VIP-Magazine Edition 9 - 2011

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EUROPEAN FESTIVAL REPORT VIP-MAGAZINE BRINGS YOU A ROUND UP

ON SOME OF THE EUROPEAN FESTIVALSREAD MORE ON PAGE 12

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VIP-MAGAZINEEDITION #08

SEPTEMBER 2011

#3VIP-MAGAZINE 08/2011www.vip-booking.com

WELCOME TO THE VIP-MAGAZINE

Tragedies at festivals in the US and Europe during the summer

have once again reminded us of how vulnerable we are

and the magnitude of responsibility that rests on the shoulders of festival arrangers

and event planners to ensure the safety of audiences and employees at their events.

Questions will once again be raised as to who should be responsible for calling off events in

hazardous conditions and when disaster is imminent. Should this be the organizers,

artist representatives, local authorities or even meteorologists?

In this sad period we also have to remember that festivals bring a lot of pleasure

and joy into the lives of millions of people every year. In this issue of VIP-Magazine

we bring you an 8 page Festival Report on some of the European festivals.

Our deepest thoughts and sympathies go out to the friends and families

of those who lost their lives at the accidents this summer.

THE VIP TEAM®

vip-booking.com

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CONTENTS:

12

05 UK Concerts Took a Drop in 2010 After the Boom

06 The Artist Speaks – All Mankind

11 Business News – Music in Shares

12 Festival Report

20 Music industry mourns the loss of Jean-Francôis Michel

22 VIP SPOT – MyMusicMailer.com

24 Songkick Launches iPhone APP

25 DF Concerts – Live on All Levels in Scotland

28 ETEP 2.0 Looks East with CEETEP

30 Autumn Falls Festival

31 Artist avails

VIP-MAGAZINE 08 #2011

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DIRECTOR: Ronni Didriksen | [email protected]

GENERAL MANAGER: Peter Briggs | [email protected]

AREA MANAGER (GAS): Stefan Gottwald | [email protected]

WRITER AND EDITORIAL: Allan McGowan | [email protected] & Manfred Tari | [email protected]

DISTRIBUTION: 3.000 copies of the magazine are distributed to professionals within the Live Entertainment Industry FREE OF CHARGE

PRODUCTION: Grefta Tryk | Markedsgade 41 | DK-8500 Grenaa | Phone +45 8632 2922 | www.grefta.dk

To reserve your ad call +44 (0) 870 755 0092 or send an email [email protected]. Read more online www.vip-booking.com

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VIP-BOOKING.COM - The No 1 Information Resource For The Live Entertainment IndustryHaving the right tools for the job is often the key to success. Through our ongoing communication with key Live Entertainment Industry Professionals, we have developed a range of services to meet the demands of agents, promoters, talent buyers, venue bookers etc. It’s no coincidence that we are now considered to be the No. 1 information provider for this thriving industry.

Allan McGowan · [email protected]

UK CONCERTSTOOK A DROP IN 2010 AFTER THE BOOM

According to the now annual music industry

report from PRS For Music, box office takings

for pop and rock concerts in the UK fell for

the first time in more than a decade in 2010,

with fans spending £844m on face value

tickets in 2010, down from £957m in 2009,

a drop of 12%.

But before we all panic and become used

car salesmen or the like, it appears that there

were however mitigating factors, so we can

relax – but only a bit, it never does to become

complacent! Part of the drop was blamed on

the fact that big selling acts including The

Rolling Stones and Take That did not tour last

year – which obviously they can’t – not every

year. Also some major artists, such as Kings

of Leon and Rod Stewart, opted to play in

arenas instead of stadiums as a result of the

economic downturn, PRS said.

Will Page and Chris Carey at PRS who put

these reports together with of course the

cooperation of the industry do very good

work and have provided a barometer for

the consideration of the overall state of

the industry – particularly the live business

which, in the UK, has not previously been

great at producing, considering and acting

upon, the relevant figures.

Reassuringly the report does not see the UK

business taking hits as big as those suffered

by the US live business in the last couple of

years – and even there the signs of recovery

seem good at the moment. The report

projects that revenues were likely to bounce

back this year thanks to tours by Rihanna,

Westlife and Justin Bieber, along with Take

That’s record-breaking stadium shows. This

summer, the band played to 1.8 million

people in the UK, and that tour is likely to

make a noticeable difference to the figures

for 2011.

As the report said: »It would be very tempting

to look at these numbers and jump towards

a knee jerk reaction that the live music

bubble has burst. We should not.« Festivals

»performed strongly« in 2010, while arenas

and mid-sized venues »held up«, it said. But

there was a »striking decline« in the number

of stadium gigs compared with the previous

year. »In 2010, a number of stadium- and

arena-filling bands were not on tour and

many of those that did tour opted to play

smaller venues in order to limit their risk,«

the report said. »This risk-averse behaviour

is rational in the current economic climate. It

feels as though the economic downturn has

caught up with the live music industry, and

promoters and bands alike have responded

accordingly.«

The PRS for Music report, taking into

account secondary ticketing income and

at-the-event spending estimated the worth

of the live music sector to be £1.48bn last

year. That is more than the recorded music

sector , with £1.24bn spent on CDs and digital

downloads in 2010 - an annual drop of 8%.

The report concludes, »Our view is that the

live music business is not entering a cycle

of boom and bust, but rather showing

signs of maturity and cooling to a more

sustainable growth path, after a period of

unprecedented growth.«

Take That

05




Rich Beeston (vocals/piano) gives us some background on the band:

All Mankind is from a small town called Eastwood in Sydney,

Australia . The band consists of 2 brothers, Rich Beeston & Dave

Beeston, together with childhood friends Gavin Perkins & Dorny.

The band was formed in 2008. Since forming, the band have

gained a loyal fan base in Australia, but have had an inter national

outlook from the very beginning. The band put together 2 EPs

between 2009-2010. Songs from the EPs found their way onto

radio stations across the globe (Indie 103.1FM Los Angeles, WRXP

New York, MotorFM Germany, KNRK-FM Portland, OR, ABC Radio

Australia) while also gaining fans such as Mike Walsh, Music

Director Xfm (UK).

A number of tracks from the EPs also featured in prime time

Australian & US television shows. »Open Your Eyes« was featured

as the theme song in the TV promo for Emmy Award-winning ABC

TV show »Jamie Oliver’s Food Revolution.« In addition, their tune

»Hollywood Tonight« has been heard regularly on MTV’s »The

Hills.« The band’s song »Can you hear me« was also featured in

number 1 Australian show ‘Winners and Losers’.

The band have recently completed their debut album, ‘Simple

Desire’ . The first single from the new album, ‘Break the Spell’, has

recently been released independently in the US, UK & Australia .

Initially intended as a soft, promotion-only release, the single has

had unexpected success capturing early spins on tastemaker radio

and tv stations on three continents including Australia (ABC,

Channel V, MTV, RAGE, Nova, 2Dayfm, FOX, B105, SAFM, 929

Perth, MMM), USA (KROQ L.A., KNRK Portland OR, KTCL Denver,

WCNR Charlottesville VA, plus CHMA, KCRW, KFMA, KPNT, KTCV,

WEQX, WNRN, WXPN), Europe (Absolute Radio, MotorFM, Flux FM,

Delta Radio Germany), as well as stations in South America and Asia.

With attention from video games giant EA Sports, ‘Break The Spell’

will soon be featured in a top-selling game being released later in

the year.

Comments on our trip

Including: our experiences touring, and observations as a young

band looking to expand our international fan base (covering coping

with a long journey, differences from Australia, overall impressions

of start up level touring, has it been worthwhile, successes to

report , looking forward to coming back).

Rich, Dave, and Gav all have UK passports, with parents who were

born in the UK. From early on, the band saw the UK as a key place

to get to. All Mankind’s sound is strongly influenced by a large

amount of UK bands.

In early 2011, songs from our upcoming album ‘simple desire’

were shown to a booking agent in the UK. The booking agent,

Ben Hylands from IAA Touring, immediately contacted our

management , and suggested setting up the band’s first UK tour,

with a view to more tours in the future if things went well.

»We were really keen to just get on the road, play to as many

people as possible, and see if the UK crowds liked our music«

- Rich Beeston

We were aware that the first tour was always going to be smaller

shows than we are used to, but that is exactly how we had to start

VIP-News always attempts to present a

wide spread of views, experience and

opinions in it’s reporting on the live

music industry , but perhaps the least

heard voice in this and other business

to business publications is that of the

most central figure – the artist . In

particular we feel that it is interesting

to hear from artists that are in the

early stages of building their

careers , what are their views of their

interaction with our industry as they

take to the stage in their own countries

and abroad as they strive to become

noticed in this incredibly competitive

and over subscribed music business.

We will attempt to address this from

time to time by offering a forum to

artists from various territories to tell

their stories in their own words.

I became aware of the Australian act,

All Mankind when they appeared at

The Great Escape in Brighton, and then

I ran into them again in Inverness at

go North. I was interested in what was

the motivation and what was involved

in travelling around the world to

play small-scale venues in the UK. I

asked the band for some information

of how their career stands at the

moment and for their take on the

experiences of this trip. I’m grateful

for the informative and interesting

responses which follow:

THE ARTISTSPEAKS!

All Mankind – Halfway Around the World and Back

Some comments from around the world include:Australian radio personality (and former Xfm UK

DJ) Byron Cooke from Australia’s Austereo (MMM,

2DAYFM): »Meet Sydney four-piece All Mankind.

I’ve just been played five tracks from the band’s

forthcoming debut album. These guys are legit.

