VIP-News Premium - January 2016

VIPNEWS PREMIUM > VOLUME 186 > JANUARY 2016

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VIPNEWS > JANUARY 2016

McGowan’s Musings

Here we are then with the first News of

2016. Of course the first shock of the year

was the death of David Bowie, and it really is

a shock when artists of Bowie’s stature pass

on, they begin to be considered immortal.

My own memory of him concerned the

first ever concert promotion I was involved

in, which was in 1969, it took place at The

Brighton Dome and featured headliners The

Edgar Broughton Band, supported by a long

haired (of course!) singer songwriter playing

twelve string guitar, strangely I recall that he

was introduced as David Jones, although

Space Oddity had just become a hit, and he

was then known as David Bowie.

Having seen the departure of Lemmy to take

his place with the rock gods, or wherever he

decided to land up late last year, this year

is not starting well, besides Bowie, Glenn

Frey, co-founder and guitarist of the Eagles

has passed on, they all leave a legacy. Also

Dale Griffin, original drummer of Mott the

Hoople lost his battle with illness recently.

The VIP team were all in rainy and reasonably

cold Holland earlier this month for the

thirtieth edition of Eurosonic Noorderslag,

in Groningen. This very attractive University

City apparently has the highest average

number of young people in the Netherlands,

so I thought I should go and alter the figures

a bit by adding a bit of age! Talking of age,

much is said about older musicians still

holding on to the top touring spots; I notice

for instance that Sting and Peter Gabriel are

to tour together – mutual support perhaps?

During the Agent’s panel at Eurosonic Jeff

Craft of X-Ray Touring – tongue in cheek

of course, inferred that agents may have to

turn to euthanasia to clear their rosters of

older musicians and acts that refuse to go

quietly to make room for new talents.

Whether looking back over the development

of the business, as we do in this issue’s

report on Eurosonic, or looking to future

development as hopefully we do when

considering the development of new talent

through ETEP, the EBBAS (see report in

this issue) or the work of aspiring gents,

managers and artists, the main reality is

of course the present. During my keynote

interview with leading German promoter

Marek Lieberberg at Eurosonic, I was struck

by his phrase when referring to his method

of operation which concentrated on the

now, he said “We are all moving through

the corridor of today” – A good line I

thought, I did ask about the T-Shirt rights,

but we moved on to more important things

like his recent deal with Live Nation. All in all

a very interesting interview!

One of the original intentions of the

Eurosonic’s Peter Smidt with the ETEP

programme was to overthrow the Anglo-

American acts stranglehold on the live circuit

in Europe, although this hasn’t entirely been

achieved, great progress has been made

(– see EBBA report in this issue). But it’s

interesting to note that Pollstar Pro’s annual

year-end report informs us that of last year’s

highest-grossing worldwide concert tours,

just four American artists – Garth Brooks,

Kenny Chesney, Foo Fighters and Taylor Swift

– place in the top 10 (at ninth, eight, fifth

and first, respectively), with the remaining

six spots taken up by bands hailing at least

partially from the United Kingdom …

The Sunday Times released their list of the

top 500 most influential people in the UK

at the weekend, and just to show that we

move in the right circles, the list included Phil

Bowdery of Live Nation who took part in the

‘The International Ticket Figures 2015’ panel

at Eurosonic, which I enjoyed moderating,

and Emma Banks of CAA who we shared a

table with at The European Festival Awards.

Now I only need to become intimate with

the other 498 and there’ll be no stopping

me achieving fame and fortune in the UK!

So, to kick off 2016, Ladies and Gentlemen

– The News!

COLOPHON >

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SFX Entertainment has secured $20 million

in new financing, for “itself and certain of

its operating subsidiaries”.

Limited additional details are available ahead

of the company filing a Form 8-K, but the

capital, “for its working and general corporate

purposes”, follows SFX`s attempts to stay

afloat amid falling revenues in the new year.

Back in December, the EDM promoter

hired investment bank Moelis & Co to look

at ways of cutting the company`s debt,

including potential sales of non-strategic

assets.

So far this year, SFX has defaulted on its

content agreement with Spotify, after CEO

Robert FX Sillerman failed to purchase $15

million in preferred stock by October 17,

and management company TMWRK, home

to Diplo, has also paid $3.6m to buy itself

out of the SFX brand.

Rumours continue that the company

is considering filing for bankruptcy.

GoldenTreeAsset Management assigned

the its revolving credit facility to Catalyst

Fund Limited Partnership V on December

31, while a filing with the Securities and

Exchange Commission states that SFX has

hired FTI Consulting as a chief restructuring

officer.

Lady Gaga has left William Morris Endeavor

and is now represented by CAA in the US.

According to the Hollywood Reporter, the

29-year-old, who won best actress in a TV

movie or miniseries at last week`s Golden

Globes, will be represented by CAA in all

areas.

Lady Gaga will still be represented in Europe

by Solo Agency`s John Giddings.

Gaga`s Monster Ball Tour from 2009-11

was the world`s highest grossing for a first

time headliner ($227.4 million), while 2012`s

Born This Way Ball was that year`s sixth

highest grossing tour ($124.9m). Her most

recent tour, 2014`s ArtRAVE: The ARTPOP

Ball was attended by more than 1m people.

SFX receives $20m in new financing From VIP-Daily News

Lady Gaga leaves WME and joins CAA From VIP-Daily News

Lady Gaga

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Live Nation sold almost twice as many tickets as nearest ticket selling

rival AEG Live in 2015.

Live Nation sold 29,256,967 tickets to its shows in 2015, with AEG in

second place on 14,727,426, according to Pollstar`s year-end figures.

