UK concert company with 18

agents which employs almost fifty peopl e.

He is also the director of the Summer

Sundae Weekender festival and a member

of the booking team for Larmer Tree Festival .

Besides this Challice is also a board member

of the Association of Independent Festivals

(AIF) and represents this organisation on the

UK Live Music Group, which is part of UK

Music.

VIP News asked him, amongst other topics ,

about the shape of the festival business

and the lack of lobbyism in the live music

business .

In 2011 Michael Eavis predicted the end

of Glastonbury festival. In reference

to high fees for top artists that played

at the festival, he said: “I don’t see the

marke t will be there in the future.”

Would you agree with this?

– There’s no doubt that the current recession

has hit festivals hard, but then it’s also hit

other areas of the entertainment and leisure

industries. I think we are going through a

period of re-adjustment. For 10 or more

years everything was healthy in festival

land; festiva ls sold out, new festivals were

starting every year and artist fees increased

accordingly . Now people can’t afford to go to

as many festivals and they are not necessarily

looking for the same festival experiences.

Meanwhile the festival season has extended

to half the year and festivals expect more and

more exclusivity from the bands they book. I

understand this development, but I can see

why some arena size acts consider it more

financially viable to play their own headline

tours than to play festivals. I bet that Michael

Eavis did not predict in 2011 that he’d get

the Rolling Stones this year!

However, the festival market in recent

history became a business segment of its

own within the music industry. Is this a

positive development?

– They are a separate segment. Festivals are

more than a list of artists and they are very

different than a one-off headline show by an

artist. A successful festival is often a weekend

event involving a year round commitment

from the organisers. That makes them very

different to other parts of this industry.

At ILMC 2013 you emphasized that the

live music market contributes more

towards the income stream of artists

than for instance the record industry.

But you also mentioned, that within

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VIPNEWS > MAY 2013

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VIPNEWS > MAY 2013Guna Zucika

the music industry this aspect still isn’t

appropriatel y considered. Can you

please explain your point of view on

this?

– I don’t think enough attention is given

to live career planning outside agent/

managemen t conversations. Labels don’t

always think beyond the next release, be

it album or single , from an artist. That’s

understandable , but it’s a depressing

consideration if you want to see an artist

have a career that last 5-10 years or more.

Who is more conservative, the record or

the concert industry?

– Neither, both sectors take risk, but to survive

you also have to know when to consolidate

and play it safe.

You are also a board member of AIF.

Compared to other industries, the live

music industry does not invest huge

amounts or efforts into lobbying. In

terms of political networking almost

every bakery or butchery association can

move more and also with organisations

such as IFPI the record industry is better

organized than the live music industry.

Isn’t this a bit short-sighted in times

where punters are getting ripped off

on so called secondary ticket platforms

or new official burdens due to tougher

safety regulations?

– I represent AIF on the UK Live board and

UK Live is part of UK Music. UK Music has

been effective at lobbying, so I refute your

point (also I had to google IFPI to find out

who they were!).

UK Live has only been a part of UK Music for

a relatively short amount of time and it’s true

that the live music industry does not invest

“huge amounts” into lobbying. AIF took a

stand on secondary ticketing and I was given

the opportunity by Jo Dipple to speak to the

UK Music board on the subject. People across

the industry are changing their preconceived

ideas on secondary ticketing. Ticket touting

is not very fashionable. The issue could be

possibly be resolved if government did look

at legislation regarding the resale of tickets.

However politicians don’t want to take that

on and the implication is that the live music

business has to sort this out. The elephant

in the room is that some artists are fleecing

their own fans with secondary ticketing

deals. That does not do us any favours if we

want to see this practice eradicated.

Change and development within the

music industry is an ever ongoing

process . What kinds of developments

raise your concerns and which do you

particularly appreciate?

– I am not a fan of ticket agent fees. It

appears to be acceptable to add ridiculous

booking fees to ticket prices. That income

is not going back into sustaining live music

and you can’t tell me that punters are not put

off by these charges. We live in the digital

age, why does it cost £5 (say) to buy a ticket

online? I appreciate the efforts of innovative

companies like Music Glue and Songkick;

they are pioneering ways in which bands and

fans relate to each other.

On the web site of Coda Agency it says

that the set up of the agency, “allows us

to launch, sustain and enhance an Artist’s

career.” How much is such an argument

worth in times where, particularl y in

key markets, corporate companies re-

define a once individual ownership and

entrepreneur driven set up of the live

music industry?