They mean what they sing. The songs are huge and

the album is deep with radio singles. Expect them

everywhere, sooner than you think!«

US-based blogger Arjanwrites says, »With ‘Break

the Spell,’ this Sydney quartet delivers a grand,

emotive sound that easily matches the atmospheric

qualities of Keane and the propulsive, arena-sized

anthems of Coldplay.«

England’s Record of the Day states, »All Mankind

has the sound of being Australia’s next biggest

export «



finally the acoustic guitar went silent. All of this happened very

quickly, and could have caused a complete meltdown. Dave

(drums) and Dorny (lead guitar) were the only ones unaffected ,

so they just kept riffing, and while they kept the audience

entertained on their own, the sound guy switched out all these

cables, and managed to get the sound back to full strength for us

to finish the song, and complete the set.

As part of Liverpool Sound City, we were invited to play an acoustic

set in the Presidential Suite of the Hilton Hotel, alongside a

couple of other Australian acts, Cloud Control & Seekae. When

I was a kid learning piano, the teacher would often set aside a

Saturday morning, where all the kids and their parents came to

the teacher’s house. The kids had to play a song or 2 each, in

front of all these people. This gig was a little like that, but with

amazing views over Albert Dock and the water. We had a lot of

fun playing that show in the end, as the crowd really got into

it. Fortunately my fears of screwing up the song mid-way and

having to start again (like I did sometimes at piano recitals), were

unfounded.

Dave Beeston (drums/backing vocals):

The Go North festival, I found, I was totally refreshing. Firstly

being set in Inverness, a place I’d never heard of before we had

been booked to play there, was just beautiful. It was small but had

a lot of character. With the river running right through and all the

great buildings and restaurant and pubs everywhere, the place was

buzzing. I found myself thinking this could be a great area to raise

a family and trust me, that’s the first time I’ve ever thought that! I

can honestly say that of all the places that we played on our tour

and all of the towns we have seen, Inverness is personally in my top

5. I loved it. Go North was a great festival too. There was a real vibe

about it that I enjoyed. The fact that it is a smaller conference in

a small but beautiful town led to a really relaxed atmosphere that

seemed to really put good focus on the music.

Our show at Hootenanny’s was one of the highlights of the

tour. The venue was fantastic, the audience was really great and

enthusiastic and it all came together to make a really great show.

I can’t say enough about how much I loved our time at Go North

and Inverness. Observations of a young band looking to expand

their international fan base and of course their experience.

Our tour of the UK in May - April was hard work but definitely a

worthwhile trip. As a band from Australia with no real presence

in the UK it was daunting to be going out to venues all over

Some of the outcomes from the tour:

- Having about 50 pieces of press, featuring the

band in lots of regional press across the UK.

- Getting the attention of a major UK promoter,

who is now working with us on a return tour.

- Making the playlist on England’s largest national

commercial radio station, Absolute Radio, as well

as on Q radio.

- Loads of new fans, who are keen to help promote

the band on return tours.

- Getting heard by a major European promoter

when we played in Brighton. They are now

booking us for a European tour in a few months

time.

- Some great reviews of the single and reviews of

shows in the UK press & online.

We are really pleased with how well the UK tour

has gone. We were expecting much less than

what we got, and were really blown away by how

positive the audiences were at each show. We

plan to return to the UK to tour a number of times

in the next 12 months, and really build up our fan

base, and our live touring experience across the

UK & Europe.

Dave Beeston (drums/backing vocals)

C

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CM

MY

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Anzeige_VIPMag_ProSky_X4.pdf 1 09.12.10 10:43

in Australia as well. We were really keen to just get on the road,

play to as many people as possible, and see if the UK crowds liked

our music. We saw the tour as a sort of test - if the reaction from

crowds was positive, then we knew the UK would be a good place

for us to focus our attention longer term.

We were booked into 3 festivals - the Great Escape in Brighton ,

Liverpool Sound City, and Go North in Inverness, Scotland . Alongside

these were smaller club shows in London, Birmingham , Manchester,

and lots of other places. We also had a small side trip to Berlin, to see

how the German crowds responded to us.

One of the important things in the band is that we knew each other

as friends before we became a band. So, when we began the long

slog of travelling around, and staying in no-star hotels, it was pretty

smooth sailing amongst the four of us.

The reaction from crowds in the UK has been a little different

to Australia. I think that because the UK has such a long, rich,

musical heritage, people are really well educated in pop and

rock music history, and they have a really great appreciation of

songwriting and live shows. They can be more critical if you get

it wrong, but if you get it right, they are really nice at letting you

know you’ve done a good job. They’ll also come up and talk about

things like songwriting, and discuss vintage guitars and amps, and

at times it felt like everyone in the UK owned a guitar, because

people just knew so much about music and instruments.

During an overnight stay in London, our tour van was broken

into. Fortunately for us, we had taken all of our guitars and other

expensive gear inside for the night, so nothing of much value

was taken. The main problem with the break-in was that our GPS

was stolen. The GPS was our best friend and closest companion

on our tour, because otherwise we were getting completely lost

amongst all the numbered roads and one-way streets. So we went

straight out that morning and bought a brand new GPS, otherwise

the rest of the tour would have been a nightmare.

Some of the venues we played were actually pretty impressive.

The sound guys, and the level of gear at a 250 capacity venue

like the 02 Academy 3 in Birmingham, or another smaller room

like the Classic Grand in Glasgow really blew us away. There

were a number of these kinds of venues, where the quality of

production was far superior than we would have expected for such

small venues. It really was a great pleasure to play in these venues.

One of the shows was at a tiny little room, which probably

couldn’t hold more than 50 people. The sound desk & cabling

was not exactly perfect. At first we lost sound from the keyboard,

then the bass amp went down. Next the vocals disappeared, and



England and Scotland and playing to people who have never heard

of you and in some instances didn’t at all care that you were there

- though we find this a good challenge to rise to. At every show we

had the mindset to play the best we could, to put as much energy

into our set as we could and win people over. It felt like we were

constantly able to do this everywhere we went and I am proud of

the fact we were on our game for every show.

As we went from venue to venue I was struck between the

difference of Australian venues and UK venues. So many of the

venues in the UK are put together with the intention of being

a live music venue. This might sound obvious but most of the

places we have played in Australia are pubs first and then someone

has thought »let’s put a PA in the corner and get bands to play

so we can sell more beer«. A lot of the time this does not lead

to vibrant, exciting places to play. Most of the places in the UK

felt like the thought was »lets set up a great venue for bands

to play and also put a bar in the corner«. A total reversal of

thinking and it was really exciting to see places like this; I wish

we had more in Australia.

Another thing that has struck me about the UK and how they like

their bands is that people want bands to be cool. It almost seems

like they look at bands and their image and decide if it’s cool and

then they listen to the music. In my mind it’s always just been »do

I like this song/album or not?« So it’s been a bit of an adjustment

personally. What I do think people respond to is authenticity. We

were able to bring this to everything we did in the UK and people

responded well and I think in the long term being authentic is what

will keep people engaged. On the whole the tour was great! We

all had a good time and all though some shows were downers, the

majority were fantastic and we can’t wait to head back to the UK

in August and do it all again. Hopefully this time we will have more

friends coming to more of the shows!

Dorny (guitar):

It was exciting to play at so many venues where so many great

bands started playing and visit town’s were great musicians grew

up. We come from a small town in Sydney know for producing the

Granny Smith apple but not for great music!

Visiting Birmingham thinking about a young Ozzy Osborne

roaming the streets seeing the things he would have seen and

what influenced him. Playing the Bull’n’Gate and Dublin Castle

and thinking about all the great bands that have played there and

would have loaded in the same way we did and taken a wizz in

the same toilets with the same smell! Bands would have driven the

same routes we drove from London to Brighton right up to Inver-

ness and stayed in the same hostel we stayed in and eaten at the

same roadside diners.

»It was exciting to play at so many venues where so many

great bands started playing and visit town’s were great musicians

grew up«- Dorny

Thinking about how they dealt with all these situations from the

high’s of having people come up saying we were one of the best

things they had seen in a long time and sound guy’s saying mixing

us was a pleasure to the lows of the van being broken into and

our crap being stolen, night after night of sharing beds and having

to make sandwiches for dinner cause we can’t afford to eat at

Weatherspoons .

I can honestly say I wouldn’t change a thing from this tour and feel

so lucky to get the chance to go to country with such a rich musical

history and future to play songs that we created together in an old

church in the suburbs of Sydney.

VIP-News will keep you informed on All Mankind’s future progress

in the UK and Europe, and we wish the band all the best!

As a follow up to this it could be good to find a UK or European

act going to Australia and we’ll get their comments. Let us know

if you’re working with a band with such a tour in the planning.wz

Dave Beeston Rich Beeston Dorny Gavin Perkins

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Halfyear Results from CTS Eventim

Lower revenue and profit results for the second biggest

concert company. For many years CTS Eventim had been

an investors’ darling, consciously pleasing shareholders

with rising revenue and earnings results. Still CTS Eventim

compared to Live Nation is highly profitable but has to deal

with the departure of FKP Scorpio as revenue contributor

and ongoing expenses due to the arbitration case with

Live Nation at the International Chamber of Commerce

in London.

The overall company revenue went down from 270.9 to

263.8 million Euro, the Earnings before Interests, Taxes,

Depreciation and Amortisation (EBITDA) decreased 5.4 %

from 43.6 to 41.2 million Euro. The EBIT even went down

minus 20.4 % from 37.9 in H1-2010 to this year’s result

of 30.1 million Euro.

Within the ticketing segment, CTS Eventim managed to

maintain its growth policy very well, even without a global

ticketing service deal with Live Nation. The revenue went

up from 81.5 to 104.1 million Euro, which is a plus of 27.7

%. Instead the results of the Live Entertainment division

of CTS Eventim went down 15.5 % from 192.8 to 162.9

million Euro.