UK based SJM Concerts was fifth with 2,647,230, behind family

entertainment specialist Feld Entertainment in third (4,404,637) and

Mexico`s OCESA/CIE (3,189,552) in fourth.

The Top 10 was rounded off by Germany`s Marek Lieberberg

Konzertagentur, South American promoter T4F, Australia`s Frontier

Touring Company, US-based MSG Entertainment and Mexico`s

Zignia Live.

Ireland`s biggest promoter MCD Productions placed 14th, selling

1,284,855 tickets, while Aiken Promotions was 35th after 549,210

ticket sales.

®

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Live Nationbiggest ticket seller in 2015 From VIP-Daily News

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30 Years of Eurosonic Noorderslag - A Mission For Music In EuropeManfred Tari [email protected]

VIPNEWS > INDEPTH STORY > JANUARY 2016

The headline of the official press release

concerning the results of the recent edition

of this meaningful trade event reads, “30

years Eurosonic Noorderslag, still at the

forefront of European Music”. A very true

statement as this event has created and

launched initiatives for the benefit of the

European live music community like no other

music convention.

A 30 years anniversary is also a worthwhile

opportunity to show off these achievements.

Eurosonic Noorderslag paved the way for

many other showcase festivals in Europe.

From the beginning with the one-day event,

Noorderslag, it provided a platform for new

artists; initially for artists exclusively from the

Benelux. But this purpose was maintained

when Noorderslagting was added as an extra

day to the event in 1993. Over the years this

extra day developed and in 1999 evolved into

Eurosonic.

The list of merits this festival gained over the

years is impressive. For the younger ones

among our readers, back in the Nineties,

when Midem in France, Popkomm in

Germany or even the New Music Seminar

(NMS) in the US were the leading events for

the music industry Eurosonic Noorderslag

began making efforts to move things on a

political level.

The political situation in those years was very

different than the one of today. Awareness

and any political recognition for the relevance

of popular music was something completely

new. The soft launch of public support for

popular music started in the Netherlands in

the late seventies, followed by France in the

late Eighties.

In those days record companies were

still the power players within the music

industry, while the live music community was

considered a promotional unit helping to

stimulate record sales.

But to cut the story short, the European

Union was still under development in those

early days. Touring bands crossing borders in

Europe still needed a so called ‘Carnet’, an

official declaration for custom authorities,

featuring a list of the entire amount of

equipment and merchandising items artists

were carrying with them. Yes, crossing

borders in those days was still a challenge

for all tour managers and artists involved

in playing abroad, while almost all customs

officials at every border control spent at least

two hours checking whether every single

item was listed in the Carnet or not.

In those days ‘Old Europe’ was still fully in

effect. UK and US artist were considered as

the one and only outfits considered credible

and meaningful rock and pop artists apart

from a few exceptions such as Golden Earing,

Kraftwerk or the soft metal band Europe.

But as the business grew over the years

opportunities arose for artists from other

European countries. The number of

festivals and venues gradually increased,

concert companies grew bigger and all a

sudden corporate companies such as SFX

Entertainment, DEAG and CTS Eventim

debuted on the various stock markets, while

the invention of the data format MP3 and the

activities of companies like Napster destroyed

the balance sheets of record companies and

popular artists.

Eurosonic Noorderslag was still there while

Midem and Popkomm in Europe faced their

first economic backlash and SXSW filled the

gap left by the melt down of the NMS in

the US. Still on board in those days around

the advent of the new millennium was the

European Music Office (EMO) in Brussels. Eurosonic Noorderslag celebrates 30 years

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Support for the music sector in Europe

on national levels was still something

exceptional, but at least due to the on-going

changes in the music industry the idea of

support for the circulation of European

repertoire was successfully implemented at

the European Commission by the folks from

Eurosonic Noorderslag and EMO.

Peter Smidt at Conamus, the forerunner of

Buma Cultuur was journalistically recognised

as the architect of the European Talent

Exchange Program, and Jean Francois

Michel as the EMO political spin doctor in

Brussels, while Ruud Berends deployed

the very practical and effective live music

industry mechanism of this project, that

in collaboration with Yourope and the

European Broadcasting Union (EBU) turned

out to be one of the masterpieces of

Eurosonic Noorderslag so far.

When ETEP was launched in 2003, Yourope

was still under the leadership of Gunnar

Lagerman, Rikke Oxner, Nana Trandou

and Phillipe Cornu, and Christof Huber as

General Manager had just opened its office

in Sankt Gallen. Huber meanwhile became

the General Secretary of Yourope, but

Eurosonic Noorderslag is still the host of one

of the most vibrant regular meetings places

for this organisation in Europe.

ETEP benefitted from more than just from

the well designed set up of the programme.

The Eurosonic bookers in the first three

years, Igor Monnink und Sjikke Meyer and

later on Robert Meijerink and Joey Ruchtie

over the years proved that they could spot

an extremely high number of new artists

that went on to become highly successful

following their participation in ETEP.

Besides ETEP being a success story of its own,

Eurosonic Noorderslag used the programme

to pave the way the way for other popular

music projects at the European Commission.

In 2004 based on the joint idea and initiative

of Jean Francois Michel of EMO, the music

industry journalist Emmanuel Legrand and

Nikolaus Van Der Paas, Director-General

for Education and Culture, the Commission

launched the European Borders Breaker

Award (EBBA). The first edition of this award

took place at Midem in Cannes, but since

2009 has been presented during Eurosonic

Noorderslag.