– Let’s be clear, as agents we work hard

for our artists and endeavour to give them

the best representation possible. We do

business with the corporate companies

you are referring to, but we also present

opportunities to artists from all corners of the

live business. It is in an artist’s best interests

to have ownership of their own live careers.

This is the bedrock of artist representation ;

change that and you set the business back

50 years.

For more information please check:

www.codaagency.com

14

VIPNEWS > MAY 2013

ETEP & CEETEP Results for 2013Allan McGowan am@vip-booking.com

Here’s the 2nd results of ETEP in 2013, 219 shows in ETEP and 14 shows in CEETEP!

In ETEP: 219 confirmed shows by 73 artists from

18 different European countries.

In CEETEP: 14 confirmed shows by 12 artists from

9 different European countries.

Skip&Die

Djaikovski

15

VIPNEWS > MAY 2013

Jake Bugg live at Eurosonic Noorderslag 2013Photo: Sander Baks

15

VIPNEWS > MAY 2013

Jake Bugg UK 11

Skip&Die NL 10

Kodaline IE 9

Palma Violets UK 9

AlunaGeorge UK 8

Efterklang DK 8

Villagers IE 8

C2C FR 7

Netsky BE 7

Bastille UK 6

Chvrches UK 6

Melody’s Echo Chamber FR 6

Mø DK 6

Rangleklods DK 6

Balthazar BE 5

Rudimental UK 5

Frightened Rabbit UK 4

Highasakite NO 4

Jacco Gardner NL 4

Little Green Cars IE 4

Anna Von Hausswolff SE 3

Ásgeir Trausti IS 3

Blaudzun NL 3

BRNS BE 3

Concrete Knives FR 3

Ewert and The Two Dragons EE 3

Indians DK 3

Juveniles FR 3

Mikhael Paskalev NO 3

Andy Burrows UK 2

Cashmere Cat NO 2

China Rats UK 2

Dakhabrakha UA 2

Disco Ensemble FI 2

Fenster DE 2

Girls Names IE 2

Karin Park SE 2

Laura Mvula UK 2

Monophona LU 2

Noisia NL 2

Rebekka Karijord NO 2

Rubik FI 2

Temples UK 2

Za! ES 2

-M- FR 1

Baby Guru GR 1

Bombay Showpig NL 1

Daily Bread NL 1

DJ Fitz IE 1

Dope D.O.D. NL 1

Eva & Manu FI 1

French Films FI 1

Ghostpoet UK 1

Gnučči SE 1

Honeybird & the Birdies IT 1

Huoratron FI 1

Lau Nau FI 1

LCMDF FI 1

Liesa van der Aa BE 1

Lukas Graham DK 1

Mmoths IE 1

Mutiny on the Bounty LU 1

Orelha Negra PT 1

Phantom FI 1

Roosevelt DE 1

Roscoe BE 1

S O H N UK 1

Sea+Air DE 1

Soul Sister Dance Revolution NL 1

Talbot EE 1

Trixie Whitley BE 1

Will and the People UK 1

Young Dreams NO 1

ETEP RESULTS AS PER MAY 13, 2013 ETEP RESULTS AS PER MAY 13, 2013

Djaikovski MK 2

Shutka Roma Rap MK 2

Afterphurikane SK 1

Grand Mexican Warlock HU 1

Moveknowledgement SI 1

Repetitor RS 1

Skyline CZ 1

Très.B PL 1

Vlasta Popi HR 1

CEETEP RESULT PER MAY 13, 2013

And now for the fun part, the score per ETEP artist, followed by the CEETEP results.

16

VIPNEWS > MAY 2013

Mapped Out – New UK Music Touring Network Allan McGowan am@vip-booking.com

Music Development Agency Generator,

in partnership with Liverpool Sound City

(LSC), Higher Rhythm (HR), Music South

West (MSW) Community Music East (CME)

and Clare Edwards (West Midlands), have

established a national contemporary musi c

touring network, ‘Mapped Out’ (MO) that

will link high quality emerging talent to

promoter s and areas of low engagement

over the next 3 years. It will build audiences

by developing the intrinsic potential of 12

MO promoters.

Partners have identified two venues and two

promoters; the first in a city well serviced by

high quality live music provision; the second

in a nearby town where professional live

musi c experiences are limited and

infrastructure to support this activity is weak.

