VIPNEWS PREMIUM > VOLUME 188 > MARCH 2016

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VIPNEWS > MARCH 2016

McGowan’s Musings

Over the years I have clocked up eighteen

attendances at SXSW, although I haven’t been

to the Austin, Texas event SXSW since 2010.

I did however wish that I had made it to this

edition. Apart from the sunshine, the music

of course, and the fact that Austin is a great

City – keep it weird! - I I was attracted by the

speakers, how often do you get a President

of the USA and his First Lady making separate

keynote speeches at a ‘popular’ music event,

with undeniable insight into both the music

and the nature of the event? I’ve seen Johnny

Cash, Carl Perkins, Little Richard, Neil Young,

Robert Plant and others speak at SXSW, all

of them music business statesmen of the

highest order, so a Presidential appearance

seems quite fitting! – Although I have seen

and heard another serving President speak

knowledgeably about music and artist, that’s

President Toomas Hendrick Ilves of Estonia,

and hopefully I will listen to him again in a

couple of weeks at Tallinn Music Week.

But, to get back to SXSW, another far

more unfortunate reason to want to be in

Austin, would have been to pay tribute to

a friend who passed away unexpectedly

on the morning of March 11, the morning

he’d planned to attend President Obama’s

keynote. Louis Jay Meyers was one of the

founders of SXSW, a fine musician himself,

he booked talent for South By till moving on

to other things in 1994. Louis first got me

involved in the event which has seen such

prodigious growth over the years when we

were both working on shows for MIDEM in

Cannes in the 80’s. He was a great believer

in the adage, “The Show must go on’,

and SXSW, Folk Alliance for which he was

executive director from 2005 – 2014, and

others will go on without him, but he will be

missed by many!

Having national Presidents attend rock ‘n’

roll events, and even having rock guitarists

(even if they’re also respected astronomers!)

invited to play on the roof of Buckingham

Palace, indicates how things have changed

in the way ‘popular’ music is perceived

by the establishment. This acceptance is

regretted by some of course, bemoaning

the spirit of rebellion that was perceived as

the very essence of rock, metal, reggae etc,

and of course punk, so many see as ironic

to say the least that the former London HQ

of the Sex Pistols has recently been given

listed status by a Conservative government

Heritage Minister! 2016 has been marked

down – by some – as the 40th anniversary

year of Punk, and the building in Denmark

St (once known as Tin Pan Alley) is where

the Pistols recorded the first demos of God

Save The Queen and Anarchy in the UK.

The walls of the studio on the ground floor

of the workshop building are still covered

with cartoons and graffiti scrawled by the

members of the band, with some apparently

quite good cartoons by the then still called

Johnny Rotten. Apparently these too are to

be preserved for the Nation!

Anyway, it’s been a busy month, all of the

team attended a particularly fine and very

busy edition of ILMC in London (see Manfred

Tari’s report in this issue.) Your normally

reserved Editor was captured on film with

many others raucously delivering a version

of the Beatles ‘Hey Jude’ delivered as ‘Hey

Louis” in tribute to the Louis, the barman

of Bertie’s Bar in the home of ILMC, The

Royal Garden Hotel. Louis looked after all,

inebriated, half-cut, and even sober for many

editions of the Conference, and sadly died

last year. We are all of the opinion that the

bar should change its name to Louis’ Bar!

Right, before we speak again I shall visit

Estonia and Finland – so for the time being,

Ladies and Gentlemen – The News!

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VIPNEWS > MARCH 2016

Chip Hooper, the worldwide head of music at

Paradigm Talent Agency, died on March 5th

after a long battle with cancer. He was 53.

Hooper was the personal agent for Dave

Matthews Band and Phish, among others,

and oversaw Paradigm’s 115-agent team

working a roster of 2,200 clients.

Hooper, a fixture in the concert business,

joined Paradigm when the firm acquired

Monterey Peninsula Artists in 2005. MPA

was built to last back in the `70s by Fred

Bohlander and Dan Weiner, who took their

game up the California coast to Monterey.

When Bohlander and Weiner sold to

Paradigm, Hooper, already a big player,

went from star agent to star recruiter as key

alignments were forged with philosophically

simpatico agents and agencies, including

Little Big Man, Third Coast, Ellis Industries,

AM Only and most recently The Windish

Agency.

Hooper’s death was announced by Oakland

University basketball coach Greg Kampe

through Twitter late Saturday. A week prior

to his passing, Hooper kept a promise to

his son, Max, to attend one of his Oakland

University basketball games this season.

Live Nation is closing a deal to purchase a

majority stake in Founders Entertainment,

producers of New York music festival

Governors Ball.

Governors Ball, held annually each June

on Randalls Island in New York, enjoyed

its biggest year yet in 2015, drawing about

150,000 in aggregate.