Regarding the arbitration case CTS Eventim reported that

the first hearing took place at the end of July. The trial is

apparently supposed to last until the end of the year.

Due to 1:2 share splitting the share price of CTS Eventim

meanwhile is at 22.50 Euro.

BUSINESS NEWSMUSIC IN SHARES

Manfred Tari [email protected]

Halfyear Results from Live Nation

»2011 has shown solid performance for two quarters,

with improved results across most of our key financial

metrics, providing the basis for profit growth over the

full year,« is how Michael Rapino, CEO of Live Nation

described the company situation within the latest business

report of the world’s biggest concert company.

The revenue climbed this year in the second quarter (Q2)

up to $1.558 billion compared to last year’s revenue result

in the same period of $1.266 billion. The revenues gained

by company division Concerts alone jumped by about 25

% and reached the level of $1.082.2 billion as opposed to

$859.5 million.

The half-year turnover result for the ongoing business year

(H1) grew 21% from $1.99 billion up to $2.4 billion. In

almost every business segment Live Nation had been able

to report two digit figures growth rates.

However, almost unusually for Live Nation the company

also reported a net profit. Okay, only for Q2 where the

company earned $13.25 million instead of a net loss of

$32.78 million in Q2-2010, but still a profit. Taking a look

at H1 results still reveals a net loss of $35.2 million which is

still much better than a minus of $155 million in H1-2010.

Since the beginning of August the share price of Live

Nation went down from $11.4 to $9.38 when this article

went to press.

Sziget Festival makes Budapest a hot spot for festival tourism.

According to a press report issued by the festival the 19th edition

of the event attracted 77.000 people coming from 61 countries.

Particularly festival goers from the Netherlands turned the festival

site into a »Dutch island on the River Danube« the day before the

open air event started. The reason for this was the arrival of two of

three chartered trains.

While the Dutch community apparently came by train visitors from

France, Italy and Belgium arrived one day later by bus. In the press

release the Sziget organization declared that the festival: »has a

strong reason to claim the title ‘global village’… or even ‘global

town’, judging by the massive size of the venue and the number

of inhabitants.

Another new topic on the agenda of this festival was the

introduction of a so-called Festivalcard. The promoter decided that

during the event and on the site festival visitors could only pay

for goods with this card. As in some European football stadiums

where cashless payment systems are already in place, this enables

organisers to control the entire money flow and management

within their events.

The card is issued by Sziget Cultural Management Ltd. and is

also being used at other festivals by the company such as Budai

Gourmet , VOLT and the Heineken Balaton Sound. Unfortunately

cardholders won’t be able to transfer the balance on the card onto

the other festivals. For the cash free management Sziget Cultural

Management Ltd. had to install a complete network of card readers

and payment terminals known as Top Up Points. The maximum

amount of money that could be uploaded on this card is 240,000

Hungarian Forints, which is about 890 Euro. For every money

upload Sziget charges 100 Forints. To charge the card, festival

visitors can pay with cash or with bank or credit cards.

In addition to the festival card punters can also buy a Festival Watch,

another catchy cash gadget promoted as being »rain and shower

resistant and also beer and mud proof«. This specially designed

watch offers the same payment functionalities as the card and can

be purchased for 30 Euro. However, refunding will only be given at

the Top Up Points during the duration of the festival. For protection

in the case of loss or robbery of the card, festival goers have to

register the card or watch by a text message to a mobile phone

number or online at the website www.metapay.hu/fesztivalkartya.

Cashless payment systems on large-scale events such as Sziget

or Football stadiums became possible due to the invention of

socalled near field communication chips (NFC). These chips enable

the transfer of data in short range distance. Besides payment

functionalities these chips also can manage paperless ticketing,

access controlling or online streaming or downloads. Several smart

phone producers such as Blackberry, Nokia or Samsung meanwhile

offer cell phones that include such a chip. In the future these chips

could also be used as car keys.

But in terms of consumer satisfaction these kind of money

management devices have limits. In many cases it is just a bargain

for the card issuer who makes a profit on non- reimbursed funds.

Otherwise it is more likely that cardholders rather lose track of their

money spending within the system of cash free payments. Another

advantage for the card issuer is that with the installation of such a

system he controls the entire cash flow management of an event.

It also means that merchants on the site completely lose over-all

control of payment for their goods. Not to forget the difficulties if

a merchant charges you wrongly and your overpayment vanishes

into a virtual account…

Sizegt 2011 took place on August 8 to August 15. For further

information please go to the very proper website of this festival at

www.sziget.hu

A recent report from the BBC stated that a total of 31 music festivals

have been cancelled or postponed in the UK this year, and a surplus

of events has resulted in slower tickets sales than in previousyears.

In recent interviews both Michael Eavis and John Giddings have

ventured concerns about the current and future prospects for

festivals in the UK. Glastonbury founder Eavis is quoted in an

article in The Times regarding the future of probably the best

known open air event, saying, »It’s on the way out«. Eavis as-

sume that the festival has »probably got another three or four

years«. He considers that there are economic reasons but also

that, «there is a feeling that people have seen it all before.«

Like Eavis Giddings, organiser of the Isle of Wight Festival also

assumes that the UK-Festival faces difficulties: »There are just too

many events now in the UK and it’s impossible for them all to

survive . The market is saturated« he said in an interview with the

BBC earlier on in August. Melvin Benn of Festival Republic said in

the same interview session »There’s no question that tickets have

sold slower than they previously did. Money is definitely tighter.«

But Benn is more upbeat about the future, saying: »There will be a

million people that go to festivals this year. The idea that somehow

festivals are no longer popular is quite frankly ludicrous.«

Nevertheless Giddings adds: »It gets more difficult every year

because the UK music industry isn’t making new stars so you end

up with the same acts going round and round,« and concludes very

much like Eavis: »Muse are a fantastic act but you can’t have them

at a festival every summer.«

Previously in an interview with BBC6, Ben Turner said on behalf of

the UK Association of Independent Festivals (AIF) that: »Prices for

talent increases and increases and increases every single year.« He

furthermore added: »I think it’s something that agents, managers

and artists need to be more aware of, that these festivals that they

supposedly love, they need to show some support for that.«

Apparently slower and lower ticket sales for festivals are not only

a UK phenomenon. In Germany Rock Am Ring wasn’t sold out

this year after a record-breaking edition of the biggest German

festival in 2010. Also in our interview with Gunnar Lagerman of

the revamped Hultsfred Festival in Sweden he explained about the

difficulties in the Swedish festival market.

Still there are many festivals doing extremely well this year, (see

article on T in the Park in DF Concerts story in this issue.) but fac-

tors like higher fees for artists, rising production costs and the

overall economical climate are increasing challenges that festival

promoters have to deal with these days.

Manfred Tari · [email protected]

SZIGET REPORTS 77.000 CASHLESS VISITORS

FESTIVAL REPORT

FESTIVAL REPORTMAJOR UK FESTIVAL PROMOTORS

EXPRESS CONCERNS FOR THE FUTURE




Melvin Benn



YOUR PROFESSIONAL PARTNER FOR STAGES,TEMPORARY STRUCTURES AND CONSTRUCTIONS

0049 7244 / 72 02 00049 7244 / 72 02 22

The Italia Wave Festival is a peripatetic (not often I get a chance

to use that word!) event, which moves to different sites in Italy,

taking the spirit of the original Arezzo Wave Love Festival with it. I

attended this fifth edition of the Italia Wave Festival 14-17 July in

Lecce, Puglia, being aware that for director Mauro Valenti and his

team, and for the many aware of the history of this cultural event,

that this was actually the 25th anniversary of the event that began

life in Tuscany in 1987, entitled ‘Provincia insonne’. Arezzo Wave

earned the name of »Italian Woodstock« over the years, attracting

thousands of young people each year.

Italian fans has not embraced the music festival as we know it now

in the rest of Europe, but Arezzo Wave, which became Italia Wave

on moving to Florence in 2007, then moving on to Livorno for the

next three editions, has a fine tradition. Remaining in the main a

free event presenting not only music but other cultural events it

has presented an impressive array of international acts including,

Mano Negra, the Leningrad Cowboys, David Byrne, Nick Cave,

Sonic Youth, Moby, Tricky, Ben Harper. Most of the major Italian

rock artists have passed through the Arezzo Wave.

Mauro Valenti and the team have also acted as ambassadors for

Italian music at many international events, acting as an Italian Ex-

port Office and being involved with the ETEP programme from an

early stage.

This first edition in Lecce however had its problems and did not

work out as planned, although the bill was fine, with artists such

as Lou Reed, Jimmy Cliff and Paulo Nutini performing fine sets with

a great production, the numbers were down, with only the free

night of Italian acts pulling a large crowd to the dauntingly large

Lecce Stadium. The smaller Psycho Stage was well attended during

the day, but for strangers to the City and the area like myself, it

was difficult to locate and more difficult to travel easily between

the sites. Although the area has some beautiful surroundings and

should be an attraction to tourists, not a lot seemed to be being

done to attract tourists.

I asked Mauro Valenti to explain what he thought had caused the

setbacks:

»I agree about the quality of the shows. Doing the festival in the

deep South of Italy was a huge risk. The poverty of this territory and

the Italian financial crisis together with a lack of curiosity toward

new things are the symbol of our country. We are the only Italian

festival at an European level and if next year we repeat our experi-

ment in Puglia, our decision will depend very much on local and

Regional authorities and how much they want to bet on the local

marketing of this territory and on how much they will be able to

contribute to becoming like Exit or other festivals loved and wanted

by worldwide music globetrotters.

We had to use the only available locations of the city, even if far

away one from each other in order to realize all our proposals. We

had to face many inconveniences that one could call boycotts…

The Province of Lecce told us officially that they would guarantee to

finance us with a certain amount of Euros, but then they changed

their mind and by today they have given only 75% of what they

had promised.