It is worth mentioning the way that in recent

years Eurosonic Noorderslag has added new

events in order to cover the current value

chain of the music sector appropriately. One

is Buma Music Meets Tech looked after by

Andy Zondervan and European Production

Innovation Conference (EPIC) organized by

Marcel Albers.

Another famous Peter of Eurosonic

Noorderslag is Peter Sikkema. He has been

on board since 1991, but aside Peter & Peter

it is also a really efficient team working on

this event that is organized in collaboration

Peter Smidt and Ruud Berends two of the pioneers behind Eurosonic Noorderslag


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Official numbersEurosonic Noorderslag 2016Total number of visitors: 42,100 (sold out)

Conference visitors: 4,124 (sold out)Nationalities: 40

Acts: 345Number of venues Eurosonic: 42

Number of venues Noorderslag: 11Media & journalists: 425EBU radio stations: 37

International festivals: 424ETEP festivals: 95

The most nominated acts at Eurosonic for the upcoming ETEP season are: Blossoms (UK), Dubioza Kolektiv (BA), Nao (UK), John Coffey (NL) and Liima (DK/FI).

between Buma Cultuur and the Noorderslag

Foundation. The list of contributors includes

Corne Bos, Nikki Wright, Cathelijne Baron,

Marije Jansen, Dago Houben, Karsten

Ter Hoeven, Nikki Schurs, Inge Groen,

Frederique Vroom and many other highly

engaged personalities that welcome

European music professionals each year to

Groningen in the North of the Netherlands.

Yes, Eurosonic Noorderslag has become a

massive event and already underlines due

to its once again slightly increased visitor

figures how important Europe became for

the music sector. It is interesting to see how

many Eastern Europeans attend Eurosonic

Noorderslag and it is remarkable how

these people have worked together for the

success of CEETEP, a spin off programme

of ETEP especially dedicated towards artists

and festivals in that part of Europe. It was

remarkable to see Frans Timmermans, Vice

President of the European Commission

speaking passionately at the EBBA award

ceremony about how he considered David

Bowie an inspiration to other artists across

borders.

The European music sector significantly

benefitted from the European Union, from

the efforts by former generations to open

up borders and to diminish the impact

of nationalism movements. Currently it

cannot be ignored that these aspects are

contradicted by a marked move towards

nationalism almost everywhere in Europe.

With this in mind, the political situation

in Europe at the moment is unfortunately

anything but boring. But at least there

still seems to be place on Earth, where

everybody easily can get bored as Allan

McGowan commented during his key note

interview with German promoter Marek

Lieberberg at Eurosonic Noorderslag

indicates.

When Lieberberg elaborated that once

he felt bored during his vacation on the

beautiful Hawaiian island of Maui, so he

put on a concert with Neil Diamond at the

island near Hawaii, McGowan responded: “

Yes, I always get bored in Maui…”...

With this in mind, Groningen isn’t Maui

and Eurosonic Noorderslag 2016 delivered

a fully loaded package of Europe “at the

forefront of European Music”. Saying this,

it might be also useful to appeal to the

European music community to improve

their engagement to promote the European

idea a little more than in the recent past...


Marek Lieberberg at eurosonic 2016

www.ilmc.com

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European Border Breakers Awards 2016Manfred Tari [email protected]

The winners of the 2016 European Border

Breakers Awards (EBBA), the European

music awards for emerging artists, received

their trophies this during a ceremony at

Eurosonic Noorderslag. The ceremony

was as usual hosted by TV personality and

musician Jools Holland and opened by the

European Commission’s First Vice-President

Frans Timmermans, who also presented

the Public Choice Award to the Latvian

band Carnival Youth. Considering that the

showcase focus of this edition was on acts

from Eastern Europe, with the intention of

creating awareness of this region as a an

essential part of the overall European music

landscape, and celebrating the successful

completion of the CEETEP programme, the

success of Carnival Youth is very fitting.

The EBBA show also featured outstanding

performances by other 2016 winners: Álvaro

Soler (ES), Aurora (NO), Kovacs (NL), Oscar

and The Wolf (BE), Seinabo Sey (SE) and

SOAK (IE). The other 2016 EBBA winners

– Christine and The Queens (FR), Robin

Schulz (DE) and Years & Years (UK) - could

not perform at the show. In the upcoming

year the EBBA TV show will be broadcast by

several European public broadcasters. Parts

of the show can be watched through the

Youtube channel of the EBBA.

The EBBA project was instituted with

the aim of breaking down borders and

recognising emerging European rock, pop

and dance artists who achieved success

in countries other than their own. The

winners are selected on the basis of success

outside their own country with their first

international release. This is measured by

sales, radio airplay and live performances at

festivals. The EBBA – supported by Creative

Europe, the European Union program for

the cultural and creative sectors – aims

to encourage artists to perform in other

countries and audiences to appreciate

Europe’s wealth of music talent – wherever

it comes from.

Tibor Navracsics, Commissioner for

Education, Culture, Youth and Sport

said: “Music is one of the most dynamic

cultural domains with strong creative and

economic potential. With the Creative

Europe Programme, which co-funds the

EBBA awards, we are making sure that

music flows across borders and that young

talent finds audiences all over Europe.”

First Vice-President of the European

Commission Frans Timmermans added:

“We want to promote and spread our

cultural diversity across Europe. The results

of this effort, and especially the EBBA

awards today, enrich the cultural landscape

and the lives of millions, but also bear

economic fruit, creating revenues and jobs.”

Past winners have been:

Adele in 2009, Milky Chance in 2015,

Stromae, Emeli Sande, Gabriel Rios,

Hozier, Melanie De Biasio, Of Monsters

and Men, Woodkid, Mumford & Sons,

Caro Emerald, Lykke Li, Disclosure, Katie

Melua, John Newman, The Ting Tings,

C2C, Tokio Hotel, The Script, Zaz, Nico &

Vinz, Saybia, Damien Rice, KT Tunstall,

Alphabeat, Milow and Afrojack.