The majority stake in Founders is a critically

important play for Live Nation, both in the

Northeastern U.S., and in the overall festival

scene in America.

According to Billboard Randall’s Island is

now the front line in a fierce battle between

Live Nation and AEG Live over the New York

festival market, with the latter announcing

earlier this year that it would launch its own

festival on Randall’s Island with Panorama,

scheduled July 22-24. In launching

Governors Ball, Founders was the first

promoter to crack the code of producing

a major rock festival in New York, with the

festival hosting top-tier acts and posting

consistent growth in box office.

Founders has been independent in

producing Governors Ball, but the firm does

have a history with Live Nation, with the

two partnering last year in Farmborough,

the city’s first country music festival.

Though it drew about 40,000, word came

earlier this year that Farmborough would

not return in 2016.

The sixth Governors Ball is set for June

3-5, with Kanye West, The Killers and The

Strokes headlining.

Chip Hooper dies at 53 From VIP-Daily News

Live Nation to acquire NY festival Governors Ball From VIP-Daily News

Chip Hooper dies at 53

NY festival Governors Ball

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VIPNEWS > MARCH 2016

UK Music Venues protected bynew legislation From VIP-Daily News

S C O T L A N D ʻ S M U S I C C O N V E N T I O N2 2 - 2 3 A P R I L 2 0 1 6 E D I N B U R G H

W W W . W I D E D A Y S . C O M

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UK Music, Music Venue Trust and Musicians’ Union have welcomed

new Government legislation to protect UK music venues.

The amended legislation comes into effect on April 6th and means

property developers are now required to seek prior approval on

the impact of noise from existing music venues when applying to

transform office space into a residential building.

It follows a wave of small- to medium-sized concert hall closures in

London over the past eight years during which the capital city has

lost 35% of its grass roots music venues.

Some of the historic venues that have shuttered in the past decade

include The Marquee, Astoria, 12 Bar Club and Madame Jojos, with

dozens more shuttered throughout the city`s outskirts. Last fall,

The Coronet announced that after almost 140 years it too would

close its doors in January 2017.

Jo Dipple, CEO, UK Music said: “Ministers Ed Vaizey, Brandon Lewis

and James Wharton deserve sincere thanks for taking up our cause

and offering to act on industry concerns. There are times when it

seems Government does not listen. When it does, and when it acts

on what it hears, we should be proud of our political masters.

The Coronet will close in 2017

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VIPNEWS > MARCH 2016

ILMC 2016 - An Inspirational Live Music Conference Manfred Tari mt@vip-booking.com

The 28th sold-out edition of the ILMC

delivered much to think about. With some

superb panels and speaker contributions it

also set another milestone in the on going

transition of the live music business into a

proper industry.

For some years ILMC has been a platform

which has frequently used the term “Live

music industry” , but in the past the word

“industry” was still at a level of wishful

thinking at least in terms of its business

dimensions. Another expression often

heard at the current and past IMLC’s is

the description, a “people’s business”,

referring in most cases to the independent

entrepreneurs who invented and developed

the business. And this is the wording where

this recent milestone comes into the game.

This year’s ILMC marked clearly that the live

music business, as “people’s business” is

definitely a labelling of the past. It still fits

even today in certain cases, but in general

it describes something that worked in those

days, when the ‘good old boys-network’

still operated in an acceptable way for the

rank and file of live promotion and touring,,

before it gradually evolved into something

that deserved to be named as an “industry”.

But this is only one of the observed outcomes

of this year’s ILMC. In fact there were many

aspects mentioned here and there that

when combined draw a new picture of the

current state of the live music community.

No, the highly anticipated keynote interview

with Michael Rapino by Greg Parmley,

director of IMLC delivered no new insights

when concluding “it is a global business”

and commenting that the live music

business is “gifted with the internet”. The

Live Nation chief’s outlook turned out to

be sort of romantic analysis where the live

music sector will ,”keep doing what it is

doing”, that there will be more and more

emerging markets in Latin America and

Asia, and of course referring to the buzz

words, “the global footprint”.

Well, the global footprint in the music

sector was already paved and trodden by

Mozart, Glen Miller and the Beatles, so this

not really what is new in this business, even

though Rapino is of course right, that today

more and bigger shows can be played

globally.

Festival Forum at ILMC

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VIPNEWS > MARCH 2016

His assumption that ticket prices on the

primary ticket market are under-priced is so to

say almost idealistic and Rapino’s defence of

the secondary ticket is primarily ideologically

driven, particularly when he stated that the

eight billion dollars” or whatever the latest

market figures” on secondary ticketing

are “should all go away.” He made a very

interesting comparative reference to the

monitoring and analytical sales methods of

the watch manufacturer Rolex regarding the

resale of their watches.