Guarantees of connections and shuttles never realized, and the po-

lice did not remove the illegal vendors of food and drinks outside

the stadium. If their prices were lower than ours probably people

would buy from them rather than from our own concessions.

Despite all of the above, we were determined to do our 25th fes-

tival, maybe we were doped by the music! I think that the unique

performances in Italy of Paolo Nutini and Kaiser Chiefs and the

concerts of Jimmy Cliff and Lou Reed were flowers in the desert of

this country. In September we will think about what to do now that

we have had time to consider, for the moment we really thank you

and everyone for having been with us.

Despite this year’s disappointments there were high points and I

certainly don’t think we have seen the last of Italia Wave, or the

Arezzo Wave spirit!

The Italia Wave Festival is a peripatetic (not often I get a chance

to use that word!) event, which moves to different sites in Italy,

taking the spirit of the original Arezzo Wave Love Festival with it. I

attended this fifth edition of the Italia Wave Festival 14-17 July in

Lecce, Puglia, being aware that for director Mauro Valenti and his

team, and for the many aware of the history of this cultural event,

that this was actually the 25th anniversary of the event that began

life in Tuscany in 1987, entitled ‘Provincia insonne’. Arezzo Wave

earned the name of »Italian Woodstock« over the years, attracting

thousands of young people each year.

Italian fans has not embraced the music festival as we know it now

in the rest of Europe, but Arezzo Wave, which became Italia Wave

on moving to Florence in 2007, then moving on to Livorno for the

next three editions, has a fine tradition. Remaining in the main a

free event presenting not only music but other cultural events it

has presented an impressive array of international acts including,

Mano Negra, the Leningrad Cowboys, David Byrne, Nick Cave,

Sonic Youth, Moby, Tricky, Ben Harper. Most of the major Italian

rock artists have passed through the Arezzo Wave.

Mauro Valenti and the team have also acted as ambassadors for

Italian music at many international events, acting as an Italian

Export Office and being involved with the ETEP programme from

an early stage.

This first edition in Lecce however had its problems and did not

work out as planned, although the bill was fine, with artists such

as Lou Reed, Jimmy Cliff and Paulo Nutini performing fine sets with

a great production, the numbers were down, with only the free

night of Italian acts pulling a large crowd to the dauntingly large

Lecce Stadium. The smaller Psycho Stage was well attended during

the day, but for strangers to the City and the area like myself, it

was difficult to locate and more difficult to travel easily between

the sites. Although the area has some beautiful surroundings and

should be an attraction to tourists, not a lot seemed to be being

done to attract tourists.

Mauro Valenti explains what he thought had caused the setbacks

THE ITALIA WAVE FESTIVAL CONTENDS WITH ADVERSITY:

FESTIVAL REPORT

»I agree about the quality of the shows. Doing the festival in the

deep South of Italy was a huge risk. The poverty of this territory

and the Italian financial crisis together with a lack of curiosity

toward new things are the symbol of our country. We are the only

Italian festival at an European level and if next year we repeat our

experiment in Puglia, our decision will depend very much on local

and Regional authorities and how much they want to bet on the

local marketing of this territory and on how much they will be able

to contribute to becoming like Exit or other festivals loved and

wanted by worldwide music globetrotters…

We had to use the only available locations of the city, even if far

away one from each other in order to realize all our proposals. We

had to face many inconveniences that one could call boycotts…

The Province of Lecce told us officially that they would guarantee to

finance us with a certain amount of Euros, but then they changed

their mind and by today they have given only 75% of what they

had promised.

Guarantees of connections and shuttles never realized, and the

police did not remove the illegal vendors of food and drinks outside

the stadium. If their prices were lower than ours probably people

would buy from them rather than from our own concessions.

Despite all of the above, we were determined to do our 25th

festival , maybe we were doped by the music! I think that the

unique performances in Italy of Paolo Nutini and Kaiser Chiefs and

the concerts of Jimmy Cliff and Lou Reed were flowers in the desert

of this country. In September we will think about what to do now

that we have had time to consider, for the moment we really thank

you and everyone for having been with us.

Despite this year’s disappointments there were high points and I

certainly don’t think we have seen the last of Italia Wave, or the

Arezzo Wave spirit!




The FKP Scorpio promoted M’era Luna attracted 20.000 visitors

this year, down on the 24.000 one year ago. Primarily promoted

as festival for Dark Wave and Gothic this festival put on musically

different acts such as Atari Teenage Riot, Apocalyptica, Hurts or

Patrick Wolf.

With the Deichbrand Festival in Cuxhaven FKP Scorpio added

yet another festival to its portfolio. As Pollstar recently reported

FKP together with former promoters and founders of the festival

Scorpio formed a new company ESK Events & Promotion GmbH.

The Deichbrand festival has operated since 2005 and is located

in an industrial zone in Cuxhaven. FKP Scorpio launched the new

company in June 2010, the directors are Folkert Koopmans, Marc

Engelke and Daniel Schneider.

The festival hit financial trouble in 2008 into after the festival site

suffered from damage due to bad weather, a situation repeated in

2009. This year the event pulled 18.000 visitors and a production

volume of about 1.5 million Euros according to the local newspaper

Cuxhavener Nachrichten. Cuxhaven is located in Northern

Germany and the festival side is located directly by the sea. For

further information please check www.deichbrand.de

WACKEN 2011ONCE AGAIN75.000 TICKETS

SOLD


The Wacken festival celebrated its 22nd edition this year. According

to the promoter ICS Festival Service GmbH, the event was actually

visited by 85.870 people - although this official estimate also includes

artists , crew and guests.

For this year’s event the promoter undertook several new

environmentally friendly efforts. Entitled »Metal 4 Nature« the

program utilised 3 additional so called »Trash Mobiles« – pick up

trucks that drove on the camping sites to pick up waste. On the site

itself there are 5 more waste collecting points. Also the promoter

installed 4 km of power cables on the site and therefore was able to

reduce the previous amount of 93 diesel generators.

Glass bottles are banned completely from the entire festival site. The promoter

offer free PET-bottles to visitors asking them to decant beverages into these

bottles. This resulted in an 80 % reduction in cuts. Together with the chari

tion by dropping off cups to Viva Con Aqua teams on the site.

In a previous VIP-News edition we reported that together with the

University of Osnabrück and the support of RegionNord Büro and Deutsche

Bundesstiftung Umwelt (DBU) Wacken had developed a sustainable

program to reduce the soil compaction of the festival site.

The event itself took place from July 31 to August 2. The pre-ticket sales for

the next edition started on August 8, The first confirmed acts for 2012 are

Ministry , Hammerfall , U.D.O, Amon Amarth, GammaRay , Cradle of Filth and

the German band Scorpions.

For more information please check www.wacken.com

20.000 VISITORS FOR M’LUNA AND ONE MORE

FESTIVAL FOR FKP SCORPIO

FESTIVAL REPORT



Liam Gallager & Stefan Lehmkuhl

26 it sucks. Now we had

alcohol served all over the

infield, people where not as drunk as

it used to be, no accidents or fighting, whatever.

It was a very positive atmosphere.

So, what is on your agenda for 2012?

– It’s a little bit early to say, but we will do an even better

festival and a bigger audience.

For further information please check

www.hultsfredsfestivalen.se

Hultsfred Festival – The Comeback of a Festival?

Last year the

Swedish festival market saw the departure of not one,

but two of its major festivals, Hultsfred and the Arvika. But at

least the Hultsfred festival was rescued and re-appeared on

the market with the backing of the biggest European festi-

val promoter, FKP Scorpio. Former Hultsfred-manager Gunnar

Lagerman was persuaded to abandon his beloved tomato-

plants in order to return to his position as boss of Hultsfred

again. VIP-News spoke with him.

Mission impossible completed?

– Well, we’ve started six feet under but we succeeded very well with

this festival. In a very short time we’ve had to build a line-up, the

media was not so positive as usual but I would say we’ve made it

anyhow.

How many visitors did you finally have?

– About 11.000 people in the end, which is almost three times more

than the festival had on account last year.

How did the pre-sales do this year?

– They were slow; most of them were sold during the last two

weeks. Many people still were afraid of buying tickets because they

thought it might be cancelled again.

Did last year’s ticket buyer get their money back?

– No… and that is definitely six feet under. We started unfortunately

too late with a campaign whereby last year’s ticket-buyers could buy

three tickets for the price of two. Something that we could maybe

have done earlier, if we had more time… I mean, we only decided in

Mid-January to go on with Hultsfred and that was already very late.

How were the media reactions?

– Well, most of the media didn’t believe that this was going to

work.

So, there was a large amount of scepticism everywhere?

– Yes, but we managed to have a really good program, so last month

some of the media finally changed their minds but it was too late.

The program was pretty much pop and dance and not so much

rock-acts…is that your new booking-policy at Hultsfred?

– Well, to an extent, we would

have taken on more rock-acts but we couldn’t get them

when we started with the booking.

Who took care of the booking?

– I have done all of the bookings.

So FKP Scorpio mainly looked after the logistical stuff?

– Yes. We had several things that we looked after here in the Swedish

office but when it comes to the practical things FKP Scorpio took

care of it. Among others we worked together with Klangpiraten, a

man power supplier that works closely together with FKP Scorpio.

Did you sell tickets abroad this year or was it mainly a Swedish

audience ?

– Mainly Swedish, we’ve had a connection to the Hurricane festival,

which then brought a bus of Germans up to Hultsfred.

And how was the media reception afterwards?

– Well, I mean, some said we’ve done good, some said the area

wasn’t crowded, of course the area could have taken 20.000 people

and we had heavy rain the first day, like 16 hours….we could have

had a better start, yes.