Winners at EBBA 2016 - photo by Jorn Baars


https://www.youtube.com/user/EBBAAWARDS

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European Festival AwardsAllan McGowan [email protected]

The 7th edition of the European Festival Awards took place on the opening night of Eurosonic, presented by Glastonbury lawyer Ben Challis and IQ Magazine Editor Gordon Masson the winners were:

Best Major FestivalIn association with Charge Candy

Untold Festival

Best Medium-Sized FestivalIn association with Eventbrite

Telekom Volt Festival

Best Small FestivalHappiness Festival

Best New FestivalLollapalooza Berlin

Best Indoor FestivalLes Transardentes

Festival Anthem of the YearMajor Lazer – Lean On

Newcomer of the YearIn association with Eurosonic Noorderslag

Hozier

Best HeadlinerThe Prodigy

Best Line UpIn association with IFF

SzigetArtists’ Favourite Festival

Rock Werchter

Promoter of the YearIn association with Bucks New University

Horstmann Unternehmensgruppe

Agent of the YearEmma Banks (CAA)

Green Operations AwardIn association with Go Group, Yourope

Tollwood Festival

Yes Group H&S Innoation AwardDas Fest

Excellence and Passion AwardChris Kemp

Lifetime Achievement AwardIn association with PlayPass / PayPal

Jean-Louis Brossard and Beatrice Macé (Trans-Musicale Festival: France)

Emma Banks - Agent of the year at the European Festival Awards


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CDU Dortmund files proposal to withdraw its

25.000 Euro subsidy for Juicy Beats Festival.

Where there is sunshine, there is shadow.

The promoter of the festival Juicy Beats in

Dortmund faces the withdrawal of a subsidy

of 25.000 Euro by the City of Dortmund.

The Christian Democratic Party (CDU) filed

an application to cut back the grant, arguing

that in recent years the festival became very

popular and did not need the money due to

very good ticket sales.

In fact the event has gradually developed

over twenty years to a reasonable capacity

of 33.000 visitors. In 2013 the co-promoters

Pop Modern and U-Pop, a registered non-

profit association, celebrated a new visitor

record with 27.000 tickets sold, followed in

2014 by a first sell out edition with 33.000

tickets sold.

For its 20th anniversary edition in 2015 for

the first time ever the promoters added a

second day to the event. As in 2014 the

event sold out in advance, nevertheless for

this anniversary edition the promoters also

faced the biggest challenge in the history of

the festival.

While the first day of the event on July

24th went ahead as scheduled, with

around 15.000 visitors, the second day was

cancelled at short notice on the morning of

July 25th due to the news of the impending

storm, named as Zeljko, which caused many

cancellations of open air events all over

Germany. The promoters of Juicy Beats

were fortunately saved from a massive

financial loss as they benefitted from taking

out a bad weather insurance policy.

However, the political proposal by CDU

Dortmund to withdraw the funding for the

festival opened up a debate on a local level

that meanwhile also caused reactions from

parties such as the Liberal Party (FDP) and

Green Party (Bündnis 90/ Die Grünen). All

mentioned parties released statements,

stating why they were for or against the cut

back of the subsidy for Juicy Beats.

More interesting is that those statements

reveal how little those local politicians

in Dortmund know about on-going

developments on a European level or those

outside of Germany. As VIP News and

others previously reported, the European

Commission is considering the launch of a

support programme in favour of the music

sector, similar to the one already in place

for the media and film sector as part of

the support programme “Creative Europe”.

Already for the current support programme

“Creative Europe” the European Commission

concludes in a mission statement that

creative industries are a:

“Driver of economic growth and employment

(4.5% of EU GDP, 3.8% of EU workforce)

• Greater contribution than many other key

sectors

• Higher than average growth rates in

recent years

• But facing common challenges and could

contribute even more!”

Different to the statement by the European

Commission, a spokesperson of the Green

party concludes in reference to historical

development of this festival, having been

previously financed and supported by the

Department of Youth that “Juicy Beats isn’t

a commercial festival as many others.”

Well, ‘commerce versus culture’ is not only

an argument used by the Green Party,

when it comes to the debate of granting

subsidies for popular music projects. In fact

this argument is often used in the political

landscape of Germany when it comes to the

discussion, how meaningful the support of

culture might be in these times.

When it even comes to the question of

support for popular music, the political

mainstream considers this as, “commercial”,

therefore unlike theatre, museums or

classical music simply not in need of, or

perhaps deserving, public subsidies.

But the political debate on a national and

international and surprisingly even on a

local level, Dortmund itself in recent years

also focused on the economic relevance of

Europe In A NutshellManfred Tari [email protected]

Juicy Beats Festival Dortmund

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the so-called “Creative Industries”. Bearing

in mind that politicians in general have a

certain understanding of the necessary

support required by various other industries

such as the energy sector, the export of

industry goods or the development of IT and

technology products.

But taking the statements by local branches

of the CDU, FDP and the Green Party under

scrutiny, reveals that none of those is taking

some of the aspects into consideration that

perhaps are in line with conclusions and

observations made on a European level.

It furthermore can be assumed that the

majority of local politicians in Dortmund are

also not aware of the results of the study

“Music Tourism -Wish You Were Here 2015”

by UKMusic.org or the study “1er Panorama

Des Industries Culturelles Et Créatives”

by the consulting company EY (formerly

known as Ernst & Young) in 2013 about

the relevance of the economic value of the

culture & creative sector and its contribution

towards the French economy.