But wasn’t it Live Nation that lobbied

successfully to get the merger with

Ticketmaster approved? Unlike the

French promoter association Prodiss, who

successfully lobbied for strict law against

the unauthorized resale of tickets, Michael

Rapino and his colleagues obviously instead

jinvested in the purchase of Seatwave.

In daily life Michael Rapino and his other

top management workmates just appear

to act as corporate concert cowboys, rough

enough to employ low wage workers under

very questionable conditions at some of

their shows in the US as the Washington

Post and LA Times reported in 2015, while

having no problems with appearing in 2016

at ILMC, fishing for compliments as some

sort of similarly smart talking and casually

dressed mini- Facebook-Boss Zuckerberg.

But, with all this in mind, was this Q&A

session with Rapino inspirational? Actually,

yes, it enlightened us on the imagination and

the mind set of a highly bullish top global

player in the live music sector, who probably

knows and loves that some subordinates at

Live Nation gave him the nick name “Darth

Vader”.

In respect to the authority of Darth Vader,

the writer of this article was even too shy

to ask Rapino at the end of the session

why and how having celebrated the 10th

anniversary of Live Nation the company still

has not not reported a profit.

Anyhow, the panel “Performance Royalties:

Shows, songs and settlements” chaired by

Jon Webster was also enlightening. It was

very interesting to see was how little some

UK and US agents and to certain extent also

accountants knew about the performance

collection fees of European Copyright

Collection Societies. The rate-schemes

appeared to some of them so complicated,

that they did not even understand how for

instance the German society GEMA applies

its discount system.

Surprisingly enough ILMC even managed

to get a GEMA representative Martin

Vierrath, to join the debate, as other PRO’s,

such as PRS and Buma had turned down

the invitation to join the discussion. But

questions by the audience revealed that the

knowledge about the art of accounting by

copyright collection societies is very much

underdeveloped in the international live

music circuit. Even more surprising is that

it took until IMLC 28 for some of those on

the panel and in the audience to reveal and

discover what appears to be just the tip of

the iceberg of this part of the music sector.

Even the summary by Webster at the

end of the panel as quoted in “The 1709

Blog”, stating : “I’d like to see us end up

with a simpler system and a much more

transparent system. Because of what has

happened over the past three or four years,

people are beginning to shine a light on

this area and it will end up in everyone’s

better interest”, perhaps reveals a certain

kind of innocent naivety. Unlike agents and

managers, copyright collection societies

have for decades lobbied at national and

international level, in Brussels, Geneva and

Washington and wherever it is needed on

national levels. And they are highly effective

in policy making, a fact that wasn’t even

mentioned on this panel.

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Michael Rapino and Greg Parmley at ILMC

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VIPNEWS > MARCH 2016

The ticketing panel under the headline “The

Disruptors” was extremely well put together

and delivered. Chaired by Tim Chambers,

this panel picked up on the business model

of disruption; a term that normally appears

in magazines such The Economist or Wired.

The set context was modern and up-to-date

and described on one hand the ‘Uberisation’

of ticketing but also addressed other areas

of the business, such as the lousy royalties

paid to artists by streaming services.

The taxi-platform Uber is in fact a perfect

example of how tech companies change

existing business models, by declining and

ignoring social aspects but nevertheless

are able to assemble huge investments

to develop anti-social business practises

promising extremely high profit margins.

High profit margins in the ticketing sector

literally means secondary ticketing and of

course service and system fees as charged by

outfits like Ticketmaster or CTS Eventim. An

evergreen in the live music sector that now

seems to move on to next level as somebody

mentioned, “Change is coming”. Mobile

ticketing, Amazon, new and upcoming

providers, leading Jason Legg ,among others

,to the conclusion “Disruption is a positive

word”. Legg furthermore said: “We don’t

care about the rules of ticketing, we are

taking care of the rules of consumers”

The German promoter Scumeck Sabottka

who is well known for his successful policies

against secondary ticketing by selling

personalized tickets for some of his shows,

via the platform tickets.de, described

disruption as good, “as long we can control

it”. But it also has been mentioned that in

today’s ticketing jungle it rather the work

load that is disruptive, when it comes to

the handling and the administration of the

many various ticket outlets that would like

grab their piece of the ticketing-cake.

The ticketing panel itself appeared to be

one of the most stimulating sessions, linking

on to other panels such as the Booking

Ring where surprising new developments

were also covered. One of these discoveries

pointed out tthe fact that especially in the

offices of the multinational major players in

companies like Williams Morris, CAA, Live

Nation that it can occur that national agents

do not even, any longer, maintain a personal

contact to the artists or their managers that

they represent in their territories. Deals

nowadays can be completed somewhere

in a headquarter office. Just a side aspect,

but a significant one as such circumstances

confirm that territorial agents apparently

now act in a similar way to product

managers in the record industry.