How has the collaboration with the local city council worked out?

– It worked very well. I mean, we planned to work out the festival-

area in six weeks, in the end we built the area in six days. And it

worked out very well, in terms of practicalities it was probably the

best festival ever. I have the feeling that 95% of those who bought

tickets for this year will come back next year. I believe in the past

four, five years there might have 60% of newcomers, which of

course is a problem for a festival.

Do you know much about the audience, were they younger than

before, were they a different audience?

– No, we definitely had an older audience than before.

Do you know the average age?

– Not yet for sure, but there were probably more like 24 year olds

rather than 19 as it used to be. We managed to get the license for

serving beer all over the infield. In Sweden as you may know It used

to be the situation, that you have to fence areas where you can drink

your beer. That’s the case at most festivals in Sweden, and that is

something that maybe is okay when you’re 20 – 22, but if you are


The 14th edition of the Melt! Festival reported a sold out edi-

tion with 22.000 visitors. This festival is very special indeed.

Located in the very far east of Germany the Melt! has become

one of the most credible open-air pop events in Germany and

has managed to attract one third of its audience from abroad.

Melt! Is a festival where even veggie and organic food is no

longer an exception. No, at Melt! these kind of visitor friendly

amenities are part of the standard repertoire and among oth-

ers just another asset to keep its visitors happy.

VIP-News spoke with Stefan Lehmkuhl about the efforts

made to ensure the sustainability of this in many ways, very

different festival.

What is different at Melt! 2011 compared to previous years?

– Not too much, we’ve sold out much earlier, about one and a half

months before, at the end of May.The rest didn’t change too much,

we have the same stage-setup, many more LED-Lights, not only to

save more energy, also to make it look more stylish and I think the

stage-designs are pretty well done this year.

You are setting some remarkable standards with Melt! when it

comes to environmentally friendly concepts for open air events. How

do you proceed with these kinds of activities?

– Last year we already focused on the mobility concept for Melt!. We

maintained this concept featuring train & bus transportation offers

and discounted ticket prices on Deutsche Bahn. We offer bicycles

to hire here, which is very eco-friendly to get an idea of the region.

This year the biggest news in regards of green music, and that is a

really great thing, is that in cooperation with Ferropolis and the solar-

industry company Q-Cells, we installed solar-panels on the roofs that

we have here. So most of the energy we use here this year is coming

from our own solar panels, it is sun energy and I think that is a big

thing for a festival. That’s not only for Melt!, that is something that

is for all shows that will take place here in the future on our site.

You are also involved in Metropolis, the company that actually takes

care of the bookings for the Ferropolis site. What are your plans for

the site?

– We are working on improving the amount of events taking place

here, this year we had not too many concerts, mainly industry-

events, some sports-events and theatre productions. For next year

we’re working on improving the number of concerts and we will

establish some of our own formats for next year. Some different

festival formats for totally different audiences, especially for regional

audience. So I think next year we will have about 6 weekend events

from Melt to Splash, some rock festivals, events dedicated to German

Schlager, folk music and maybe even comedy.

Any follow-ups in terms of the consequences that love-parade

caused for the German live-industry?

–Yes, officially there is a much bigger awareness of security-concerns

here with Melt! I mean Ferropolis is a pretty safe venue anyway as

it is built for events and therefore fulfils high security standards. So

here at Melt we didn’t have big knock-on effects from love-parade,

but our own awareness to even look into things and keep a closer

eye on the movements of crowds on each floor. The program of the

festival is the most important thing that helps to steer the movement

of the crowd on the site.

For further information please check www.meltfestival.de

Melt! A Class Of Its Own

Gunnar Lagerman

FESTIVAL REPORT



Founder of the Bureau Export De La Musique

Française and head of the European Music

Office, died at the age of 69 on 23 July in

Paris.

With the death of Jean Francois Michel not

only the French but the whole European

music community lost one of its most ardent

advocates.

Even if the definition of lobbyists is

sometimes considered a critical term, Jean

Michel represented the exception in this

type of profession. Almost incomparable,

Michel seemed to work like no one else for

the good of the music industry, first in France

and later at the European level. He was

definitely not one to make a big fuss about

himself; on the contrary, Michel was more

of a subtle diplomat who worked in the

background. Right up until recently, Michel

was still taking care of business, working

on the various projects he often started or

was involved in, too many to mention in this

obituary. Yes, Michel was a functionary, but

a functionary that impressed by his integrity,

his perseverance, reliability and foremost by

his personality.

Although Michel never presented himself

as an industry power player in the public

spotlight , he was always behind the scenes

moving miraculously big things. He was the

opposite of power-hungry power brokers

being too unselfish, which distinguished

him. As the foster father of the Bureau

Export De La Musique Francaise he had

already developed structures in the early

nineties which much of the French music

industry still benefits from today. He was one

of the very few persons with an institutional

background that for the first time provided

access to public funding for popular music

artists and the business behind them.

Funding which was previously reserved for

public cultural institutions . He succeeded

in creating actually quite transparent and

equally fair conditions for all eligibility

criteria .

Jean Francois was also a staunch supporter

of the European ideal. Even on the politically

sophisticated parquet in Brussels, where he

operated besides professional bodies such as

CIESAC, IFPI or IMPALA, he opened up doors

for the support of pop music . He opened up

minds in a highly bureaucratic environment

for music issues. He belonged to those who

managed for the first time to raise awareness

among the rank and file in politics and the

administration for the profession and the

art of popular music . Together with Otto

Donner, the former chairman of the Finnish

copyright collection society Teosto he set up

the European Music Office. He succeeded

in even convincing the EU Commission

to promote the European Border Breaker

Award, the one and only popcultural project

on the official agenda of the EU. He was

also an important pioneer and supporter

of the European Talent Exchange Program

of the Dutch Buma Cultuur foundation

and Noorderslag Foundation in the political

world of Brussels.

The death of Jean Francois is unfortunately a

very sad occasion on which to value his work

and his legacy. Much of what he has done

for the music industry in France, in Europe

and even in Africa is not self-evident. He was

a musical cosmopolitan, very open-minded

and remarkably free of vanity, someone who

has actually selflessly created things and

championed causes that can be considered

as truly sustainable and meaningful, even in

the fast-paced music industry.

A close associate, who met him the day

before his death, reports that Jean-Francois

Michel was still concerned with upcoming

projects and plans. He was still full of hope

and confidence that these projects will grow

positively. With this in mind, it is probably

quite likely that he certainly wished that

his colleagues and former and current

employees will be able to continue his work,

Music industry mourns the loss of Jean-Francois Michel

maintaining the meaning and spirit of the

admirable attitude of Jean-Francois Michel.

The funeral took place on 30 July in

Normandy . In September there will also be

a commemorative ceremony at the Eglise

Saint-Eustache Church in Paris.

Statements and Comments on the loss of Jean-Francois Michel:

Maria Agnes Beau,BAM! Global Music Services

So much to say about Jean-Francois,

especially after working for 12 years with

him launching the French Music and

European offices. A true visionary; one of

his greatest talents was to gather the most

diverse people around a table to set up very

improbable but necessary co operations: he

created the first joint venture between the

French government and the music industry

which worked as a model and led to the

European Music Office and Diversites. I can

remember that what led me to work with

him was when he gathered French and US

cops and rappers in Harlem in the very early

90s... and it worked!

Emmanuel Legrand, Journalist

Jean-Francois was a friend and someone I

knew I could rely on. I’ve known him since I

started in journalism in the mid-80s. He was

then running the FCM. We started working

on projects together when, alongside a few

partners, I had the crazy idea to celebrate

the bicentennial of the French Revolution

on July 14, 1989 in New York with French

artists. Jean-Francois backed the project

immediately and helped us go through the

hurdles of the financing. The event was a

success and helped him »sell« the idea to the

music industry and the French government

to set up the FMO.

We have since seen each other as regularly

as our schedules allowed. I always enjoyed

our encounters. We always had projects to

discuss, but once the order of the day was

over, we would engage in long conversations

about »tout et rien« as the French say,

»everything and nothing«, over tasty food

and a good bottle of wine.*

*Taken from legrandnetwork.blogspot.com.

Peter Smidt, Buma Cultuur

He was a pioneer in the development of the

cooperations in favour of European music .

He was one of the first ones lobbying the

EU-commission and explained to them

the relevance of European repertoire .

Jean-Francois Michel was for me a very

inspirational person and it was very

impressive to see that he worked with a

long term vision regarding collaborations

that are of benefit for music.

Christof Huber,General Secretary Yourope

Jean-Francois was a charismatic fighter

for the European idea to let music cross

borders . He was a great leader for the

European Music Office. We have taken the

news of his death with great sadness. He

will be missed!

HigHligHts in der Kulturbrauerei wäHrend der berlin Music weeK

vom 07. bis 10.09. 11begrüßt die

Kulturbrauerei die

berlin Music weeK

die Kulturbrauerei als Multiplikator, Hotspot und trendsetter!

