VIP-News Premium - Vol. 138 August 2011

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PreMIuM ›› VOl. 138 ›› AuGuST 2011

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Usually, as you know, this opening section

tends to be in the main quite light hearted,

and in fact I had already written a piece

that was at least partially in that vein. It

was definitely more sombre than usual as

it referred to the deaths of three important

and well-loved members of the live music

community – we include obituaries in this

issue. I also mentioned the recent rioting

and looting that went on in London and

the rest of England and its awful and last-

ing effects on individuals, and communi-

ties and businesses, including the inde-

pendent record industry as a result of the

fire at the Sony warehouse that stored the

stock of a huge number of independent

record companies.

Then came reports of stage collapses in

the US, with the worst disaster being at

the Indiana State Fair, with five killed and

many badly injured. But then as all was

due to go to print came the news from Bel-

gium with more horrifying evidence of the

destruction that the elements can bring,

with further deaths and multiple injuries

at the Pukkelpop Festival. All thoughts of

being light hearted evaporated with this

further terrible incident and I and all at VIP

would prefer to use this space to convey

our heartfelt condolences to all those di-

rectly affected by these terrible events and

to all of their families and friends.

We hope that all of you that are involved

with those open-air events still to take

place are favoured by the weather and all

proceeds safely and successfully.

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professionals all over europe. You will find no better place to expose your

company to the whole european live entertainment Industry.

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Allan McGowan

http://www.vip-booking.com


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ObituariesAllan McGowan [email protected]

willie robertson:

Willie Robertson, who died of cancer aged

67 on Saturday the 9th July, virtually sin-

gle-handedly created insurance cover for

entertainers in the 1970s, when he intro-

duced non-appearance and equipment

cover for rock’n’roll bands. With his part-

ner Bob Taylor, he went on to create an

international company – Robertson Taylor

– that insured almost every big concert

(including Michael Jackson’s last series

in 2009 at the O2 arena). An omnipres-

ent and charming figure at the ILMC and

other events Willie was a true legend from

the live music industry, and both at work

and at play was a charming, considerate,

entertaining and hardworking friend, a

most excellent host, and a valued col-

league who will be so very much missed

by so many.

Jean-Francois Michel

Founder of the Bureau Export De La Mu-

sique 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 ar-

dent advocates.

Even if the definition of lobbyists is some-

times considered a critical term, Jean

Michel represented the exception in this

type of profession. Almost incompara-

ble, 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 func-

tionary 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 pub-

lic 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 Fran-

caise 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 ac-

tually quite transparent and equally fair

conditions for all eligibility criteria.

Jean Francois was also a staunch support-

er of the European ideal. Even on the po-

litically 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 is-

sues. He belonged to those who man-

aged 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 Finn-

ish copyright collection society Teosto he

set up the European Music Office. He suc-

ceeded in even convincing the EU Com-

mission to promote the European Border

Breaker Award, the one and only pop-

cultural project on the official agenda of

the EU. He was also an important pioneer

Willie Robertson

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and supporter of the European Talent Ex-

change Program of the Dutch Buma Cul-

tuur foundation and Noorderslag Founda-

tion in the political world of Brussels.

The death of Jean Francois is unfortunate-

ly 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 self-

lessly 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 be-

fore his death, reports that Jean-Francois

Michel was still concerned with upcom-

ing 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, maintaining the mean-

ing and spirit of the admirable attitude of

Jean-Francois Michel.

The funeral took place on 30 July in Nor-

mandy. In September there will also be a

commemorative ceremony at the Eglise

Saint-Eustache Church in Paris.

Statements and Comments on the loss of


Maria Agnes Beau,

BAM! Global Music Services:

So much to say about Jean-Francois, espe-

cially after working for 12 years with him

launching the French Music and European

offices. A true visionary; one of his great-

est talents was to gather the most diverse

people around a table to set up very im-

probable but necessary co operations: he

created the first joint venture between the

French government and the music indus-

try 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-Fran-

cois 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 in-

dustry 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 conversa-

tions 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 lob-

bying the EU-commission and explained

to them the relevance of European reper-

toire. 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.

»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«

- Christof Huber

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 Eu-

ropean Music Office. We have taken the

news of his death with great sadness. He

will be missed!