In the South West the venues are Exeter

Phoenix and Mr Kyps, Poole. The programme

in the South West will be mentored by Music

South West.

The MO network model will be completed by

links to six booking agents, who will supply

the headline artists.

In developing this six-point partnership a

simple tiered structure of support will connec t

venues, promoters and agents enablin g

a positive step change in collaborative

workin g. The tour will set the parameters for

a central promoter development and support

package that will be structured in such a way

that expertise and knowledge filter down

from established to developing promoters to

refine existing practise.

MO will directly improve promoters’

ability to attract high quality talent and

secure audience loyalty. The development

opportunities and audience-building activity

will develop the infrastructure to build music

‘scenes’ in areas of low engagement.

The First Mapped Out TourFeaturing: Night Engine http://www.nightengine.net/ plus regional and local acts supporting in each area;

Sun 9th Poole Mr Kyps

Tues 11th Exeter Phoenix

Wed 12th Leamington Spa The Zephyr

Thurs 13th Birmingham Hare and Hound

Fri 14th Liverpool Kazimier

Sat 15th Whitehaven The Civic

Mon 17th Newcastle The Cluny

Tues 18th Hartlepool The Studio

Fri 21st Sheffield The Leadmill

Sat 22nd Harlow The Square

Sun 23rd Scunthorpe The Redbourn Club

Mon 24th Norwich Norwich Arts Centre

Night Engine

VIPNEWS > MAY 2013

30 Years– From Altar Boys to Shareholders!Manfred Tari mt@vip-booking.com

The story of Haldern Pop reaches back to 1981 when a group of altar

boys apparently arranged to play some records at a place in the middle

of nowhere known as Haldern Rees. Somehow what originated as a

well visited DJ-event in the green, quickly turned into a festival.

Altar boys know how to collect money. And as the church and

capitalism has a very long lasting historical relationship, by 1984

the boys became proper bankers by initiating a shareholder model,

convincing 54 youngsters to become investors, each purchasing

shares worth 500 German Marks, then using up most of the initial

investment in the early years of the event.

However the real return, as mentioned on the website of Haldern

Pop, was to experience the vibe of being proper concert promoters.

What remains is the shared memory of a fairy tale story that gave

birth to a distinctive live music event destined to stand alongside all

the major festivals in Germany...

VIP News spoke to Stefan Reichmann, pop passionist and managing

master of ceremonies representing 134 shareholders about the official

insistence on tougher health and safety issues and ideas for the 30th

edition of the Haldern Pop festival...

How do you intend to celebrate the 30th anniversary of

Haldern Pop?

– With respect and patience.

What do you mean by that?

– We will try to create a little more atmosphere at the festival.

Everybody is expecting the big names, but we saw that all the festivals

around have already got these big names and we respect this, but we

want to create something new.

We will invite André de Ridder and his Stargaze Ensemble and we

would like to surprise people with some new collaborations in the

studio, in the church, and hopefully on the stage. We don’t expect

U2 but we are looking for wonderful stuff. Peter Broderick will play,

Buke and Gase and artists like Owen Pallett with his band. I think

these are more in line with the atmosphere we’re aiming to create for

the festival. I know that a lot of musicians are very happy to see other

musicians at the festival, but we really don’t know at the moment

what actually will happen on this weekend. It will be a surprise for

us too.

We stayed in London last weekend and we met André de Ridder,

Nico Moody Glen Hansard and Conor O’Brien from the Villagers and

everybody is looking forward to it. We will create something special

and that is the main objective for this year’s festival edition.

Are you going change the set up of the festival?

– Not really, we will open the festival on Thursday in the church and

also in the bar, the Mirror-tent (Spiegeltent) and an extra outdoor-

stage in front of that. Then we will do the Friday and the Saturday as

in previous years with shows in the tent and on the main-stage.

But basically on the site you only have the tent and the

main-stage plus the Vodafone-stage?

– Yes, but the Vodafone-stage will only work on Thursday. We have

a problem with a shortage of space in the tent on Thursdays when

all the people are arriving.. So we decided to put on one smaller

outdoor-stage, so people can decide between indoor and out-

door. But when weve got a show indoors, we will also have a show

outdoors for everybody.

That means, you have a free show outside the festival-area?