12 nationen versammeln sich in 6 locations und präsentieren

innerhalb von 5 tagen ein sagenhaftes Programm!

tickethotline: 0 18 05 – 57 00 00 www.eventim.deweitere infos unter: www.kesselhaus-berlin.de

Mittwoch, 07.09.11nOrdic nigHtfeat. lauri Ylönen (the rasmus)

support: Felix Zenger und tove styrke

neMis – new Music in sweden

feat. this is Head, dolly daggers, You say France and i whistle,

state Of grace und tantrum to blindin cooperation with

Kick-start und export Music sweden

samstag, 10.09.11MOVe it! die 90er PartY

suMMer sPecialmit den host dJ´s söhnlein b & dJ Michel (energY berlin) sowie dJ !Holg (Move it)

Freitag, 09.09.11Metal HaMMer

award sHOwlive on stage: die apokalyptischen reiter,

caliban, Primal Fear, audrey Hornemit awardverleihung und

anschließender aftershowparty mit dJ iron anz (Metal Hammer redaktion)

donnerstag, 08.09.11FrencH

cOnnectiOn feat. loane, axel and the Farmers,

general elektriks und Fortunemit freundlicher unterstützung

des institut Français und des bureauexport

tHe great escaPe

presents: dry the river, choir Of Young believers, lucy swann und i am Oak

JEAN-FRANCÔIS MICHEL



VIP-Booking.com has recently expanded its services by launching

MyMusicMailer.com - a new online promotion tool directed

towards artists within the live music industry. Thus VIP-Booking.

com has moved beyond being a business-to-business resource

reserved for entertainment industry professionals only, as

performing artists are now given the opportunity to access parts

of the VIP network database and thereby distribute and promote

their own music.

According to Ronni Didriksen, founder and director of VIP-

Booking.com , MyMusicMailer.com has risen as a natural develop-

ment of VIP-Booking.com’s already existing services. Previously,

chosen subscribers of VIP-Booking.com were given the opportunity

to present and distribute their artists’ material to other professionals

in the VIP network database through VIP-Showcase.com. This

proved to be a success and contributed to the rising demand for

such a service – not only amongst professionals but also amongst

performing artists.

»The concept of MyMusicMailer.com is quite

simplew, Ronni says, »When you register on

MyMusicMailer.com you get access to part

of the VIP-Booking.com database which

is Europe’s most comprehensive internet

database containing information on more

than 10.000 venues and agencies all over the

world. When registered, you create an EPK

(Electronic Press Kit), where you can upload

your picture, audio/video and biography and

email it directly to the venues, festivals or

management companies of your choice«, he

explains.

It´s free to sign up, but MyMusicMailer.com

charges a symbolic fee for each EPK sent.

According to Ronni this is partly to ensure

that artists are selective about whom they

contact and thus that the professionals don’t

experience an overload of EPK’s that are not

relevant to them. »Choosing to send an EPK

NEW SERVICE FOR MUSICIANS

to the entire network without being selective

would be costly and the fee would no longer

be symbolic«, he says.

Ronni has – as he is busy running the

thriving VIP-Booking.com - chosen to leave

the marketing of MyMusicMailer.com to his

two new employees – Marie Weiergang and

Laura Skriver, who have taken on the job

with great enthusiasm.

»We are spreading the word about MyMusic-

Mailer.com«, Marie says, »and I truly believe

in the concept, because MyMusicMailer.

com really is the perfect tool for musicians

to distribute their music to the live music

industry and to get through to the right

people – and besides that, there are currently

no existing services like it in Europe, so there

is an actual need for this kind of service

amongst musicians«, she says.

Laura agrees »This tool makes it so much

easier for musicians to be independent and

promote themselves, because it provides

them with the needed information and

connections that otherwise takes lots and

lots of hard work and not the least time to

acquire. Besides that it’s very easy to search

and navigate the database – you just select

and connect – it’s that easy! In that way

musicians who subscribe to MyMusicMailer.

com are given a head start«, she says.

According to Marie, what separates My-

MusicMailer.com from other sites, such as

MySpace and others alike, is the fact that

MyMusicMailer.com lets you distribute your

EPK directly to venues and agencies. The

receiver gets all information in one

presentation and the EPK has a very

professional appearance – it’s a

classy yet simple presentation

of the artist and their music ,

she says.

Ronni points to the fact

that the role of the record

labels is diminishing

in terms of breaking

new artists . The record

labels no longer have the

same recourses and funds

available for promoting

new talent as they used to.

Therefore there is a need for a

service like My MusicMailer.com

for artists, who want to make an

effort themselves and get their music out.

»As US music blogger Bob Lefsetz said at a

conference recently: »It’s no longer about

content, it’s about distribution « Ronni adds.

»I’m confident that both the professionals

within the live music industry as well as the

artists will welcome our initiative and make

it a success«, he says.

LAUNCHES!

MyMusicMailer.com is a tool that enables artists to DISTRIBUTE their music to more than 6.000 venues and agencies worldwide at the click of the mouse!

MyMusicMailer.com

The team behind MyMusicMailer.com – ready to shout it out!


DF CONCERTS

DF was founded in Dundee as Dance Factory

Concerts, and is one of Scotland’s three

major promoters. For a time DF was majority-

owned by Irish promoter Denis Desmond’s

Dublin company, Gaiety Investments , but

in April 2008 Desmond sold his company’s

67% holding to US entertainment giant Live

Nation, which acquired the stake through

LN-Gaiety Holdings, its UK joint venture

with Desmond. Geoff Ellis and promoter

Simon Moran retained the remaining 33%

shareholding in DF and the Company

still retains the image and ethics of an

independent promoter, operating from club

level right through to major festivals. The

Company owns and manages legendary ,

and imaginatively named Glasgow club,

King Tut’s Wah Wah Hut, promotes major

international acts, such as Take That, AC/

DC, The Eagles, Coldplay and Jay-Z around

the country and is responsible for one of

Europe’s leading open air events, T in the

Park, plus The Edge Festival (originally T on

the Fringe) which combines forces with the

Edinburgh Comedy Festival to bring Music

and Comedy together at the Edinburgh

Festival Fringe.

The current CEO of DF Concerts is Geoff Ellis ,

originally from Manchester, he joined DF in

1992 to run King Tut’s Wah Wah Club which

had opened in Glasgow’s St Vincent Street

two years earlier, his office is still above the

club. Since then King Tut’s has become one

of the most popular music venues in the

country. Geoff Ellis told VIP-News about

the history and the present success of the

Venue.

»Since opening in 1990 our ethos has been

to use King Tut’s Wah Wah Hut as a platform

for unsigned and up and coming bands as

well as showcasing some of the hottest

talent from around the globe. Artists such

as Radiohead, Coldplay, Snow Patrol, The

Killers, Florence and the Machine and Oasis,

who were famously signed at the venue in

1993, all played in King Tut’s in the early part

of their careers.«

Currently the Club is absolutely central to the

‘Your Sound’ initiative to promote unsigned

acts in Scotland and King Tut’s Records . Both

of these ventures form an essential part of

DF’s overall plan to develop the music scene

in Scotland.

Ellis considers it a testament to the hard

work and professionalism of the King Tut’s

team that many bands continue to return to

play in the venue, including some that are

now headlining their own stadium shows

and festivals. For the venue’s 20th Birthday

LIVE ON ALL LEVELSIN SCOTLAND

Every now and then VIP-News will take a look at the activities of some of Europe’s

best known promotion- companies-. Many of these enterprises - are involved with

a much wider range of events than you might think, and are extremely busy people!

In this issue- we take a look at the activities - of Scotland’s DF Concerts.

Allan McGowan · [email protected] McGowan [email protected]

Live music web service Songkick has launched a new iPhone and

iPad app which will allow users to track their favourite bands,

browse live listings by location, and share concert plans, all via their

portable devices.

At launch, the app scans the user’s music library to find artists to

track (the scanning screen is worth downloading the software for

on its own), but probably most interesting is the ‘what gigs are

happening near me tonight’ function which, although an obvious

service to offer, is pretty cool nevertheless, benefiting, of course,

from all the listings on the main Songkick platform.

Confirming the app launch, Songkick founder Ian Hogarth told

reporters : »We’re on a mission to make sure music fans never miss

another concert by one of their favourite artists. The Songkick

Concerts app makes it easy for music lovers to know when their

favourite bands are coming to town, quickly check out ticket

options , and share concert information with friends on Facebook

and Twitter«.

SONGKICK LAUNCHESiPHONE APP


Sign up at - www.vip-booking.com

Get VIP-News directlyin your inbox

®

vip-booking.com


the Manic Street Preachers and Paulo

Nutini returned to perform and Biffy Clyro

presented the venue with a birthday cake.

King Tut’s prides itself on the level of service

it provides both bands and customers with

food (always important in Scotland!) being

a very important part of the business. The

venue’s chefs are dedicated to maintaining

very high standards when feeding touring

artists or providing seasonal menus for

the customers. This has led to another

extension of the business with the recent

development of King Tut’s Catering, which

provides catering services to a wide range of

clients from weddings and corporate events

to crew and artist catering at other venues

including the O2 Academy and S.E.C.C.

Ellis continues, »King Tut’s Wah Wah Hut

staff have always had a great camaraderie

with many becoming close friends over the

years. I think this has a big impact on the

welcoming atmosphere the venue has. DF

Concert’s own King Tuts Wah Wah Hut and

our staff continually work with those in King

Tut’s as part of a wider team. We all know

each other and some of our current staff

in the DF office previously worked in King

Tut’s. In fact, I met my wife when she was

managing the venue!«

The Club was recently nominated as the UK’s

Best Small Venue by music magazine NME.

Ellis told VIP what he thought of this. »Being

at the forefront of live music in Scotland

whilst remaining an exceptional venue for

our customers is something we take great

pride in. I am very proud of everyone at King

Tut’s Wah Wah Hut and pleased with this

recognition, which follows on from similar

awards from Radio 1 and Radio Clyde.«

FESTIVALSThe Edge Festival takes place throughout the month of August,

and is a series of over 40 gigs, taking place across various venues in

Edinburgh alongside the Edinburgh Comedy Festival, part of one of

the most famous Arts Festivals in the world, in a move which brings

together two of the strongest forms of entertainment,

Highlights of this year’s edition include The National, Jimmy Eat

World, Example, Wiz Khalifa, Gomez, The Vaccines, Panic! At

The Disco, Morcheeba, Tim Booth, Guillemots , Newton Faulkner,

Heather Peace, Charlie Simpson, Admiral Fallow, Willy Mason,

Jackie Leven and king of comedy show Jackass , Steve-O.