John Northcote:

John Northcote, Chief Operating Officer

(CEO), Academy Music Group (AMG),

passed away on Wednesday 10th August

2011 at the age of 62 after pro-longed ill-

ness. John will be remembered by many

as the man who reinvented the live venue

circuit, music was his passion and the driv-

ing force in his life, right to the end. His vi-


http://www.legrandnetwork.blogspot.com

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sion to create a network of entertainment

venues across the UK made him such a

remarkable figure, alongside his commit-

ment to supporting new music, building

smaller venues and ‘giving new bands

a platform to play’. He started out at the

Break For The Border Group in the early

‘90s running the Border Line in Charing

Cross, booking acts like Sheryl Crow, Blur

and Lenny Kravitz. In 1994 he acquired

Shepherd’s Bush Empire to reopen as a

live music venue, quickly followed by the

purchase of the famous Brixton Academy.

By 2000 he expanded AMG, working with

promoters to establish a network of Acad-

emy venues across the United Kingdom

with investment from SJM Concerts and

Metropolis Music, soon followed by Live

Nation/Gaiety Investments as sharehold-

ers. He will be greatly missed, and as a

release from friends and colleagues at The

Academy Group stated, “Long may his

legacy continue.”Paul Cheetham

http://www.pro-sky.com

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http://www.eurosonic-noorderslag.nl

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According to the now annual music in-

dustry report from PRS For Music, box

office takings for pop and rock con-

certs 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 ap-

pears that there were however miti-

gating 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 – par-

ticularly 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 dif-

ference 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.”

uK Concert Took a drop in 2010 After the BoomAllan 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 down-

loading 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, Song-

kick founder Ian Hogarth told re-

porters: “We’re on a mission to

make sure music fans never miss

another concert by one of their fa-

vourite artists. The Songkick Con-

certs 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 launches I - Phone APPAllan McGowan [email protected]

Kings of Leon

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Festivals “performed strongly” in 2010,

while arenas and mid-sized venues “held

up”, it said. But there was a “striking de-

cline” in the number of stadium gigs com-

pared 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 ven-

ues 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 re-

sponded accordingly.”

The PRS for Music report, taking into ac-

count 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 sec-

tor, 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 show-

ing signs of maturity and cooling to a more

sustainable growth path, after a period of

unprecedented growth.”

This year’s Autumn Falls Festival will take place from Monday No-

vember 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 TOUTPARTOUT

will once again cooperate with a selection of renowned Brussels

concert venues. Ancienne Belgique, Botanique, Cirque Royal, Ma-

gasin 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.

First Acts announced are:

LOW / PINBACK / BILL CALLAHAN / METRONOMY / PINK MOUN-

TAINTOPS / PORTUGAL THE MAN / SCOTT MATTHEW / OKKERVIL

RIVER / FOOL’S GOLD / SX

www.autumnfalls.be

Autumn Falls Festival extends for 2cnd editionin BrusselsAllan McGowan [email protected]

Pinback will plat at the Autumn Falls Festival

http://www.autumnfalls.be

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A recent report from the BBC stated that a

total of 31 music festivals have been can-

celled 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 assume that the festival has

“probably got another three or four years”.

He considers that there are economic rea-

sons 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 im-

possible 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 in-

terview session “There’s no question that

tickets have sold slower than they previ-

ously 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

Major uK Festival Promoters express Concerns for the FutureManfred Tari [email protected]

FeSTIVAl rePOrT

John Giddings

http://www.reeperbahnfestival.com

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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 Associa-

tion of Independent Festivals (AIF) that:

“Prices for talent increases and increases

and increases every single year.” He fur-

thermore 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 phenom-

enon. 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 Fes-

tival in Sweden he explained about the dif-

ficulties in the Swedish festival market.

Still there are many festivals doing ex-

tremely well this year, (see article on T in

the Park in DF Concerts story in this issue.)

but factors like higher fees for artists, ris-

ing production costs and the overall eco-

nomical climate are increasing challenges

that festival promoters have to deal with

these days.

Rock am Ring

The Wacken festival celebrated its 22nd

edition this year. According to the promot-

er ICS Festival Service GmbH, the event

was actually visited by 85.870 people - al-

though this official estimate also includes

artists, crew and guests.