– No, that is not possible as a result of the circumstances at the Love-

Parade it is no longer allowed to host a free stage; we have to control

17

VIPNEWS > MAY 2013

Stefan Reichmann

18

everybody who comes to the festival, now it is not even permitted to

have a beer-garden with free entrance.

So exactly how much has the tragedy of the Love-Parade

affected the health & safety regulations for the event?

– A lot. We have a lot more of pressure regarding safety-aspects. In

the first step it makes things much more expensive than before. We

have to install lights on the camping-ground, this is just one resul t

of the love-parade disaster. And then there is no longer even the

possibility for us to invite people from the local village for free to our

beer-garden, to add a little bit more atmosphere to the festival.

We have to invest much more into security efforts and we have many

more security-meetings upfront of the festival. I think, at the end of

the day it will cost us about 50.000 Euros.

This must be difficult as you only have a capacity of around

6500 people…

– Yes, and I think at least these two points give us some concern.

We have problems with these significantly higher costs for security

measures and besides this we face much more higher expenses

for GEMA (performance royalties) which have increased rapidly of

late.

Regarding the whole situation of health- and safety regulations ,

there are many new requirements, but nevertheless the general

impression is that the officials who are in charge are actually

not very well informed or experienced?

– That’s the thing. I have the impression that the decisions regarding

the new regulations and structures come from the headquarters in

Düsseldorf or wherever, and that those authorities are not interested

in individual solutions. Nobody investigates just what kind of event

or festival it is. They have just instituted new blanket regulations for

festivals, which means that you as promoter just have to obey. They

don’t ask for reports on what has happening in the last 27 years or

what kind of audience you expect or what kind of music you put on.

The only thing that matters that there are 6500 people and that this

could be dangerous. In the end it’s a lot of money for us, so we have

to raise the ticket price. Of course our festival visitors are not happy

about this and we have to explain that we have no choice in order to

comply with official health & safety requirements.

Do you have any contact with the appropriate ministry officials

in charge in Düsseldorf?

– Not really, we talk only with our district government in Kleeve and

the regional one here in the city of Rees. The cooperation between

them and us runs very well. We are fine with them but they get their

instructions from higher ranked authorities and they have to do their

job. Discussing things with your local police-officer gets you nowhere.

The Love Parade trial will take place soon. It is already known

that only one person from Love Parade is indicted, while

the others are representatives of public institutions. This

indicates that it is mainly these people who have to fear the

legal consequences for what happened in Duisburg. However ,

one of the main consequences is that many promoters in

Northrhine Westphalia (NRW) are now facing the imposition of

questionable health & safety regulations...

– Well, the Love-Parade in 2010 was part of the European Culture

Capital that took place in the Ruhr District. The declared goal was

VIPNEWS > MAY 2013

The tragedy of the Love-Parade has affected the health & safety regulations for Haldern Pop Festival

VIPNEWS > MAY 2013

19

to support the cultural and creative-industry in this region. Now we

can say that it has resulted in the complete opposite of this intention.

It kills a lot of small events because they don’t have the money to

institute all the safety-requirements. Haldern Pop started with the aim

of introducing music we like to people. That’s the thing that makes

this festival individual. It is our taste, it is our music choices that we

like to present, bringing it closer to people and enabling them to

discover this music. This is inspiring and wonderful. That is the main

thing and that is the reason why the festival is growing step by step

and that’s what we now call Haldern Festival.

Haldern Pop has always been completely different to the Love Parade.

I never understood the processes of the Love Parade. When it was in

Berlin it was a real festival, created by people who had a vision, they

had an idea about Techno-Music and Electronic Music and there was

a spirit. But what we saw in the last years here in NRW was an idea

that was driven by business-people aiming to make money with this

vision, but it didn’t achieve this.

But surely it also shows that, there is not sufficient lobbying

taking place on behalf of the live-music-industry in NRW to

create official awareness and understanding?

– Yes, that is right. Many creative and cultural things, music events,

concerts or companies or whatever have now gone to Berlin. Okay,

we have a little bit of c/o-pop now but I don’t know anything about

politic directions or activities to improve the situation, I simply can’t

say anything about it. In fact, in reference to Haldern Pop it is a

problem that nobody really knows what’s happening here on this

weekend and nobody has time to get an individual view of other

events and then decide on safety-requirements for the particular

events. I think it’s a problem of responsibility, it’s a problem of

our society; in German you would say “Der Verlust des gesunden

Menschenverstandes ”. (The loss of common sense).