Speaking on the morning of the programme launch, promoter

Dave Corbet said: “We’re delighted to be joining forces with the

Edinburgh Comedy Festival this year and are pleased to be in

such good company. Music and Comedy have always been great

bedfellows and from the feedback we’ve had previously, people

attending the festival like to build an evening of entertainment so

what better than to catch a comedy show AND attend a gig?

DF has also involved itself with shows outside the music industry,

such as Glasgow On Ice and Radiance Glasgow’s inaugural festival

of light. And it steps outside of Scotland every now and then,

having worked on outdoor events in Prague, Berlin, Val d’Isere and

Moscow , and staged music and extreme sports festivals in Valencia

and Versailles.

The promoting business is not always an easy business and

profit margins are not what they were in the heydays of the 70’s

and DF has like many had its problems at times, like going into

the red in 2008 when trying to establish The Hydro Connect

Festival - the antidote to T in the Park, a boutique gathering

on the grounds of the Duke of Argyll’s Inveraray Castle ,

but the Company bounced back and continues to build. DF

has certainly built a reputation, and it continues to involve itself in

industry issues with Geoff Ellis serving as an executive member of

the Concert Promoter’s Association in the UK.

www.gigsinscotland.com

This is our Festival: We pledge allegiance to T in the

Park and believe in being good citizens.

Everybody needs good neighbours ; we pledge to

look after each other.

It’s all about the T Community Festival staff are here

to help. Have fun but stay safe.

Bin it; Rubbish belongs in the bin. We’ll make sure it

gets there.

A Tent is for life not just for T; We’ll take it home

and re-use it.

DF Concert’s own King Tuts Wah Wah Hut Festival Director, Geof Ellis

2009 and 69 in 2008. Most of the arrests were for misuse of drugs,

theft and breach of the peace.

In his role as Festival Director, Geoff Ellis said, “We were delighted

with the behaviour of the fans throughout T in The Park. Even a

deluge of rain on Sunday failed to dampen the great-natured and

carnival spirit of the crowd. Event Commander Chief Superintendent

Craig Suttie and his team led the way with the community style

policing of his officers and it worked superbly well. This, along with

the excellent work of the stewards, made this one of the best – and

safest – T in the Parks ever.”

The Festival’s Citizen T initiative introduced last year also played its

part. An innovative programme that encourages people to look out

for their neighbours and the environment around the festival site,

Festival goers are encouraged to sign up to the Citizen T manifesto,

which is based around the following five-points:

Geoff Ellis commented: “Citizen T generates a feeling of being part

of one big family – it harnesses the already legendary campsite

atmosphere and is an initiative which has been embraced by our

audience. We will certainly be looking to expand on this again next

year.”

Following this outstanding festival weekend, T in the Park’s early

bird tickets for the 2012 edition sold out once again, proving that

demand for the festival remains as high as ever. T in the Park 2012

will take place from 6 – 8th July as usual at Balado, by Kinross for

the festival’s 19th year.



T in the Park is definitely DF’s flagship event, being responsible for

more than half of the company’s turnover. It was acknowledged in

the Scottish Parliament some years ago that the event contributed

some £13 million to the country’s economy. The risk that Ellis and

his partners took when they staged the first event in 1994 when

the event drew an audience of 18,000 a day has paid off, and

now attracts more like 80,000. Main sponsor , Tennents, the brewer,

signed a five-year extension to its sponsorship in 2009.

This year’s edition was considered one of the best yet, perhaps the

best ever, in terms of atmosphere. The 18-year-old festival closed

on Sunday 11th July, after full-on performances from some of the

greatest acts in the world including arguably, six headliners: Arctic

Monkeys, Coldplay, Foo Fighters, The Strokes, Beyonce & Pulp, as

well as outstanding sets from the likes of Swedish House Mafia,

Primal Scream, Plan B, The Script, Slash, My Chemical Romance,

Tom Jones and Tinie Tempah.

T in the Park also offered music from Scottish Opera, covering

a variety of genres . The festival also supported home grown

grassroots talent through its T-Break initiative and the best of up

and coming UK talent through BBC Introducing.

The Festival remained trouble free; crime figures were down with

53 arrests being made between Thursday’s opening night and top

billing Foo Fighters closing the event at midnight on Sunday. This

figure compares with 64 arrests at the same time last year, 59 in


#28VIP-MAGAZINE 08/2011www.vip-booking.com 2010


With the help of the recent grant from

the European Commission ETEP (European

Talent Exchange Program*) has announced

a new development and expansion as ETEP

2.0. The new version will welcome the

involvement of eight new festivals from

Central Eastern Europe (CEE) joining ETEP

in 2012, and it is planned that ETEP 2.0 will

grow from 60 participating festivals in 2011

to 100 in 2015.

Together with in total 13 CEE-ETEP festivals

in the CEE region and around 26 media

partners, Eurosonic Noorderslag and co-

organisers Sziget and Exit Festival will

develop a scheme for the circulation of

CEE artists and repertoire in Central Eastern

Europe at the festivals and in the media,

called CEETEP (Central and Eastern European

Talent Exchange Program). By working

together the organisers and their media

partners will help more CEE artists perform

across borders within Central Eastern Europe

and via shows at Eurosonic Noorderslag in

the Netherlands throughout the whole of

Europe and beyond.

Fruzsina Szép from Sziget Festival says: »A

long wish and a plan that has developed

during former Region Conferences in

Budapest is finally taking shape by placing

CEE talents on the European musical map.«

Ivan Milivojev from Exit says: »CEETEP has

started, festivals confirmed, media joined, I

can feel the stir of a new project being born

out of great idea. Bands will start to circulate ,

I am delighted that all this happened at EXIT

festival, to see this potent and beautiful

cooperation at work. CEETEP has started.

You`ll certainly hear more about it.«

Peter Smidt from Eurosonic Noorderslag

says: »With radio stations and media from

all countries confirming their participation I

am confident CEETEP will have an impact for

talent in the CEE countries. This is another

step in better circulation of European

repertoire in Europe.«

At the first CEE-ETEP (CEETEP) meeting in

Budapest in May this year the following 13

festivals agreed to work together on this

project : Coke Live Festival – Poland, Podoha

– Slovakia, Rock For People – Czechia,

Taksirat – R. Macedonia, T-Mobile INmusic

Festival – Croatia, , B’estfest – Romania,

Exit – Serbia, Wilsonic – Slovakia, Sziget –

Hungary , Heineken Opener Festival – Poland,

Positivus Festival – Latvia, Spirit Of Burgas –

Bulgaria, and Woodstock Festival – Poland.

Certainly it appears that the Festival

promoters are taking the lead in trying

to develop both acts and industry in the

Eastern markets , many of them also promote

at small and mid level venues, and it seems

that their motives are not only to fill the

venues and attract bigger audiences to their

festivals , but to open up the possibilities for

local talent to play in neighbouring territories

and eventually into Western Europe.

Girts Majors of Latvia’s Positivus Festival told

VIP-News at The Great Escape in Brighton

this year, »Besides organising Positivus, the

biggest music and arts festival in the Baltic

states, with a capacity of 20,000+ festival

goers, as promoters we have been operating

for 8 years now focusing on Western artists

concerts in Riga. The 1990’s saw the dawn

of the music industry in Latvia . At the

moment/ currently recorded music business

has almost ceased to exist. Most of the

business is foreign artist live shows and

majority of them being arena- level . Some of

the Western artists have enjoyed the highest

ETEP 2.0LOOKS EAST WITH CEETEP

attendance of their shows exceptionally

in Riga. Clublevel shows are rare and

undeveloped due to infrastructure problems.

The good sign in recent years is that some of

the local artists have also managed to secure

sold out arena-level shows. Our plan for the

near future is to focus on 2,000 capacity

gigs. We’re about to open and run our own

venue like that in Riga.

Piotr Miazek of the Zloty Melon Concert

Agency, and a representative of Woodstock

Festival Poland told VIP-News , »I would like

to say that we are proud to be taking part in

the CEETEP program. It is our deep conviction

that music made in Poland and elsewhere in

this part of Europe is just as good as in the

western music, and that our talent pool is

just as big. It would be great to hear Polish

radio stations playing good quality music

from Romania, Hungary, Serbia , etc.

Thanks to the kind hospitality of the Exit

Festival,VIP-News attended the second

CEETEP meeting in Serbia at which the

following mediapartners of the 13 CEETEP

festivals joined the program: MR2-Petőfi Radio

– Hungary, KOMMPOT Communication

– Hungary, Neston – Hungary , First

Macedonian net portal – Macedonia , Radio

103 – Macedonia, Antyradio – Poland, Czech

Radio - Radio Wave – Czech Republic, Radio

101 – Latvia, Metropotam portal – Romania ,

Radio Belgrade 1 – Serbia, Darik Radio –

Bulgaria , 24 hours news paper – Bulgaria ,

Croation Radio – Croatia.

Laurent Marceau, Head of Eurosonic/Radio

Plus at the European Broadcasting Union ,

told VIP-News, »Hope for the best and

prepare for the worst… I don’t know who

said this but this cannot apply to the CEETEP

programme. Joining forces between festivals

and (public) broadcasters makes real sense,

it contributes to cross-border distribution of

music, and that’s simply great, full stop. This

scheme has a great future!«… A sentiment

that we at VIP greatly support – Watch this

space!