For this year’s event the promoter under-

took several new environmentally friendly

efforts. Entitled “Metal 4 Nature” the pro-

gram 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 charity organization

Viva Con Aqua, Wacken launched a water

brand called, “Wacken Aqua.” Viva Con

Aqua supports water supply systems in

third world countries. Additionally Wacken

visitors were asked to donate their deposit

on beer cups to the organization by drop-

ping off cups to Viva Con Aqua teams on

the site.

In a previous VIP-News edition we re-

ported that together with the University

of Osnabrück and the support of Region-

Nord 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, Ham-

merfall, U.D.O, Amon Amarth, GammaRay,

Cradle of Filth and the German band Scor-

pions.

For more information please check:

www.wacken.com

wacken 2011 - Once Again 75.000 Tickets SoldManfred Tari [email protected]

Wacken 2011

http://www.ics-int.de/

http://www.wacken.com

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The Italia wave Festival Contends with AdversityAllan McGowan [email protected]

The Italia Wave Festival is a peripatetic

(not often I get a chance to use that word!)

event, which moves to different sites in It-

aly, 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, attract-

ing thousands of young people each year.

Italian fans has not embraced the music

festival as we know it now in the rest of Eu-

rope, 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 pre-

sented an impressive array of international

acts including, Mano Negra, the Lenin-

grad 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 produc-

tion, the numbers were down, with only

the free night of Italian acts pulling a large

crowd to the dauntingly large Lecce Sta-

dium. 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. Do-

ing 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 Ital-

ian 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 ter-

ritory and on how much they will be able to

contribute to becoming like Exit or other fes-

tivals 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 fi-

nance 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 nev-

er 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 rath-

er 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 perform-

ances 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 every-

one 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!Italia Wave Festival

Marco Valenti - director Arezzo Wave

http://en.wikipedia.org/wiki/Mano_Negra

http://en.wikipedia.org/wiki/Leningrad_Cowboys

http://en.wikipedia.org/wiki/Leningrad_Cowboys

http://en.wikipedia.org/wiki/David_Byrne_%28musician%29

http://en.wikipedia.org/wiki/Nick_Cave

http://en.wikipedia.org/wiki/Sonic_Youth

http://en.wikipedia.org/wiki/Moby

http://en.wikipedia.org/wiki/Tricky

http://en.wikipedia.org/wiki/Ben_Harper

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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 coun-

tries. 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 appar-

ently 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 ven-

ue and the number of inhabitants.”

Another new topic on the agenda of

this festival was the introduction of a

so-called Festivalcard. The promoter de-

cided that during the event and on the

site festival visitors could only pay for

goods with this card. As in some Euro-

pean 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. Unfortunate-

ly cardholders won’t be able to trans-

fer the balance on the card onto the

other festivals. For the cash free man-

agement Sziget Cultural Management

Ltd. had to install a complete network

of card readers and payment terminals

known as Top Up Points. The maxi-

mum amount of money that could be

uploaded on this card is 240,000 Hun-

garian 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 function-

alities 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

so-called 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 down-

loads. 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 de-

vices have limits. In many cases it is just

a bargain for the card issuer who makes

a profit on non- reimbursed funds. Oth-

erwise 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 manage-

ment of an event. It also means that mer-

chants 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 overpay-

ment 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

Sziget reports 77.000 Cashless VisitorsManfred Tari [email protected]

http://www.recordoftheday.co.uk/

http://www.pop1000.com/

http://www.metapay.hu/fesztivalkartya/

http://www.sziget.hu

12

VIP-BOOKING.COM


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 news-

paper 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

20.000 Visitors for M’era luna and one more Festival for FKP ScorpioManfred Tari [email protected]

M’era Luna

http://www.deichbrand.de

http://www.hallenduo.de

13

VIP-BOOKING.COM


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

festival promoter, FKP Scorpio. Former

Hultsfred-manager Gunnar Lagerman was

persuaded to abandon his beloved toma-

to-plants in order to return to his position

as boss of Hultsfred again. VIP-News spoke

with him.

VIP-News: Mission impossible completed?

Gunnar Lagerman: 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.

VIP-News: How many visitors did you fi-nally have?

Lagerman: About 11.000 people in the

end, which is almost three times more

than the festival had on account last year.

»Many people still were afraid of buying tickets because they thought it

might be cancelled again«

- Gunnar Lagerman

VIP-News: How did the pre-sales do this year?

Lagerman: 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 can-

celled again.