Out of the blue it was the one and only Ed

Bicknell in the Breakfast Meeting with Marc

Geiger who raised a concern that currently

should receive more attention than it actually

does. Bicknell in his well know style, talked

with Geiger about his career including his

agent-history, and capitalistic experiences

when Geiger failed with his former internet

site “Artist Direct”. And at one point within

the conversation he raised the rhetorical

question, what might happen if the UK leaves

the European Union and if anybody in the

room remembered what it used to be like to

cross borders with touring artists. An aspect

that was certainly underrepresented at ILMC

having already has also been neglected at

Eurosonic Noorderslag earlier on this year.

Very impressive, but unfortunately less

well attended wasthe Show Safety-session

chaired by Okan Tombulca from EPS. At the

beginning of this panel Arnaud Meersseman

and Salomon Hazot of Nous Productions, the

local promoter of the Eagles Of Death Metal

concert at the Paris venue Bataclan together

with the band’s agent Steve Strange from

X-Ray-Touring, told the audience how they

were confronted by the terror attacks in

Paris in November.

Also inspiring and almost completing the

entire picture of a very interesting and

informative ILMC was the final question

by Michal Kaščák of Pohoda Festival as the

chairman of the “The Emerging Markets

Place” when he asked the question: “Can

guitars save democracy?”

Just one more topic that besides many

other panels and debates at this year’s ILMC

speaks for how this conference documented

some of the major changes and challenges

the live music sector is currently confronted

with. Sometime officially set as topics within

the conference agenda, sometimes just

ventured as statements within the session

itself. Taking all aspects in consideration,

a very worthwhile output for a conference

that incidentally, or perhaps on purpose

delivered a milestone on how this business

is slipping into a new era.

The Dragon’s Den with Ossy Hoppe at ILMC

http://www.swedenrock.com

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VIPNEWS > INDEPTH STORY > MARCH 2016

Having talked in the Musings about presidential visits and the way that music and music trade events

are perceived it is interesting to see the way that Conferences and Festivals (see the Yourope report in

this issue) have widened their scope, to include other art forms and social and educational initiatives.

Quite often these are developed in tandem with the Cities in which the events take place e.g Hamburg

and the Reeperhahn Festival, Austin and SXSW, Brighton and The Great Escape, and increasingly others.

Here are a couple of examples – we will of course keep you informed…

Tallinn Music Week will take place from

March 28 – April 3, and will include in this

edition, Creativity for Change - a new global

forum to discuss solutions for a fairer and

more tolerant world.

The Forum will take place on 1st April

in Tallinn and will bring together game-

changers from the arts, business, culture, civil

society, education, science, technology and

policy-making from more than 30 countries,

to explore creative approaches to reshaping

our society on the verge of what has become

known as the Fourth Industrial Revolution -

to achieve greater democracy, transparency,

tolerance, diversity, equality, true freedom

of expression and sustainable prosperity.

Among the confirmed speakers is Hamdi

Ulukaya, the Kurdish-American founder of

Chobani and globally known philanthropist.

“During its seven editions TMW has

become a unique representation of music

democracy. It’s also our contribution to a

better society. We believe that the richness

of the 21st century is in its cultural and ethnic

diversity, based on equality,” said Helen

Sildna, organizer of Tallinn Music Week and

CFCForum. “Tolerance is the glue that keeps

societies happy, healthy and successful. Talent

thrives in tolerant soil, as does democracy

and a sustainable economy.”

The world is facing unprecedented challenges

today from conflicts, poverty, mass migration

and environmental crises to emergence of

populist movements and xenophobia. To find

out how best to tap into the resources of the

creative mind and new technology some of

the most brilliant visionaries in their fields will

come together for a day of brainstorming,

contemplation and inspiration for a better

world.

The President of Estonia, Toomas Hendrik

Ilves will be joined by Hamdi Ulukaya, the

CEO of Chobani, who has signed the The

Giving Pledge and committed the majority

of his personal wealth to help bring an end

to the global refugee crisis. Ulukaya is a

member of President Obamas Ambassadors

Conference Events Widen ScopeAllan McGowan am@vip-booking.com

Tallinn Music Week presents Creativity For ChangeAllan McGowan am@vip-booking.com

Helen Sildna, organizer of Tallinn Music Week

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VIPNEWS > INDEPTH STORY > MARCH 2016

of Global Entrepreneurship (PAGE) and

Eminent Advocate of UNHCR, leading several

charity organizations worldwide.