*ETEP 2.0

Eurosonic Noorderslag will work together

on more exposure for the selected ETEP

acts with the following partners: European

Commission / Sena Performers / Buma

Cultuur / EBU. And with Co- organisers:

Yourope / Initiative Musik Gmbh / European

Music Office (EMO) / Festival Exit / Festival

Sziget / Bureau Export de la Musique

Française (Burex) / Catalan Institute for

the Cultural Industries (ICIC) / Fondazione

Arezzo Wave Italia (FAWI) / Finnish

Music Information center (FIMIC) / Music

Information Centre Austria (MICA) / Music

Centre Flanders / Music Export Norway /

Wallonie Bruxelles Musiques (WBM).

With the exchange and support of new

European music in Europe being one of

the main goals of Eurosonic Noorderslag,

the special European Talent Exchange

Program (ETEP) was introduced in 2003.

Each year ETEP brings together the leading

European festivals, radio and other media at

Eurosonic Noorderslag and stimulates them

to ‘exchange ’ a selection of artists. Since the

start of the ETEP program in 2003 a total of

1330 shows by 489 European artists were

presented at the 60 ETEP festivals (2003 –

2011) .

The updated ETEP website will be online

in September 2011. www.etep.nl

A large and diverse group of artists will

be offered the opportunity to perform

at the major European ETEP festivals.actS on feStivalSBennicasim festival (es) Erlend Øye And The Full Effect, Black Box RecorderForestglade festival (at) KrezipFrequency festival (at) Xploding Plastic,Glastonbury festival (uk) Junior SeniorGroovequake (at) Partice Gurten festival (ch) Patrice, AnoukHaldern Open Air (de) Libertines, Kaizers Orchestra, Xploding Plastic, SpinvisHultsfred festival (se) Fingathing, Schneider TM, Junior SeniorHurricane festival (de) AnoukLes Mediterraneennes festival (fr) Ojos de BrujoLowlands festival (nl) Ska P, Ojos De Brujo, Schneider TM, Slovo, Kaizers Ochestra, Apparat Organ QuartetMarktrock Leuven (be) Krezip, Van Katoen, Mo’Jones, Zuco 103Open Air St. Gallen (ch) Patrice, Ska-PParkpop festival (nl) Ska-P, An PierléPinkpop festival (nl) Junior SeniorProvinssirock festival (fi) Junior SeniorPukkelpop (be) Heideroosjes, Spinvis, Slovo, Apparat Organ Quartet, Ska-PQuart festival (no) Junior Senior, Black Box RecorderRheinkultur festival (de) Kaizers OrchestraRock Werchter festival (be) Anouk, Zuco 103, KrezipRoskilde festival (dk) Fifty Foot Combo, Slovo, Ojos De Brujo, Kaizers Orchestra, Xploding PlasticSziget festival (hu) Ojos de Brujo, Slovo

total 34 feStival in 14 countrieS

ebu radioStation inputGarish ORF/FM4 (at)Neeka / Sukilove VRT/Studio Brussels (be)Perry Rose RTBF/Radio 21 (be)The Raveonettes / Junior Senior DR/P3 (dk) Slut MDR/Sputnik (de)The Flaming Sideburns YLE X (fi)Dionysos Radio France/Le Mouv’ (fr)Nyers MR (hu)Apparat Organ Quartet RUV/RAS2 (ice)Verdena RAI/Radio Due (it)Zapzoo 100.7 (lux)Chair Teleradio (mo)Laidback Luke NPB/3FM (nl) Xploding Plastix NRK/P3 (no) Blasted Mechanism RDP/Antena 3 (pl)Sonia SK/Radio Rock FM (sl)Sidonie / Ojos de Brujo SER/Los 40 Principales (es)Parker / Mando Diao SR/P3 (se) Magic Rays RSR/Couleur3 (ch)Miss Black America BBC/Radio 1 (uk)

ShowS per act An Pierlé (be) 1 Anouk (nl) 4 Apers, The (nl) 1 Apparat Organ Quartet (ice) 2 Black Box Recorder (uk) 2 Erelend Øye and the Full Effect (no) 1 Fifty Foot Combo (be) 1 Fingathing (uk) 1 Heideroosjes (nl) 1 Junior Senior (dk) 5 Kaizers Orchestra (no) 4 Krezip (nl) 3 Libertines, The (uk) 1 Mo’Jones (nl) 1 Ojos de Brujo (es) 4 Patrice (de) 3 Schneider TM (de) 2 Ska-P (e) 4 Slovo (uk) 4 Spinvis (nl) 2 VanKatoen (nl) 1 Xploding Plastix (no) 3 Zuco 103 (nl) 2

totalS 53

Results etep 2003

34 33photo huricane festival

THE EUROPEAN MUSIC CONFERENCE AND SHOWCASE FESTIVALwww.eurosonic-noorderslag.nl

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2009 brought us a new record!214 shows with 75 european artists from 18 countries performing at 54 etep festivals in 20 countries; a grand total of 965 shows by 346 european artists since 2003....

Fruzsina Szép from Sziget Festival


VOLVOE Territory: Worldwide (except Germany) Period: 2011 Agency: Real Media Music Agent: M.Kostrec Phone: +44(0)7526171555 E-mail: [email protected] Homepage: www.myspace.com/volvoe

Aardvark Asteroid Territory: Europe Period: All Year Agency: Parrot Music Agent: Juan Albert Phone: +34 661 87 87 95 E-mail: [email protected]

Ultimate Earth Wind & Fire Territory: World Wide Period: General Agency: Sport Star Management Agent: Carsten Hilding Larsen Phone: +45 4071 7722 E-mail: [email protected] Homepage: www.sportstarmanagement.dk

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Skid Row

Firehouse

This year’s Autumn Falls Festival will take place from Monday

November 21st to Sunday November 27th. After the successful first

edition the Brussels indoor music festival will extend from three to

seven nights. The mission is still the same: presenting quality live

music to passionate music fans and concert goers.

European booking agency and Benelux promoter TOUT-

PARTOUT will once again cooperate with a selection of

renowned Brussels concert venues. Ancienne Belgique,

Botanique , Cirque Royal, Magasin 4 and VK* have already

confirmed their participation. More to be confirmed. Last

year’s edition accounted for three sold out nights, 6200 visitors and

took place over 10 different venues which welcomed a total of 41

international acts. Some of the names on the bill were Lambchop,

Beach House, Caribou, Junip, Factory Floor, Atari Teenage Riot,

Olafur Arnalds and Baths.

This year a limited amount of early bird tickets will be available

giving access to every possible Autumn Falls show for 50 euro.

Info : http://www.autumnfalls.be

AUTUMN FALLSFESTIVAL EXTENDS2 ND EDITION IN BRUSSELS

Allan McGowan [email protected]


KLIMMSTEIN Territory: WORLD Period: ALL-SEASON Agency: KBK Agent: HEINZ PREISCH Phone: +49 89 4110940 E-mail: [email protected] Homepage: www.klimmstein.at

Skid Row Territory: Eastern Europe / Europe Period: 01/04/2012-30/04/2012 Agency: ARM Entertainment Agent: Dana Strutz Phone: 1-651-483-8754 E-mail: [email protected] Homepage: www.skidrow.com

Giuseppe Moffa Territory: worldwide Period: generally available Agency: Maffucci Music Agent: Canio Rosario Maffucci Phone: +39.339.4858107 E-mail: [email protected] Homepage: www.italianworldmusic.com

Martin Turner’s Wishbone Ash Territory: Europe excl. UK, NL, BE, G, E Period: October/November 2011 Agency: Kultopolis GmbH Agent: Markus Sollner Phone: +49-6861-939980 E-mail: [email protected] Homepage: www.kultopolis.com

Spellbound Dazzle Territory: Europe Period: Sept 2011 to summer 2012 Agency: Dr. Music Management Agent: Miriam Guigueno Phone: +49 2331 1274625 E-mail: [email protected] Homepage: www.dr-music-promotion.de

Tamburellisti di Torrepaduli Territory: worldwide Period: generally available Agency: Maffucci Music Agent: Canio Rosario Maffucci Phone: +39.339.4858107 E-mail: [email protected] Homepage: www.italianworldmusic.com

GROOVE ARMADA Territory: Europe / Worldwide Period: Worldwide 2011Agency: WME - William Morris Endeavor EntertainmentAgent: Steve HoganEmail: [email protected]: www.groovearmada.com

Dub Syndicate (feat. Adrian Sherwood & Style Scott) Territory: Europe Period: November-December 2011 Agency: Paperclip Agency Agent: Rob Berends Phone: +31 24 323 9322 E-mail: [email protected] Homepage: www.paperclip-agency.com

Firehouse Territory: Europe Period: 01/02/2012-31/03/2012 Agency: ARM Entertainment Agent: Dana Strutz Phone: 1-651-483-8754 E-mail: [email protected] Homepage: www.firehousemusic.com

Ghetonia Territory: worldwide Period: generally available Agency: Maffucci Music Agent: Canio Rosario Maffucci Phone: +39.339.4858107 E-mail: [email protected] Homepage: www.italianworldmusic.com

LA Guns (feat. Phil Lewis & Steve Riley) Territory: UK - Newcastle, Leeds, Manchester, Liverpool Period: 28/09/2011-29/09/2011 Agency: ARM Entertainment Agent: Dana Strutz Phone: 1-651-483-8754 E-mail: [email protected] Homepage: www.laguns.net

Thieves Like Us Territory: GAS Period: generally available Agency: Solar Penguin Agency Agent: MichËl Dion Baltin Phone: +49 (0)69 25626960 E-mail: [email protected] Homepage: www.solarpenguin.de

ImagIne if you could go to one website and get aLL the contacts

you need for the european Live music Industry?

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The No 1 Information Resource For The Live Entertainment IndustryHaving the right tools for the job is often the key to success. We have developed a range of services to meet the demands of agents, promoters, talent buyers, venue bookers etc.

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VIP-Magazine Edition 9 - 2011

Documents