VIP-News: Did last year’s ticket buyer get their money back?

Lagerman: 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-Jan-

uary to go on with Hultsfred and that was

already very late.

VIP-News: How were the media reactions?

Lagerman: Well, most of the media didn’t

believe that this was going to work.

VIP-News: So, there was a large amount of scepticism everywhere?

Lagerman: 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.

VIP-News: The program was pretty much pop and dance and not so much rock-acts…is that your new booking-policy at Hultsfred?

Lagerman: Well, to an extent, we would

have taken on more rock-acts but we

couldn’t get them when we started with

the booking.

VIP-News: Who took care of the booking?

Lagerman: I have done all of the bookings.

VIP-News: So FKP Scorpio mainly looked after the logistical stuff?

Lagerman: 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 to-

gether with FKP Scorpio.

VIP-News: Did you sell tickets abroad this year or was it mainly a Swedish audience?

Lagerman: Mainly Swedish, we’ve had

a connection to the Hurricane festival,

which then brought a bus of Germans up

to Hultsfred.

VIP-News: And how was the media recep-tion afterwards?

Lagerman: 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.

VIP-News: How has the collaboration with the local city council worked out?

Lagerman: 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.

VIP-News: Do you know much about the audience, were they younger than before, were they a different audience?

Hultsfred Festival – The Comeback of a Festival?Manfred Tari [email protected]

Gunnar Lagerman

14

VIP-BOOKING.COM


Lagerman: No, we definitely had an older

audience than before.

VIP-News: Do you know the average age?

Lagerman: 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 26 it sucks.

Now we had alcohol served all over the in-

field, people where not as drunk as it used

to be, no accidents or fighting, whatever. It

was a very positive atmosphere.

VIP-News: So, what is on your agenda for 2012?

Lagerman: 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

The 14th edition of the Melt! Festival re-

ported a sold out edition with 22.000 visi-

tors. This festival is very special indeed. Lo-

cated 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 audi-

ence 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 reper-

toire and among others just another asset

to keep its visitors happy.

VIP-News spoke with Stefan Lehmkuhl

about the efforts made to ensure the sus-

tainability of this in many ways, very differ-

ent festival.

VIP-News: What is different at Melt! 2011 compared to previous years?

Stefan Lehmkuhl: 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.

VIP-News: You are setting some remark-able standards with Melt! when it comes to environmentally friendly concepts for open air events. How do you proceed with these kinds of activities?

Lehmkuhl: 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 Ferropo-

lis 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 fu-

ture on our site.

VIP-News: You are also involved in Me-tropolis, the company that actually takes care of the bookings for the Ferropolis site. What are your plans for the site?

Lehmkuhl: 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 dedi-

cated to German Schlager, folk music and

maybe even comedy.

VIP-News: Any follow-ups in terms of the consequences that love-parade caused for the German live-industry?

Lehmkuhl: 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 move-

ments of crowds on each floor. The pro-

gram 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 OwnManfred Tari [email protected]

Stefan Lemkuhl

http://www.hultsfredsfestivalen.se

http://www.meltfestival.de

15

VIP-BOOKING.COM


VIP-Booking.com has recently expanded its

services by launching MyMusicMailer.com

- a new online promotion tool directed to-

wards artists within the live music industry.

Thus VIP-Booking.com has moved beyond

being a business-to-business resource re-

served for entertainment industry profes-

sionals only, as performing artists are now

given the opportunity to access parts of the

VIP network database and thereby distrib-

ute and promote their own music.

According to Ronni Didriksen, founder and

director of VIP-Booking.com, MyMusic-

Mailer.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 opportu-

nity 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 con-

tributed to the rising demand for such a

service – not only amongst professionals

but also amongst performing artists.

“The concept of MyMusicMailer.com is quite

simple”, 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 createan 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 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 thriv-

ing 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 dis-

tribute 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 musi-

cians”, 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 con-

nections 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 navi-

gate the database – you just select and con-

nect – 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 agen-

cies. 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 MyMusicMailer.com for

artists, who want to make an effort them-

selves and get their music out. “As US mu-

sic 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.

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!

New service for musicians:MyMusicMailer.com launches!

The team behind MyMusicMailer - ready to shout it out!