Estonian Minister of Foreign Affairs Marina

Kaljurand, IT entrepreneurs Sten Tamkivi

and Ott Jalakas, architects Andrus

Kõresaar and Marco Casagrande,

humanitarian experts Kilian Kleinschmidt

and Brian Reich, environmentalists Tia

Kansara and Rainer Nõlvak, start-up

angel Fadi Bishara, MEP Julia Reda,

minorities campaigners Gulya Sultanova,

iO Tillet Wright and Kaspars Zalitis,

author Ben Judah, music promoters Ramin

Sadighi and Thomas Noreila, education

visionaries Conrad Wolfram and Kathleen

Naglee, scientist Lili Milani and many other

outstanding personalities in their field are

among the speakers of the forum.

The Creativity for Change Forum aims to

encourage civil society and private sector to

invest in and strive for values that will bring

along a positive transformation in the society

– tolerance, equal opportunities, diversity,

responsibility and sustainable prosperity.

“Creative industries depend on freedom and

tolerance for the new and the unexpected.

So if we don’t stand up for these values,

then who will?” asks Helen Sildna, the main

organizer of the event.

TMW delegates have free access to the

Creativity for Change Forum that is also the

official opening of the TMW conference.

The one-day forum will take place in Theatre

NO99.

TMW delegates pass grants access to the

CFCForum, the music industry conference

on 1st and 2nd April and is available at TMW

website for €275.

It’s almost atradition that

Estonian president Toomas Hendrik

Ilves joinsTMW

The next Reeperbahn Festival will take place from September 21 -

24, 2016. The Conference Ticket for Reeperbahn Festival 2016 can

be purchased online at the spring rate for only €170,- (plus 19% VAT

+ sales fee).

The Reeperbahn Festival Conference is introducing a new platform

for companies and organisations in the music industry and its related

submarkets – companies and organisations with innovations and

ideas that could change the music business.

If you have a new music-related or music-industry-related business,

project, or product you have the opportunity to secure a presentation

slot at “Corporate Sessions - Innovations and Ideas for the Music

Business”.

Reeperbahn Festival Conference Offers New Platform for Innovations and Ideas Manfred Tari mt@vip-booking.com

Corporate sessions at Reeperbahn Conference

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VIPNEWS > INDEPTH STORY > MARCH 2016

The Reeperbahn Festival launches the first Reeperbahn Festival New York Edition during the A2IM Indie Week (13 – 16 June in

New York City). Support is provided by the German Foreign Office. International professionals are invited to become part of

the delegation.

The US market remains of paramount importance to anyone working in the music sector on the international level – nevertheless,

accessing this market is anything but easy. With an eye to facilitating entry for music-industry professionals, the Reeperbahn

Festival is taking a proactive role in 2016 with the introduction of the Reeperbahn Festival New York Edition and is pleased

cooperate with A2IM Indie Week.

Indie Week is a conference and networking event open only to members of A2IM. As a partner of A2IM’s Indie Week,

Reeperbahn Festival’s New York Edition offers delegates:

• Access to A2IM’s Indie Week conference (13-16 June) - including invitation-only panels, reception, and speed meetings

• Participation in additional networking activity

• Involvement in the Live Music Night @ Santos Party House presented by Reeperbahn Festival (15 June)

• Inclusion in the bespoke online and physical marketing items being prepared for our partners and participants

• Marketing packages for showcasing artists in cooperation with NYC-based promotion company Marauder Group

2016 marks the first time that a delegation of music-industry professionals will travel to New York under the aegis of the

Reeperbahn Festival, and with the kind support of the German Foreign Office, to take advantage of this highly fertile environment

and to establish and strengthen contacts in the North American music market.

This initiative will allow those accepted to present your idea

and company to leading representatives in your specific target

group. The Reeperbahn Festival will provide the perfect setting

and infrastructure as well as target-oriented promotion to an

international business audience.

If you think your business, project, or product are a perfect fit for

the Corporate Sessions, apply now – presentation slots are limited!

Call for Papers & Ideas:

Anybody who’d like to be a speaker at Reeperbahn Festival

Conference 2016, give a talk or present a project, likes to organise a

panel or workshop or simply likes to share a topic of interest is now

welcome to submit a proposal by 30 April 2016.

Reeperbahn Festival Conference is looking for topics that address

current challenges and developments in the international music

industry and fit into at least one of their thematic tracks (live

entertainment, marketing, (social) media, publishing, policy,

recorded music, synch & brands, technology).

The organisers will provide a venue equipped with the necessary

conference technology, an interested audience – approximately

3,700 music industry and business professionals attend the

conference – and will promote the proposed event as a fully-

fledged component of Reeperbahn Festival Conference

programme. In addition, you’ll receive full accreditation for the

Reeperbahn Festival with access to 700+ concerts, arts activities,

and conference events.