Are you affected by secondary-ticketing?

– Not really, at the moment. So far it looks like we have sold out

very quickly. We still have smaller numbers of tickets to be sold

but currently there are no tickets on secondary-market. But since

ticket-sales have officially ended, we will see what happens in the next

couple of weeks. Probably people expected more announcement s of

headliners for the festival, but fortunately we don’t have the same

pressures as other festivals.

Are you going to continue the collaboration with WDR-

Rockpalast ?

– Yes, but we will also invite a lot of film-people to cover the festival

on our behalf, so we will create a documentary of the last 30 years

of the festival.

VIPNEWS > MAY 2013

20

VIPNEWS > MAY 2013

That will be released afterwards as a DVD?

– Yes, probably as DVD, maybe small films. We will cover this year

because so many things will happen, Connan Mockasin will play, as

will so many special artists. Probably something special will happen

regarding the collaborations and we have seven or eight own

camera-teams , all very motivated and creative people. They’re really

looking forward to cover the festival here.

It is the first time we’ve invited David Jones from England, he will run

around the festival and collect sound files like a journalist. It could

perhaps be the sound of a campfire or he will ask Conor O’Brien

for a guitar-riff. He will collect sounds from other people, bands and

anybod y who will be around at the festival. By night he will add these

to a mix of some songs in the studio. He will also play live on Thursday

evening, just before Brandt Brauer Frick.

That is a kind of a new development, we will see what can happen

and this is one of the new ideas we create for Haldern Pop 2013.

For the future we will work more on collaborations and encouraging

musicians to inspire each other on the festival. We don’t even know

ourselves what will happen over this weekend.

As you have to invest much more money in the health- and

safety measures, is there any money left to improve the

environmental settings of the event?

– You mean the green thing? Oh, in the past a lot of people have been

very interested in what we are doing here to run an environmentall y

friendly festival. It works very well; we realized that when we invest in

the people, then we’re automatically invested in the green measures.

You know, everybody who will be on this weekend in Haldern has got

the feeling, that it is his own festival. That is the best basis on which

to create a green festival.

Well, that is one thing, but what about the culinary aspect?

– Yes, we started that last year with our friend from Amsterdam and

other local shops, to serve local food from the region. Last year the

food underwent a wonderful step up to a really wonderful quality. The

feedback from the festival last year was that our food is fantastic . The

vegetarians were disappointed about the barbecue, which offered a

hog roast – they’ve hated us for that. But on the other side, there was

so much more good food on the festival than we ever had before.

We will be working a little bit more on this, this year, but it will not be

such a big step up as in 2011 to 2012.

For more information please check www.haldern-pop.de

21

VIPNEWS > MAY 2013

21

VIPNEWS > MAY 2013

Berlin Festival Extends with ‘First We Take Berlin!’ Allan McGowan am@vip-booking.com

Berlin Music Week is to to launch a

club and showcase Festival on 4th

and 5th September : The event is to

be called, ‘First We Take Berlin! ’ It

will be located in Berlin’s hotspot

Friedrichshain-Kreuzberg, and is

intended to be the ‘earliest’ show

case event for festival bookings for

the following year, apparently in a

direct response to the advancement

of festival programming deadlines

over the last few years.

More than 80 export ready international

and national acts will perform on over ten

stages, showing their skills to the public and

representatives of the music industry, giving

promoters and bookers a chance to review

the following year’s touring artistes in good

time to book their events and the artists

the necessary time required to strategise

successfully or the following year. Several

co-operation s with local, national and in-

ternational partners, companies, labels

and agencies have been confirmed already

and will be announced shortly. In addition,

First We Take Berlin! will be committed to

ensuring key programmers, agents and

bookers are in attendance and on the scout

at the event.

The Kulturprojekte Berlin GmbH, promoter

and organiser of the Berlin Music Week, for

the first time, commissioned Melt! Booking ,

the Berlin-based agency responsible for

successful events like Melt! Festival, Berlin

Festival as well as splash! Festival alongside

numerous other tours, to take over the

planning process of ‘First We Take Berlin!’.

“Establishing newcomers and promoting

new products is one of the Berlin Music

Week’s main goals,” Björn Döring comments

on behalf of the Kulturprojekte Berlin GmbH.

“No other location is more appropriate to

introduce up and coming artists than Berlin.