16

VIP-BOOKING.COM


Popkomm is by far extent the best know music industry trade

event in Germany. This year’s event will take place from Septem-

ber 7 to 9 at the former airport Tempelhof in Berlin. But Pop-

komm is no longer a stand-alone event, like the Berlin Festival it

is now an embedded event within Berlin Music Week.

Berlin Music Week is basically a political, or perhaps better said, a

city marketing product. It remains a bit of a mystery what those

responsible in Berlin are aiming to establish and to invest into

this new brand. For the music industry Popkomm is still seen as

the destination to head to in Berlin.

VIP-News spoke with Daniel Barkowski, who has been head of

industry convention for two years, about the difficulties and

challenges presented by the upcoming edition and the future

of this event.

VIP-News: How are things looking for Popkomm 2011?

Daniel Barkowski: Popkomm 2011 is very promising. We are

extremely proud to announce that for the first time a foreign

minister is attending the Popkomm Opening. Ewa Björling the

Swedish Minister of Trade opens the Popkomm conference with

a keynote on Wednesday, September 7 th.

On Wednesday and Thursday the Popkomm conference focuses

on the digital music industry with various keynotes and panels

at the Popkomm Media_Gate. Popkomm Media_Gate is a format

for the digital music industry with companies such as Google,

Microsoft, Napster, Finetunes and Gracenote discussing the lat-

est trends and topics in panels and workshops. Furthermore

we involved in many music and media industry cooperations.

One partnership is with the medienboard Berlin–Brandenburg

where Popkomm will be hosting a panel called ‘Music_Media_

New Radio: Business Models and Digital Strategies on Tuesday,

Showdown for Popkomm 2011Manfred Tari [email protected]

Daniela Barkowski

http://www.popkomm.com

17

VIP-BOOKING.COM


September 6th, from 4.30 pm – 6.30 pm.

Professionals within the music industry

will showcase all the new formats and pro-

grammes that a renaissance in the music

business holds in store.

Thursday is dedicated to more general

music topics and on Friday we are expect-

ing Melvin Benn from Festival Republic

as a keynote speaker focusing on the live

sector. We are very pleased about our two

innovative event formats Media_Gate and

Networking_Gate, our networking and

matchmaking platform, which confirm

that Popkomm has become even more

multi-faceted and provides a strong im-

pact into future developments. We cover

topics of fundamental interest to the mu-

sic industry and with the Popkomm show-

cases help to promote artists from every

continent.

Vip News: Was it difficult to assemble ex-hibitors and delegates for this year’s Pop-komm? Was it more difficult than in previ-ous years?

Barkowski: This is my second Popkomm

and I’m very pleased with the expected

audience. Exhibitors from 22 countries

including, for the first time, Israel and

Argentina, will attend Popkomm, along

with industry experts from music export

agencies, national and international as-

sociations and 115 selected Popkomm

artists. We are also happy to announce the

cooperation with the Berlin based organi-

sation Berlin Music Commission. With the

networking formats such as one-on-one

matchmaking and round table discussions

delegates are invited to MEET BERLIN on

September, 7th at the Networking_Gate.

The Berlin Music Commission invites to

network, to gain new insights, to learn ide-

as from other industries and last but not

least to make premium contacts.

Special highlights are the music supervi-

sor sessions with Tess Taylor from NARIP

and Andrea von Foerster and Gary Ca-

lamar will meet Popkomm delegates for

direct pitches. Andrea von Foerster is re-

sponsible for The O.C., Grey’s Anatomy,

Dollhouse, Stargate Universe, Gary Ca-

lamar for the soundtrack of True Blood,

Dexter and House.

Vip News: Many People outside of Ger-many and even Germans, who are not from Berlin have problems understand-ing the difference between Berlin Music Week, the Berlin Festival, Popkomm and All Together Now. What is the overall goal for it? Popkomm is internationally the best known trademark, so why does it need another brand entitled Berlin Music Week?

Barkowski: Last year was a little bit dif-

ficult for foreign people to understand

what Berlin Music Week stands for as it

was a kind of creation process for all the

different partners. But I think we’ve made

it very clear this year. Berlin Music Week

is the umbrella brand whereas Popkomm

is the B2B-platform within the Berlin Mu-

sic Week. We’re concentrating on match-

making, B2B sessions such as our daytime

showcases for a B2B audience. We are the

only partner within the Berlin Music Week

offering special networking formats and

conference topics to international and

national music and creative industry del-

egates.