When talking to a member of the Green Party

in Dortmund about the political initiative of

CDU to cut back the subsidy for Juicy Beats,

he emphasized that politicians on a local

level are mainly citizens that do not get paid

for their engagement. In reference to the

mentioned surveys and studies, he argued

that local politicians simply do not have the

expertise and the knowledge about what

goes on internationally in terms of “Creative

Industries”, “Creative Europe” or even the

music sector.

This off course sounds understandable,

but it unfortunately also reveals the lack

of information and knowledge by local

politicians about movements and findings

beyond their local level of expertise.

This Dortmund example furthermore

reveals that the promoters of Juicy Beats

neglected in recent years to undertake

proper lobbying, informing local politicians

about what is going on elsewhere. In fact

a spokesman of Juicy Beats confirmed that

the press release that responded to the

political approach for the withdrawal of the

grant issued by the CDU has only been sent

out to local media sources.

However, in its more than twenty year

history Juicy Beats managed to solve bigger

challenges than a cut back of 25.000

Euro. But saying so, it is also worthwhile

to mention that the promoter of Juicy Beats

similar to the CDU, FDP and the Green

Party is now having some sort of a debate

that misses out any of those arguments as

they may be used beyond Dortmund on

a European or national level in order to

achieve a proper political finding about the

pros & cons for a subsidy of this event.

It sounds fair enough as this is only a local

case, but it is disappointing to see how all

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involved parties exclude proper and valuable

arguments as they are used in an up-to-date

debate how to support projects or products

out of the creative sector that have the

potential to stimulate economic growth, to

create jobs and spill over effects towards

other sectors such as tourism or media

appropriately.

More disappointing even is to see that

Dortmund has a certain experience in terms

of the support of the creative industries. One

of these contributions has been the launch

of the “Dortmunder U”, the conversion of

a former brewery in the centre of the city

towards a “centre for arts and creativity”. This

project was one of its main contributions,

among others, by the city towards “Ruhr

2010”, when the Ruhr District was declared

European official “Capital Of Culture”.

According to the local newspaper Ruhr

Nachrichten, by the end of 2015 this built

up expenses of 91 million Euro. Just next to

the building the City of Dortmund originally

intended to build an office building entitled

“Centre For Creative Economy”, dedicated

towards companies from the creative sector.

Due to a lack of demand this idea meanwhile

has been postponed as Ruhr Nachrichten

reported in September 2015 and has been

used since January 2016 as office space for

the company Thyssengas.

The City of Dortmund is furthermore a

stakeholder of the company “European

Centre Of Creative Economy” (ECCE) which

for the years 2013/2014 gained subsidies of

about 600.000 Euro and another 1.6 million

Euro for projects such as “Kreativ.Quartiere

Ruhr” and “Labkultur.TV”. The latest posts

on Labkultur.tv are dated December 2014,

while Kreativ.Quartiere Ruhr is at least a

regularly updated Facebook-site.

Perhaps consideration of these exciting

but obviously more expensive experiences

than a 25.000 Euro subsidy for Juicy Beats

could lead to local politicians now starting

to develop together with the promoters of

this festival, different and more sustainable

strategies and measures to support the

creative industries in Dortmund more

appropriately and efficiently than before...

Marc Geiger is the highly respected and influential chief of the music

division at William Morris Endeavour Entertainment (WME). Geiger

oversees 85 agents and 2,000-plus WME clients, as well as his own

roster, which includes Jack White, Outkast, Rihanna, Tom Petty, Nine

Inch Nails and the newly reformed LCD Soundsystem.

He has been the driving force behind brands as disparate as

Lollapalooza and ARTISTdirect and did a stint as VP of A&R at Rick

Rubin’s American Recordings. Geiger will be the subject of the

always hotly anticipated Ed Bicknell Breakfast Meeting on the Sunday

morning, March 6, at this year’s 28th edition of the ILMC. Former

Dire Straits manager and industry legend Bicknell also worked with

Geiger at WME for a time. This reunion looks to be the hot ticket

at ILMC 28.

ILMC Workshops:

Tech giants Twitter and Google will each be hosting a session at

ILMC designed to help delegates make the most of their respective

online tools.

Twitter UK’s head of entertainment partnerships Georgina Parnell will

examine how promoters, festivals and artists can better engage and

monetise fans using the social networking service, while Stephanie

Kovach, industry manager for ticketing, and Matias Llort Lorenz,

strategic partnership manager, of Google UK will outline how

promoters can sell more tickets through audience insight and by

creating an immersive experience using Google’s apps and YouTube.

The sessions are the first workshops to be announced for this year’s

invitation-only conference, which welcomes 1,100 of the leading

live music industry professionals from over 60 countries. ILMC takes

place in London from 3-6 March.

Marc Geiger for ILMC 28Breakfast MeetingAllan McGowan [email protected]

Marc Geiger Keynote ILMC

14


The Charity organisation dedicated to

providing protection to children caught in

conflict, War Child, has announced the line

up for Passport to BRITs Week together

with O2, a week of fundraising gigs offering

fans exclusive access to some of the biggest

names in music in the most intimate venues

– all in aid of the charity.