Here you find an eager, young audience that

anticipates and coins international trends

and styles. No other city has a more vibrant

scene of artists, acts, start-ups as well as

music, media and technology companies.

We are proud to give our full support to this

showcase festival, which saw its inception

last year, as an event for the music industry

as well as for the public.”

“With our club and showcase festival, we

found yet another thrilling format to establis h

the Berlin Music Week on an international

level,” says Paul Cheetham, who’s responsible

for the Berlin Music Week’s international

The Event’s Press Release states:

22

CLICK-A-GIG.COM enables artists to MAIL their music to more than 6.000 venues and agencies worldwide…

business activities, and, as Berlin Music

Week’s co-curator, our contact for export

agencies and companies abroad. “As part of

‘First We Take Berlin!’, we will continue our

co-operation with The Great Escape amongst

others, offering a variety of showcasing

opportunities – from a newcomer slot at

Berlin Festival to a business reception at one of

Friedrichshain-Kreuzberg ’ s hotspots.”

The Berlin Festival GmbH & Co. KG will

function as main organiser of the event

with support from the chief partners ,

Matthia s Hörstmann (Hörstmann

Unternehmensgruppe / HUG) and Festival

Republic (LTD / Melvin Benn). As part of this

deal, holders of a Berlin Festival multipleday

Tickets will have free entry, provided that

festival goers registered via the official

Berlin Festival website prior to the event.

Accredite d visitors of the Berlin Music Week

will also have access to the events. Everyone

else will be able to purchase First We Take

Berlin! festiva l tickets for EUR 15 (+ booking

fee) only!

The organisers of Berlin Music Week and

Berlin Festival have been working together

closely since 2010, for example planning the

Berlin Music Week Stage’s line-up (now First

We Take Berlin! Stage) as part of the Berlin

Festival, which takes places on 6th and 7th

September at the former Tempelhof Airport.

Stefan Lehmkuhl, Hörstmann Unter-

nehmensgruppe ’s head of booking

comments : “Melt! Booking already is

numbe r one in Germany when it comes to

discovering and establishing international

acts. I’m excited to enhance our portfolio,

which already includes successful indoor

concert series like ‘Introducing’ or ‘Certain

People’ alongside the larger open air events,

with yet another event of international

importanc e. I’m looking forward to working

on this ambitious project together with the

Berlin Music Week over the next few years.”

“Apart from London, Berlin is one of the

most important career starting points for

many bands; and an essential part of the

festival landscape. I’m delighted to see

long-lastin g projects grow and develop, while

being an immediate factor in maybe helpin g

the next headliner to stardom,” Melvin Benn,

Berlin fan, head of Festival Republic, and

co-host of Berlin Festival since 2011, comments.

First names will be announced at the end of

June, coinciding with advance tickets going

on sale.

CONTACT INFO:

Project Manager:

Klemens Wiese (Event and Venue Director of

HUG)

Programme Coordination:

Julia Gudzent (Booking Manager of Melt!

Booking)

Art Director:

Natasha Haddad (Festival Republic, former

Head of Programming of the renowned UK

show case festival, The Great Escape, and

now Music Programmer for Latitude Festival

UK)

Melt! Booking Team:

Alexander Kralisch, Justus Mang

Berlin Music Week Contact:

Björn Döring

International Business Coordination:

Paul Cheetham

VIPNEWS > MAY 2013

22

23

VIPNEWS > MAY 2013

CTS EventimProfit Booster Ticketing

There is no business like ticket business. As usual CTS Eventim again

reports growing revenue and profit results for its ticketing division.

For the first quarter (Q1) the company has been able to increase the

number of sold tickets by about 15 percent.

The revenue for this part of the company increased by 17.3 percent

and even compensated for lower revenue results within the Live

Entertainment segment of CTS Eventim.

The total turnover rose from 113.9 to 121.1 million Euro. The Earnings

before Interests, Taxes, Depreciation and Amortisation (EBITDA) rose

11.1 percent from 25.7 in Q1-2012 to 28.6 million Euro, the EBIT

from 20 to 23 million Euro.

The ticketing revenue climbed from 53.1 to 62.3 million Euro and

gained alone therefore EBITDA of 23.7 million Euro compare to 20.9

million one year ago.

The revenue within CTS Eventim’s Live Entertainment department

went down from 62.7 to 60.3 million Euros, a drop of 3.7 percent.