Reeperbahn Festival New York Edition

SATURDAYMAY 7, 2016 SHERATON CENTRE

TORONTO HOTEL

REGISTER NOWO N E - D A Y C O N F E R E N C E

Global city planners & the music industry take part in music canada’s and cmW’s international creative-economy summit

Global city planners and the music industry take part in Music Canada’s and Canadian Music Week’s international creative-economy summit “The Mastering Of A Music City.”

The day-long summit takes place during Canadian Music Week on Saturday, May 7, 2016 at the Sheraton Center, Toronto. Individual tickets are available or you can gain access with the CMW VIP pass.

The “Music City” is a true 21st Century paradigm – a shared realization that cities across the globe enjoy an often-huge economic dividend from the creation, performance and reception of music.

Whether it’s Austin, Texas, where music tourism represents half the city’s economic output from music, or Melbourne, Australia, where live music accounts for 116,000 jobs, or Toronto, where the Canadian recording industry has a $400 million impact, that song you hear is sung by robust civic economies worldwide.

2016 keynote speakers

2016 speakers

“The Mastering Of A Music City” Conference – a joint event by Music Canada, the international recording industry group IFPI, Music Cities Convention and Canadian Music Week – will explore in-depth the relationship between creative city planning, quality-of-life and the music industry.

a Fantastic opportunity to enGaGe With cities From around the World

Frances mooreIFPI, London, UK

tim arnoldLondon, UK

david GriceAdeLAIde, AUstrALIA

bryce merrilldenver, CA, UsA

amy terrilltoronto, on

kate beckerseAttLe, WA, UsA

Graham hendersontoronto, on

don pittsAUstIn, tX, UsA

vanessa toulminsheFFIeLd, UK

paul broadhurstLondon, UK

Joey hendricksonCoLUmbUs, oh, UsA

ben raynertoronto, on

ohn WardleULtImo, AUstrALIA

mark davydLondon, UK

kWende keFentseottAWA, on

shain shapiroLondon, UK

alison WenhamLondon, UK

Jo dippleLondon, UK

omar lozanoAUstIn, tX, UsA

ian sWaintoronto, on

catlin WhitinGtonAUstIn, tX, UsA

neill dixontoronto, on

Jesper mardahlAArhUs, denmArK

Fruzsina szepberLIn, GermAny

timotheus WiesmannhAmbUrG, GermAny

mark Garnertoronto, on

kevin mcmanusLIverPooL, UK

mike tannertoronto, on

Jonathan WynnAmherst, mA, UsA

christopher thornberGbeACon eConomICs, UsA

lesa ukmanIeG, ChICAGo

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VIPNEWS > MARCH 2016

There are many facts that can certainly not be ignored. What

is currently going on in the Middle East, the radical political

developments in Europe and in the US, the rising inequality gap

between the rich and the rest of the society, highly brutal military

conflicts and countless terror attacks, all have an impact on the live

music sector.

Yourope the umbrella organisation for festivals in Europe is the

first trade body in the European music sector to respond to these

disastrous developments.

In a press release the organisation declared:

A Statement For Peace

Yourope took the opportunity to officially launch a Mission

Statement, highlighting the festival scene’s commitment to positively

influence festivalgoers and policy makers in times when different

crises not only threaten the well-being of individuals but also the

European concept as a whole.

Christof Huber, General Secretary of Yourope, emphasizes that

it is not a Yourope Mission Statement. He encourages all live

entertainment associations to get on board and take a stand for

acceptance, cultural diversity and peace. What is more, signees of the

Mission Statement will vow to do business in a socially responsible,

fair and sustainable way.

Mission Statement

Who are we?

We are European festival promoters, bringing culture, music, art

and design to millions of young people every year. Our events are

a peaceful and joyful get together of many different people in a

limited space over a limited time. Together with our audience we are

a community through our passion for music, culture and through

our love of festivals.

What does the European festival scene stand for?

We want to be ambassadors of the European idea. We want to be

an example for the togetherness of different people from different

countries, no matter what gender, race, religion, sexual orientation

or origin.

We stand for acceptance and cultural diversity

Our business involves social responsibility - our aim is to be fair.

We stand for a high awareness in sustainability: ecologically, socially

and economically. We want our ideas of a peaceful cultural diversity

to influence the future generation. Through our partners we want

to spread our message into politics and make an impact in a positive

way.

How can we achieve our goals?

We connect people through culture. We are bound through the

collective thought of a common goal. We want to exchange,

educate, learn from each other and spread the message.

Whom do we do it for?

For the future generation.

For the future of Europe.