Passport to BRITs Week will see indie

innovators Bloc Party headlining Bush Hall

in West London on Monday 15th February;

hardcore troubadour Frank Turner playing

his smallest show in years at Camden’s

Monarch on Tuesday 16th February; multi-

million selling Professor Green taking in

East London with a show at Hackney’s Oslo

on Wednesday 17th February; producer,

mixer, DJ and member of The xx Jamie xx

playing LN-CC on Sunday 21st February;

world conquering dance act Above &

Beyond heading to The Pickle Factory and

singer songwriter Lianne La Havas playing

an incredibly intimate Sofar Sounds living

room gig on Tuesday 23rd February and

BRIT Award winnerFlorence + The Machine

headlining the beautiful St John at Hackney

on Friday 26th February.

Produced by War Child together with O2

and part of BRITs Week 2016, these will

be the smallest gigs making the biggest

difference.

To enter the prize draw to win tickets to see

the artist of your choice at Passport to BRITs

Week gigs, make a small donation at:

www.warchild.org.uk/passport

Donations are £4.50 per entry.

Liana Mellotte, Head of Music, Entertainment

& Development at War Child says “We’re

really excited by the fantastic artists who are

generously giving up their time to support

children affected by conflict. We’ve got a

strong heritage of working with some of the

biggest names in entertainment, from David

Bowie to Muse and Stereophonics, to make

a difference to children growing up in some

of the toughest places in the world - and this

year is no exception.”

Nina Bibby, Marketing and Consumer

Director at O2 says “Music brings people

together for shared experiences and can

also be a powerful tool to drive meaningful

change. At O2, we recognise this, which

is why we’re proud to be continuing our

longstanding partnership with War Child,

as well as supporting BRITs Week in the run

up to one of the most important dates in

the UK music calendar. Through Priority, O2

customers can get exclusive access to these

once-in-a-lifetime gigs, whilst also helping

to make a real difference by supporting

War Child with their invaluable work to help

children who have been affected by war..”

War Child presents Passport to BRITs Week together with O2Allan McGowan [email protected]

Nina Bibby - O2

www.warchild.org.uk/passport

15


Panels Finalised for 9th edition of the ILMC Production Meeting (IPM)Allan McGowan [email protected]

The ILMC Production Meeting will take part in The Copthorne

Tara, Kensington on Thursday 3rd March 2016.

Panel this year will include:

Panel 1:

Communication Breakdown (it’s always the same)

Examining how we can improve tour planning from the very first

meeting to the moment “everything changes”, the panel will welcome

a mixture of booking agents, promoters, managers and production

experts to discuss how life can be made easier for everyone involved

with the tour. How can communication be improved? How can both

time and money be saved by those involved working more closely

together?

Panel 2:

2,000 Light Years From Home

The all-inclusive international travel planning

Specialist knowledge of tour travel agents make them essential

partners to Tour Managers in the planning of group hotel stays and

moving artists and crew. Their business is getting tougher as airlines

stopped paying agents commission and both travel and hotels can

easily be booked direct by anyone via Internet. We will talk with

the experts about touring travel/issues, including visa, permits, local

languages and current challenges.

Panel 3:

The wheels on the bus go round and round

Trucking and bussing

It’s all about timing, and time is money. From EU driving hours

regulations to increased border checks causing delays. Aimed at all

stakeholders in tour planning, we will review the current state of

play of the tour transport sector and it’s prognoses for the future.

How does the industry deal with difficult tour city routings and tight

schedules? Have any tours come unstuck due to police enforcing

trucks to park up for break? How are tours affected by bans on

weekend truck movements and cities with weight limit to transit and

night restrictions or engine emissions? How regularly do tour trucks

get targeted and fined - is it a tour cost? Is this covered by insurance?

How can we do better together?

Panel 4:

Our House, in the middle of our street

(tackling the daily and progressing challenges of venue management)

From arenas and stadia to grass-roots venues, venue operators face

similar challenges and have the same responsibility to provide a duty

of care to their audience. But incidents such as the recent club fire

in Bucharest and the attack at Le Bataclan in Paris are raising new

questions about that duty of care. Including topics such as CDM,

venue planning, and coping with ever-more complex inbound

touring productions. The sessions are announced as organisers

reveal that the ninth edition of the IPM will move to a new venue

to cope with increased delegate demand. The move allows a 20%

increase in delegate, to accommodate 250 of the world’s most

renowned production managers; sound and lighting engineers;

venue personnel; suppliers and promoters’ representatives.

Bryan Grant of Britannia Row will host the day and industry

powerhouses include Christopher Uerlings, Keith Wood and Carl

Martin

Supporters of IPM include eps, Etihad Stadium, EFM Event Logistics

and Megaforce. Full event information, including registration, is

online here.

16


Women in the Music BusinessAllan McGowan [email protected]

The oft-discussed subject of women

in the music business has stepped up

noticeably in the past couple of years, in

Scandinavia conference organisers, such

as those of Sweden’s Where’s the Music

have been encouraged and are doing

their best to present panels that feature

50% women to men. Also the balance of

male to female acts has been challenged.

At last week’s Eurosonic conference in

Groningen, a panel called Male Agents,

Female Assistants drew a large audience to

discuss the dearth of women at high-level

positions in the live sector.

Julia Gudzent from the Melt festival

in Germany chaired the session, with

panelists Participants included Norwegian

agent Anita Halmøy Wisløff, Polish booker

Anna Kopaniarz, UK agency partner Isla

Angus, and the head of press for Danish

festival Northside, John Fogde (Maybe too

few men on the panel?).

Wisløff made the point that many believe

women get hired because of experience

and men get hired because of potential,

the problem being that you can’t get

experience if you can’t get hired!

Wisløff stated that the attitudes of some

festivals are improving, saying that the

Øya festival in Oslo increased female acts

on its bill from 10 per cent to 35 per cent

in a year. The shows in Groningen it must

be said seemed to have many female and

female-fronted acts.