Since the beginning of the year the share price of the company went

up from 27.07 to 31.34 Euro.

Live NationA Different Story!

Yes, the revenue is rising, but the resulting profit can easily be

misinterpreted . Within the first nine months Live Nation has been able

to increase its revenue results from $4.198 in the same period last year

up to $4.381 billion. The company operating income also rose from

$85 to $104.7 million, while the diluted net loss per share is reported

with $0.02.

Anyhow Michael Rapino, CEO of Live Nation Entertainment concludes:

“For the quarter, global concert attendance is up 2 percent and ticket

sales for Ticketmaster increased 3 percent. We expect to have continued

growth in ticket sales in the fourth quarter, as compared to last year,

for both Concerts and Ticketmaster. As a result, we currently anticipate

growth across Concerts, Ticketing and Sponsorship & Advertising for

the fourth quarter and full year.”

In Q3 alone the revenue of the concert division was $1.4 billion

compared to $1.2 billion one year ago. For the 9 months period the

concert revenue rose 5.1 percent from $2.81 to $2.95 billion. The

ticketing department moved within the last nine months from $966.7

up to $1001.5 million, the department Artist Nation from $293.9

up to $298.6 million. Percentage-wise the biggest gain has been in

Sponsorship & Advertising which moved up 5.9 percent from $182.5

to $193.2 million.

VIPNEWS > BUSINESS > DECEMBER 2012 MUSIC IN SHARES

Music in SharesManfred Tari mt@vip-booking.com

Go online - www.vip-booking.com

Need to know who istouring Europe

®

vip-booking.com

23

24

VIPNEWS > MAY 2013

DEAGRe-Consideration of Local Business In Berlin

DEAG announced that it would strengthen its business activitie s

for the regional concert business in Berlin. The company have

therefore re-activated the DEAG-subsidiary Concert Concept

Veranstaltungs-GmbH Berlin, which according to the company in

recent years promoted less shows due to collaboration with another

local promoter .

DEAG-CEO Peter Schwenkow founded Concert Concept in June

1978 and appointed his son Moritz Schwenkow as the new managing

director for the company.

VIPNEWS > BUSINESS > DECEMBER MUSIC IN SHARES

Moritz Schwenkow

C

M

Y

CM

MY

CY

CMY

K

Anzeige_VIPMag_ProSky_X4.pdf 1 09.12.10 10:43

24

MONTHLY FEATURED ARTIST POWERED BY

Acca Dacca - The Australian AC/DC Show Territory: Europe Period: June/July Agency: Bandwidth Touring Agent: Alex Simmons Phone: +353 85 7122923 E-mail: alex@bandiwidthtouring.com Homepage: www.bandwidthtouring.com

Barclay James Harvest feat. Les HolroydTerritory: W orldPeriod: Summer 2013, Autumn/Winter 2013Agency: KultopolisAgent: Markus SollnerPhone: 0049-6861-939980 E-mail: booking@kultopolis.comHomepage: www.kultopolis.com

Chic Feat. Nile Rodgers Territory: EuropePeriod: 2013Agency: GLPAgent: Georg LeitnerE-mail: gleitner@glp.at

MUSICAL YOUTH Territory: THE WORLD Period: May 2013 - MARCH 2014 Agency: STRATOSPHERE MUSIC Agent: STEVE HUGHES Phone: +447779257295 E-mail: musicmgmt@hotmail.com

Martin Turner’s Wishbone AshTerritory: Europe excl. UK, E, B, NL, G Period: Summer 2013, Autumn/Winter 2013 Agency: Kultopolis Agent: Markus Sollner Phone: 0049-6861-939980 E-mail: booking@kultopolis.com Homepage: www.kultopolis.com

TV Off Territory: Europe Period: 2013 Agency: RedBerg Agency Agent: Juha Juoni E-mail: juha.juoni@redberg.fi Homepage: www.redberg.fi

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Martin Turner’s Wishbone Ash

Mercury Tide Feat. Dirk Thurisch

Dirk Thurisch – The voice of Angel Dust is back!After a break of ten years, former

Angel Dust vocalist Dirk Thurisch finally returns with his band MERCURY TIDE,

which once started as a project and now grew to a full-fledged band. The new

album “Killing Saw” is a natural progression from Dirk‘s last album “Why”.