For a strong community – not only in the festival sector but all over

Europe.

www.yourope.org

Mission Statement by Yourope Manfred Tari mt@vip-booking.com

Christof Huber

14

VIPNEWS > MARCH 2016

Organising a festival, is as I’m sure we’re

all aware, not an easy task! Setting up and

taking down the equivalent of a good sized

town with all the necessary infrastructure

and facilities, besides arranging the

staging, lighting, sound – not to mention

the entertainment – is the hardest of hard

work, and the last thing you need is further

complications! Unfortunately, that is what

T- in the – Park boss Geoff Ellis is having to

contend with!

Having changed sites last year, Ellis and

his DF Concerts team are having to bid

for this summer’s festival, showing a

radical overhaul of traffic and security

arrangements for the approval of the local

authorities of Perth and Kinross Council

who will only issue a public entertainment

licence allowing the festival to go ahead,

if they are assured that what they saw

as chaos at last year’s festival will not be

repeated this year.

The Stone Roses and Red Hot Chilli

Peppers, amongst others have already been

confirmed for July’s event in the grounds of

Strathallan Castle in Scotland.

DF Concerts application for a new public

entertainment licence includes a dossier,

which runs to hundreds of pages, and

outlines a series of major improvements

to travel arrangements and staffing issues.

One of the biggest changes this year will

be a large-scale bus station, similar to the

one used at the Glastonbury festival. In his

“statement of intent” to council officers,

Mr Ellis said: “We always strive to create

a fun-filled, enjoyable safe weekend for

everyone and my whole team is focussed

on making... a festival that we can all be

proud of once again.”

DF Concerts has also pledged to improve

communications and briefings with

stewards and other staff. The site lay-out

will also be changed.

T in the Park Promises Major Improvements - Lodges Festival BidAllan McGowan am@vip-booking.com

Red Hot Chilli Peppers are confirmed for T In the Park

Kilimanjaro Live has expanded its team with the appointment of two

new promoters, Rhea Taylor and Georgie Donnelly.

Taylor joins from MAMA & Company, where she booked venues

including The Barfly and Hoxton Square Bar & Kitchen, both in

London. She successfully launched club night New Crush and books

with Radio X DJ John Kennedy on his X-Posure Live shows and will be

bringing in new talent across various genres.

Donnelly has more than six years` experience as a promoter and

producer of stand-up shows and will help further develop Kili’s

comedy and spoken word roster.

CAA has promotednew agentsFrom VIP-Daily News

Kilimanjaro hire twonew promoters From VIP-Daily News

®

vip-booking.com

145-157 St John Street | London Ec1V 4PW United Kingdom | Phone: +44 (0) 870 755 0092

www.vip-booking.com | vip@vip-booking.com

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

contacts you need for the european Live music Industry?

WeLL you Can! www.vip-booking.com

CAA has announced the promotion of 10 trainees to agents or

executives, one of them is David Ball is located in the London Office.

David Ball, Janet Kim, Lanell Rumion, Ben Schildkraut, and Phil Quist

have been promoted to agents in CAA’s music department.

David Ball is based in London, Kim, Quist and Rumion are based in Los

Angeles, and Ben Schildkraut is based in New York.

Furthermore Matt Brownstein has been promoted to agent in CAA

Sports’ baseball department and Angela Dallas and Ali Spiesman have

been promoted to agents in CAA’s television department.

Natalie Drye has been promoted to executive in CAA Sports’ property

sales department and Allison Wruble has been promoted to executive

in its Innovation group.

15

NAMES & JOBSVIPNEWS > MARCH 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

17

MUSIC IN SHARES

MusicIn SharesManfred Tari mt@vip-booking.com

CTS Eventim- An Excursion Throughout Scandinavia

CTS Eventim announced the launch of a joint venture with the

Egmont-Group owned by Nordisk Film. Egmont, a Danish media

company brings into the 50/50 partnership the ticketing company

Venuepoint, which among other operates Billetlugen in Denmark.

The headquarters for the new company will be in Copenhagen and

operates ticketing services in Denmark, Sweden and Norway.

Last reported share price on February 22 was 31.74 Euro, this time

on March 22, it is 31.59 Euro.

DEAG- Sale Of Remaining Stake Of Jahrhunderthalle in Frankfurt

DEAG sold its 49 per cent stake of the Jahrhunderthalle for 6.9

million Euro. The company purchased the historical location, which

celebrated its 50th anniversary in 2013, from the former owner

Hoechst AG in 1999 for just one Euro.

From a previously reported 2.80 Euro up to 3.60 Euro.

Live Nation- 10 Years Anniversary Of Non-Profitability

There is a little difference between press releases and financial

reports to the SEC. The press release is spiked with the many success

stories created in the business year 2015. In the press release the

operating income is declared with $131.4 million, but nevertheless

the net loss is declared in the report to the SEC with $15.7 million

and a net loss attributable to share holders of $32,5 million or

diluted net loss per share of $0.33. But what does a loss of $15.7

million means compared to overall revenue of $7.2 billion?