Possible solutions referred to included

quotas and accepting invitations to speak

at conferences; I agree with this I have

often asked women to join panels and

been turned down, although this is I think

changing. The main point agreed by all was

that the continued raising of the issue was

vital.

Featured Artists Coalition appoint more

women to the board:

There is some improvement in some

organisations though as shown by the

announcement that both Imogen Heap

and Katie Melua have been added to

the board of directors of the artist rights

organisation, Featured Artists Coalition,

They join Sandie Shaw, Ed O’Brien, Nick

Mason, Annie Lennox, Fran Healy and

Kate Nash among others on the artist-only

board.

Heap said; “It’s fantastic to be invited in to

help shape the bright future of our music

industry with the FAC gang and hopefully

add to their great work! It’s the first time

in a long time I’ve been positive about the

future of our industry and I completely

and whole heartedly believe a revolution is

upon us.”

Melua said; “It’s great to be joining the

FAC board, the music industry has long

been needing an organisation like this. In

my introduction to the FAC I can see that

there is so much experienced knowledge

and care in this community, which is there

to be shared. If a young artist doesn’t

know where to find an impartial support

system, the FAC can provide the advice and

education that can greatly benefit them

and the long term creative work also.”

Julia Gudzent

Anita Halmøy Wisløff

Anna Kopaniarz

Imogen Heap joins board of directors of the Featured Artists Coalition

After being in charge of Roskilde Festival for three decades, Henrik

Rasmussen announced that 2016 will be his last year as CEO of

Roskilde Festival Group.

- I have made my decision, because I believe that the time is right.

Today we have a strong organization and management, we are

well on the way with developing our other business areas and we

have optimized the festival, so it is well prepared for the future in a

competitive market.

As said many times, I believe that the last two festivals have been

among the very best ever. So I feel confident in passing the leadership

on, says Henrik Rasmussen, who has been part of management since

1986 and was the festival`s first full time employee.

Henrik Rasmussen will continue in his current role until January 1st

2017, leaving the board plenty of time to find his replacement.

Chairman of the board at Roskilde Festival Steen Jørgensen added

“Henrik Rasmussen`s decision to stop is a natural step in the

development process we have worked on. It is therefore not entirely

new for us on the board and we have great understanding and

respect for his decision, although it is with some sadness that we have

accepted it.

Henrik has been in the top management of the Festival group for

3 decades, so one could say that it is the end of an era but it also

reflects an organization that is developing, and we fully agree that the

organization is well prepared for a change, not least thanks to Henrik”

Trade body Music Canada has appointed Amy Terrill as Executive

Vice President.

Amy Terrill, who joined Music Canada in August 2010, has been

promoted to the new position from her previous role as the

organization’s Vice President Public Affairs.

In her new role, Terrill will continue to oversee Music Canada’s

branding, research, communications and media relations activities,

and play a leadership role in federal, provincial and municipal

government relations and stakeholder outreach. The role adds

executive responsibilities.

“Amy’s promotion recognizes her excellent work not only on behalf

of Music Canada’s members, but also toward the revitalization

ofCanada’s broader music sector,” says Graham Henderson,

President of Music Canada.

“Under her leadership, Music Canada’s research projects have

become influential roadmaps to build a stronger music sector,

both in Canada and internationally. Those projects have bolstered

the organization’s reputation as a passionate advocate for music

in Canada, a trusted source of music-related information, and a

respected forum for all things music.”

Terrill started at Music Canada as the organization’s communications

lead.

Roskilde Festival CEO announces his departure From VIP-Daily News

New Executive Vice President of Music Canada From VIP-Daily News

Amy Terrill

Henrik Rasmussen

17

NAMES & JOBSVIPNEWS > JANUARY 2016

THANKS FOR ATTENDING OUR 30TH ANNIVERSARY EDITION

Eurosonic Noorderslag is the key exchange and networking platform for European music, with a proven track record for helping to break new acts on the international live music scene. Selling out each year, the event attracts close to 4,000 professional delegates, including representatives of over 400 international festivals. Eurosonic Noorderslag presents showcases by more than 300 acts alongside a conference programme covering the latest developments in international music media, production and interactive industries.

Eurosonic Noorderslag has been responsible for kick-starting the careers of European acts like Ásgeir, Aurora, Bastille, Dotan, Ibeyi, James Blake, Jett Rebel, Hozier, Milky Chance, Royal Blood, Seinabo Sey and Vök.

Focus 2017Next years edition of Eurosonic Noorderslag will focus on music from Portugal.

Sais Nuno Saraiva from WHY Portugal: “Being focus country at Eurosonic Noorderslag 2017 is the best opportunity to bridge the gap between the new music made in Portugal and other new music markets, introducing the wealth of musical genres currently made in Portugal to a much wider audience.”

ARTIST SUBMISSION AND CONFERENCE REGISTRATION FROM MAY 1, 2016

Official numbers Eurosonic Noorderslag 2016Total number of visitors: 42,100 (sold out)Conference visitors: 4,124 (sold out)Nationalities: 40Acts: 345Number of venues Eurosonic: 42Number of venues Noorderslag: 11Media & journalists: 425EBU radio stations: 37International festivals: 424ETEP festivals: 95

11/12/13/14 JAN 2017GRONINGEN NL

ESNS: EU

ESNS: EU creative europe

www.etep.nl

19

MUSIC IN SHARES

MusicIn SharesManfred Tari [email protected]

CTS Eventim- Moving Shares

Shortly before the end of the year 2015, CTS Eventim informed

shareholders that Klaus Peter Schulenburg had transferred his shares

into KPS Foundation. Schulenberg previously held 50.2 per cent of

the outstanding share capital of CTS Eventim. When asking a tax

adviser for a possible reason for the transfer, he replied that this

move comes along with various taxation benefits. Among others

assets within a foundation are free of inheritance tax. The share

price of the company on January 25 is 32.85 Euro, one months

ago it was 34.03 Euro.