Eventually the time has come that one of the most important German Melodic

Metal singers returns like a Phoenix, rising from the ashes!Dirk Thurisch has

closed the chapter “Angel Dust” once and for all. Several failed attempts to

revive Angel Dust only strengthened Dirk‘s wish to get started with MERCURY

TIDE on a grand scale. Contrary to the debut from 2003, Dirk and his band,

including drummer and producer Carsten Rehmann, bassist Chris “Dagger”

Pohlmann and keyboarder Sim Reaper, place value on a more traditional sound

that suites the band‘s stage persona. Great emphasis lies on the creation of a

diversified, consistent atmosphere.Magnificent melodies meet playful guitar riffs

and catchy choruses, to which you want to sing along immediately. The opener

and title track “Killing Saw” is a suiting introduction to MERCURY TIDE‘s musical

landscapes. With “Home”, Dirk gives a clear-cut statement. He is happy to be

back in the Metal scene and doesn‘t only look forward to meet up with his old

fans, but also to make new ones…

Read more about” Mercury Tide Feat. Dirk Thurisch”:

http://www.click-a-gig.dk/epk/209/bio

25

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VIPNEWS > MISC > MAY 2013 MEMBER PRESENTATION

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The story of Barley Arts Promotion, leader for the organisation and

production of entertainment and music shows, revolves around the

figure of Claudio Trotta (b.1957 in Milan).

Following his college years passion for the link between “high” and pop

culture, he starts his career with Radio Montestella, then in 1975 he’s

at Canale 96, the very first news radio, organising the first live shows of

his life. In 1979 he graduates at the Civica Scuola di Arte Drammatica as

music operator, spending a training period at the Teatro alla Scala. The

same year he founds BARLEY ARTS PROMOTION (first tour: JOHN MAR-

TYN) whose name is a homage Trotta pays to one of his early passions,

Anglo-Saxon country and folk. Going through some TV experience

(TeleRadioMilano 2), he’s involved by Lucio Salvini (chairman at Ricordi

by that time) in his Country e Folk Label project and becomes the Italian

promoter for the artists in the roster. Later on, Salvini will entrust him

with Artistic and Marketing Direction of the Blues & Rock Project series

at Carosello. As one of his latest personal side projects, Trotta edited The

Milan Music Dictionary (1995), together with Paolo Zenoni. He’s one of

the Founders of the following Associations:

ASSOMUSICA

Italian Association of Producers and Organisers of Live Music

Entertainment (founded 1996): Board Director from the beginning.

YOUROPE

The European Festival Association (founded 1998): Board Director

1998-2001.

The company, which has been doing more than 3500 live shows,

festivals and special events since 1979, operates on many levels, e.g.:

1) Promotion of international artists in Italy

E.g. STING, PEARL JAM, BRUCE SPRINGSTEEN, TOM WAITS,

SHAGGY , AEROSMITH, THE CURE, LENNY KRAVITZ, AC-DC, PHIL

COLLINS, SLIPKNOT, METALLICA, STEVIE WONDER, RAY CHARLES,

BARRY WHITE, EARTH, WIND & FIRE, VAN MORRISON, B.B. KING,

PAGE & PLANT, KISS, IRON MAIDEN, YES, CHEMICAL BROTHERS,

DREAM THEATER, PRODIGY, LOREENA MC KENNITT, RAGE AGAINST

THE MACHINE, DEFTONES, PAUL WELLER, LIMP BIZKIT, DEEP PURPLE,

DAVID SYLVIAN , HOOVERPHONIC, DAVID BOWIE, SANTANA, FRANK

ZAPPA, LORD OF THE DANCE, SHAOLIN MONKS and more.

2) Promotion and production of Italian artists in Italy

(NEFFA, SOTTOTONO, LITFIBA...)

3) Production and co-production and Promotion of Festivals

MONSTERS OF ROCK, SONORIA, MILANO BLUES FESTIVAL, IRLANDA

IN FESTA, LAGHI LOMBARDI IN FESTIVAL, FLEADH, BALKANIKA,

MONZA ROCK FESTIVAL, PISTOIA BLUES FESTIVAL, COCA COLA

DANCE FESTIVAL…

4) Organisation, production and promotion of Italian artist’s concerts

and tours abroad (e.g. first international shows of Vasco Rossi, Eros

Ramazzotti, Sabrina Salerno...)

Barley Arts Promotion

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