However, with this result in mind, Live Nation since its IPO at NYSE

celebrated its 10 years in a row of not delivering any profits to its

shareholders, nevertheless the share price proves that they must

enjoy this sort of tradition, the share price went up from $20.04 up

to $22.91...

SFX Entertainment - The EDM-Adventure Is Over

SFX Entertainment slipped under the bankruptcy protection, the

latest recorded share price occurred on February 9 with $0.0125...

VIPNEWS > BUSINESS > MARCH 2016

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

ÁrstíðirTerritory: Germany, Austria, Switzerland, Liechtenstein, DenmarkPeriod: April - May 2016Agency: NivalisAgent: Maria ChelnokovaPhone: +79 169 227 376E-mail: booking@arstidir.comHomepage: www.arstidir.com

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

LARA CONLEY Territory: UK based, WorldwidePeriod: 08/01/2016 - 01/11/2016Agency: Ragged MoonAgent: Niks PatelPhone: +44 (0) 1453 569770E-mail: niks@raggedmoon.co.ukHomepage: www.laraconley.co.uk

PAUL HARTNOLL (ORBITAL) Territory: World excl. USAPeriod: Spring 2016 onwardsAgency: Value Added TalentAgent: Dan SilverPhone: +44 (0) 2077 049720E-mail: dan@vathq.co.ukHomepage: www.vathq.co.uk

BANCO DE GAIA Territory: UK / EuropePeriod: March 2016 onwardsAgency: Value Added TalentAgent: Dan SilverPhone: +44 (0) 2077 049720E-mail: dan@vathq.co.ukHomepage: www.vathq.co.uk

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

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

ARTIST AVAILS

Michael Bolton

MEMBER PRESENTATION

CACTUSFESTIVAL is a colourful festival,

with a refreshing view on modern

musical culture; enclosed in a cosy

atmosphere and with a surprising

program.

The Minnewaterpark (“Lake of Love”-

park) in Brugge is the unique spot

where this three-days lasting musical

happening takes place.

CACTUSFESTIVAL guarantees a different

atmosphere and philosophy.

The festival intends to stay a “human

sized” musical happening, with a limited

number of bands, which all play full

concerts and which are presented in a

unique global atmosphere.

CACTUSFESTIVAL keeps on looking

for new discoveries and combines

these with artists with an established

international reputation. Year after

year a wide variety of musical genres is

presented; a “global” presentation card

of what the worldwide music scene has

to offer, in all it’s diversity.

CACTUSFESTIVAL hosted in the past

a.o.: Massive Attack, Elvis Costello,

Erykah Badu, Gnarls Barkley, Bryan Ferry,

Paul Weller, Tori Amos, The Afghan

Whigs, Flaming Lips, Jamie Lidell,

Mogwai, dEUS, Macy Gray, Joss Stone,

Regina Spektor, Michael Kiwanuka,

Gotan Project, David Gray, John Hiatt,

Daniel Lanois, Joe Jackson, Lauryn Hill,

Bonnie ‘Prince Billy, Bootsy Collins,

Janelle Monae, Aloe Blacc, Beach

House, Yeasayer, Amadou & Mariam,

KT Tunstall, Kate Nash, Isobel Campbell

& Mark Lanegan,16 Horsepower, Fun

Lovin’ Criminals, The Frames, Marianne

Faithfull, Burning Spear, Michael Franti

& Spearhead, Youssou N’Dour, Rufus

Wainwright, Lamb, Ani DiFranco, St

Germain, Mark Lanegan, Calexico, The

Gutter Twins, Marc Ribot & Cubanos

Postizos, John Cale, Ziggy Marley,

Tindersticks, Dinosaur Jr, Compay

Segundo, Cold War Kids, Lee Perry, Salif

Keita, Low, Emiliana Torrini, Tinariwen,

Israel Vibration, My Morning Jacket,

Asian Dub Foundation, Stereo Mc’s,

Soulwax, Arno, Toots & The Maytals,

Bonnie Raitt, Heather Nova, Jose James,

Razorlight, The Kills, The Ting Tings,

Blonde Redhead, The B 52’s, Conor

Oberst, Jamie Woon, Caribou, Banks,

Beach House, …

CACTUSFESTIVAL is a production of

Cactus Muziekcentrum vzw, which a.o.

is active as concert promoter (a.o. Cactus

Club, MaZ, Concertgebouw, ...), festival

promoter (Cactusfestival, Moods!,

Benenwerk) in Brugge (Belgium).

®

vip-booking.com

VIPNEWS > MISC > MARCH 2016

18