Vip News: In terms of partners, there are a couple of former Popkomm partners such as Buma Cultuur or the BPI that won’t have Popkomm stand this year. How do

you re-approach these organisations, are you going to invite them?

Barkowski: We are very pleased to wel-

come them as delegates at Popkomm

2011. We have been working with interna-

tional partners and especially the music

export offices for years and it is our aim to

support their national artists. This year’s

showcase programme will be fully pro-

moted to all Popkomm delegates to assist

artists to gather the attention of the right

people in the right place at the right time.

Our music manager Paul Cheetham places

as many artists as possible on to the Berlin

Festival, various Berlin Music Week events,

club nights and parties that will take place

throughout the city during this exciting

week of music and entertainment.

Vip News: In terms of booking procedures, I have been told, that artists only can play at Popkomm showcases if they have a record company or an agent that also has a stand. Is that correct?

Barkowski: Artists have to be linked to an

exhibitor or co-exhibitor at Popkomm to

play at the Popkomm Showcases. That’s

why we are working very closely with the

international music export offices to sup-

port their artists. The link to the exhibition

part allows them to get the best exposure

when they come to Popkomm and benefit

from the support of the structure while at-

tending.

Vip News: How many people are you ex-pecting at this year’s Popkomm?

»This year’s Popkomm once again provides a vibrant

and creative setting for the worldwide music industry«

- Daniela Barkowski

Barkowski: Definitely not less than last

year and I’m looking forward seeing eve-

ryone at Popkomm from 7th - 9th Sep-

tember. And of course, everyone is also

invited to the ‘European Music and Media

Night’ in the E-Werk Berlin. This year’s

Popkomm once again provides a vibrant

and creative setting for the worldwide

music industry.Daniela Barkowski

18

VIP-BOOKING.COM


With the help of the recent grant from the

European Commission ETEP (European Tal-

ent 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 fes-

tivals 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 through-

out 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 Buda-

pest 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 hap-

pened 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 an-

other step in better circulation of Europe-

an 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, Podo-

ha – 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 – Po-

land, Positivus Festival – Latvia, Spirit Of

Burgas – Bulgaria, and Woodstock Festival

– Poland.

Certainly it appears that the Festival pro-

moters are taking the lead in trying to de-

velop 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 possibili-

ties for local talent to play in neighbouring

territories and eventually into Western Eu-

rope.

Girts Majors of Latvia’s Positivus Festi-

val told VIP-News at The Great Escape in

Brighton this year, “Besides organising

Positivus, the biggest music and arts fes-

tival in the Baltic states, with a capacity of

20,000+ festival goers, as promoters we

have been operating for 8 years now fo-

cusing on Western artists concerts in Riga.

The 1990’s saw the dawn of the music

industry in Latvia. At the moment/cur-

rently recorded music business has almost

ceased to exist. Most of the business is for-

eign artist live shows and majority of them

being arena-level. Some of the Western

artists have enjoyed the highest attend-

ance of their shows exceptionally in Riga.

Club-level shows are rare and undevel-

oped due to infrastructure problems. The

good sign in recent years is that some of

the local artists have also managed to se-

cure sold out arena-level shows.Our plan

for the near future is to focus on 2,000 ca-

pacity 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 Wood-

stock 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 Po-

land 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 play-

ing 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 Communica-

tion – Hungary, Neston – Hungary, First

Macedonian net portal – Macedonia, Ra-

dio 103 – Macedonia, Antyradio – Poland,

Czech Radio - Radio Wave – Czech Repub-

lic, Radio 101 – Latvia, Metropotam portal

– Romania, Radio Belgrade 1 – Serbia, Da-

rik 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 pre-

pare for the worst… I don’t know who said

this but this cannot apply to the CEETEP

programme. Joining forces between festi-

vals and (public) broadcasters makes real

sense, it contributes to cross-border dis-

tribution of music, and that’s simply great,

full stop. This scheme has a great future!”

… A sentiment that we at VIP greatly sup-

port – Watch this space!