DEAG- No Compensation For Suffered Loss

The district court Koblenz decided that Capricorn does not have to

pay compensation for a loss suffered due to the cancellation of the

festival Grüne Hölle Rock at the racing site Nürburgring. The current

decision is only a preliminary step regarding the case filed by DEAG

against Capricorn Nürburgring (CNG) as the operator of the site.

The entire damage that is claimed by DEAG within this case is 5.39

million Euros. No decision has been made yet as to how this case

will proceed. DEAG have the option to appeal the court decision or

to file a new case. The former agreement between DEAG and CNG

foresaw that under certain circumstances both parties have to bear

50 per cent of potential losses of the festival, later renamed Rock

ImRevier and staged in the Veltins Arena in Gelsenkirchen.

The DEAG share meanwhile is down to a price level of 3.20 Euro, in

December VIP News reported a price of 4.06 Euro.

Live Nation- Cash In For Shares

Four high ranked members of the management team of Live Nation

disposed company shares for the price of $22.50 per share. James

Barton, head of the electronic dance music unit at Live Nation was

not among those who sold their shares but he also refused an offer

to join SFX Entertainment.

The current share price of Live Nation meanwhile is at $22.12,

previously it was $25.20.

SFX Entertainment- An Expensive Credit

A sort of sell out for fresh cash ; SFX Entertainment has taken on a

credit of $20 million for an interest rate of 20 per cent per annum by

Catalyst Fund Limited Partnership V.

The credit is backed by “SFXE Netherlands Holdings B.V., SFX

Europe B.V., ID&T Holding B.V., ID&Q Licenties B.V., Q-Licenties

V.O.F., ID & T Trademark B.V., Q-Dance Licenties B.V., DTW Holding

B.V., i-Motion GmbH Events & Communication, B2S Licenties B.V.,

B2S Management B.V., and SFXE International Holdings C.V” and

includes “Dutch and German operating companies and intellectual

property holding companies”.

The pay back target is January 16, 2017, if SFX Entertainment pays

the credit beforehand the termination fee is $1.5 million.

The share price for SFX Entertainment is $0.11, one month ago VIP

News reported $0.33.

VIPNEWS > BUSINESS > JANUARY 2016

BANCO DE GAIATerritory: UK / EuropePeriod: March 2016 onwardsAgency: Value Added TalentAgent: Dan SilverPhone: +44 20 7704 9720E-mail: [email protected]: www.vathq.co.uk

50 CENT & G-UNITTerritory: Europe & aroundPeriod: Summer festivals & upon requestAgency: Georg Leitner Productions GmbHAgent: Georg LeitnerPhone: +431 914 86 15E-mail: [email protected]: www.glp.at

ÁrstíðirTerritory: Germany, Austria, Switzerland, Liechtenstein, DenmarkPeriod: April - May 2016Agency: NivalisAgent: Maria ChelnokovaPhone: +79 169 227 376E-mail: [email protected]: arstidir.com

ALPHAVILLETerritory: Europe & aroundPeriod: January 2016 onwards rest of the yearAgency: Georg Leitner Productions GmbHAgent: Georg LeitnerPhone: +431 914 86 15E-mail: [email protected]: www.glp.at

Chris Thompson (Ex-Manfred Mann’s Earth Band)Territory: WorldPeriod: Available all year on requestAgency: Live Concept Entertainment GmbHAgent: Michael WidmannPhone: +49 7203 9219180E-mail: [email protected]: www.christhompson-central.com

MICHAEL BOLTON Territory: Europe & aroundPeriod: Before / after August 27th & upon requestAgency: Georg Leitner Productions GmbHAgent: Georg LeitnerPhone: +431 914 86 15E-mail: [email protected]: www.glp.at

MORE ARTIST AVAILS ON:WWW.VIP-BOOKING.COM

POST YOUR ARTIST AVAILS ON:WWW.VIP-BOOKING.COM

ARTIST AVAILS

Michael Bolton

MEMBER PRESENTATION

Christopher Entertainment is a Danish owned management, promotor and

booking agency, established in 1986.

Christopher Entertainment has over the years presented some of the world’s finest

artists such as: Whitney Houston, Tina Turner, Santana, Boyzone, The Corrs etc.

As a booking agency Christopher Entertainment has delivered artists to major

festivals such as: The Roskilde Festival, The Midtfyns Festival, The Langeland Festival,

The Skanderborg Festival, The Jelling Musicfestival etc.

Christopher Entertainment is management for mostly Danish artists: Stig Rossen,

Gudrun, Jacob Andersen etc and we represent Andrew Strong and Barrage in

Scandinavia.

For more info please see www.christopher.dk

About Our Company

VIP-Booking’s core product is the Internet’s oldest and largest

database for the European Live Entertainment Industry

www.vip-booking.com developed as a tool for industry

professionals . Since it’s launch in the year 2000, we have consist-

ently offered our subscribers the very best in database services and

now boast subscribers in over 30 countries.

Today VIP-Booking offers a range of tools for the industry

– including VIP-News, VIP-Booking, VIP-Book and VIP-Contract.

Please visit vip-booking.com for further information .

Your comments and suggestions are always appreciated .

®

vip-booking.com

VIPNEWS > MISC > JANUARY 2016

20

http://www.christopher.dk

VIP-News Premium - January 2016

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