*eTeP 2.0

Eurosonic Noorderslag will work together

on more exposure for the selected ETEP

acts with the following partners: Euro-

eTeP 2.0 looks east with CeeTePAllan McGowan [email protected]

19

VIP-BOOKING.COM


pean Commission / Sena Performers /

Buma Cultuur / EBU. And with Co-organ-

isers: 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 (FIM-

IC) / Music Information Centre Austria

(MICA) / Music Centre Flanders / Music

Export Norway / Wallonie Bruxelles Mu-

siques (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 Pro-

gram (ETEP) was introduced in 2003. Each

year ETEP brings together the leading Eu-

ropean 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 art-

ists were presented at the 60 ETEP festivals

(2003 – 2011)

The updated ETEP website will be online in

September 2011 - www.etep.nl

As organiser Detlef Schwarte explains The

Reeperbahn Campus as a B2B-platform

and conference is one of three elements of

the “Reeperbahn Festival - Music / Campus

/ Arts” which will take place in Hamburg,

from 22 –24 of September.

For the first time the B2B-platform pro-

vides several networking services for the

delegates. Most importantly are the “Net-

working Sessions” titled Meet the Manag-

ers, Meet the Festival, Meet the Agents and

Meet the Promoters. These Networking

Sessions are open for the delegates, but

online-registration is required. They take

place in the Reeperbahn Campus Lounge

on Spielbudenplatz.

Also new in 2011: the Reeperbahn Campus

Showcases. Israel, Switzerland, Canada,

Holland and some German organisations

and companies will invite delegates and

punters to check out their acts. The show-

cases will take place during the daytime in

Reeperbahn Campus Pubs at Spielbuden-

platz next door to the Reeperbahn Cam-

pus Lounge and the conference.These two

elements are the most important parts of

the B2B function of Reeperbahn Campus.

Besides this several German and inter-

national partners will invite delegatesto

receptions, parties or closed shop match-

makings.

Conference:

Even more than in the last two years the

Reeperbahn Campus conference will fo-

cus on the Recorded Music Industry and

Live Entertainment Business. The tradi-

tional panel format will be complemented

by presentations, keynote-statements and

-interviews.

Schwarte says, “The Reeperbahn Campus

aims to establish itself as the central and

most important forum for the interests of

the music industry and live biz in Germany.

We want to provide the platform for a year-

ly gathering of the relevant representatives

of these two sectors to reflect on current

technical, economical and cultural devel-

opments that affect their businesses.”

Panels will include: -

Festival-Season 2011/12 with Stefan Leh-

mkuhl (Melt! Festival, DE), Gunnar Lager-

man (Hultsfred Festival, SWE), Rob Chal-

lice (Association of Independent Festivals,

UK), Peter Smidt (Buma Cultuur, NL), Chris-

tophe Platel (Paleo Festival, CH). Modera-

tion: Greg Parmley (IQ Magazine, UK)

In the course of the subject block THE

AGENT´S AGENDA the Reeperbahn Cam-

pus will present a view of the music agen-

cy business in the year 2011 in three parts.

In a keynote interview with Allan McGow-

an, editor of the British VIP magazine, the

legendary agent Barry Dickins will explain

his personal view of the current situation

of the music agency business and of tours,

talents and ticket prices.

Subsequently the question of “How Do We

Keep the Business Going and Growing?”

will be discussed by a panel composed

of international music agents, including

Emma Hogan (ITB, UK), Rense Van Kes-

sel (Friendly Fire, NL), Alexander Kralisch

(Melt! Booking, DE) and Michael Löffler

(Target Concerts, DE).

As an introduction to the subject block,

Charlie Pressburg of the US American mu-

sic journal Pollstar will provide a detailed

overview of the Pollstar Boxoffice Half Year

Results 2011, the most important key fig-

ures for the international concert and tour

business.

More information:

www.reeperbancampus.com

reeperbahn CampusAllan McGowan [email protected]

Detlef Schwarte

http://www.etep.nl

http://www.reeperbancampus.com

20

VIP-BOOKING.COM

20


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 peo-

ple! In this issue we take a look at the ac-

tivities of Scotland’s DF Concerts.

DF was founded in Dundee as Dance Fac-

tory 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 Invest-

ments, but in April 2008 Desmond sold his

company’s 67% holding to US entertain-

ment 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, oper-

ating from club level right through to ma-

jor festivals. The Company owns and man-

ages 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 re-

sponsible 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 Com-

edy 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-

Newsabout the history and the present

success of

“Since opening in 1990 our ethos has been

to use King Tut’s Wah Wah Hut as a plat-

form for unsigned and up and coming

bands as well as showcasing some of the

hottest talent from around the globe. Art-

ists such as Radiohead, Coldplay, Snow Pa-

trol, 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 de-

velop 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 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 serv-

ice it provides both bands and customers

with food (always important in Scotland!)

being a very important part of the busi-

ness. The venue’s chefs are dedicated to

maintaining very high standards when

feeding touring artists or providing sea-

sonal 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 fol-

lows on from similar awards from Radio 1

and Radio Clyde.”

Festivals:

T in the Park is definitely DF’s flagship

event, being responsible for more than

half of the company’s turnover. It was ac-

knowledged in the Scottish Parliament

some years ago that the event contributed

some £13 million to the country’s econ-

omy. The risk that Ellis and his partners

dF Concerts – live on All levels in Scotland Allan McGowan [email protected]

King Tut’s Wah Wah Hut

http://en.wikipedia.org/wiki/King_Tut%27s_Wah_Wah_Hut

http://en.wikipedia.org/wiki/Geoff_Ellis

http://en.wikipedia.org/wiki/Geoff_Ellis

21

VIP-BOOKING.COM

21


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 fes-

tival closed on Sunday 11th July, after full-

on performances from some of the great-

est 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 Scot-

tish Opera, covering a variety of genres.

The festival also supported home grown

grassroots talent through its T-Break ini-

tiative 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 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 behav-

iour 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 excel-

lent 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 en-

vironment around the festival site, Festival

goers are encouraged to sign up to the

Citizen T manifesto, which is based around

the following five-points

1: This is our Festival: We pledge

allegiance to T in the Park and

believe in being good citizens.

2: Everybody needs good

neighbours; we pledge to look

after each other.

3: It’s all about the T Community

Festival staff are here to help.

Have fun but stay safe.

4: Bin it; Rubbish belongs in the

bin. We’ll make sure it gets

there.

5: A Tent is for life not just for T;

We’ll take it home and re-use it

Geoff Ellis commented: “Citizen T gener-

ates a feeling of being part of one big fam-

ily – it harnesses the already legendary

campsite atmosphere and is an initiative

which has been embraced by our audi-

ence. We will certainly be looking to ex-

pand on this again next year.”

Following this outstanding festival week-

end, 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.

The Edge Festivaltakes place throughout

the month of August, and is a series of

over 40 gigs, taking place across various

venues in Edinburgh alongside the Edin-

burgh 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, Guil-

lemots, 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 pro-

gramme 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 feed-

back we’ve had previously, people attend-

ing 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 out-

side the music industry, such as Glasgow

On Ice and Radiance Glasgow’s inaugu-

ral festival of light. And it steps outside

of Scotland every now and then, having

worked on outdoor events in Prague, Ber-

lin, Val d’Isere and Moscow, and staged

music and extreme sports festivals in Va-

lencia 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 indus-

try issues with Geoff Ellis serving as an ex-

ecutive member of the Concert Promoter’s

Association in the UK.

www.gigsinscotland.comGeoff Ellis CEO DF Concerts

http://www.gigsinscotland.com

22

VIP-BOOKING.COM

Groove ArmadaTerritory: Europe / Worldwide Period: Worldwide 2011 Agency: WME - William Morris Endeavor Entertainment Agent: Steve Hogan E-mail: [email protected] Homepage: www.groovearmada.com

dub Syndicate(feat. Adrian Sherwood and Style Scott)Territory: EuropePeriod: November - December 2011Agency: Paperclip AgencyAgent: Rob BerendsPhone: +31 24 323 9322E-mail: [email protected]: www.paperclip-agency.com

FirehouseTerritory: EuropePeriod: 1/2/2012 - 31/3/2012Agency: ARM EntertainmentAgent: Dana StrutzPhone: +1 651 483 8754E-mail: [email protected]: www.firehousemusic.com

Ghetonia Territory: WorldwidePeriod: Generally availableAgency: Maffucci MusicAgent: Canio Rosario MaffucciPhone: +39 339 485 8107 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 EntertainmentAgent: Dana Strutz Phone: +1 651 483 8754E-mail: [email protected] Homepage: www.laguns.net

Thieves like us Territory: GASPeriod: Generally availableAgency: Solar Penguin AgencyAgent: Michèl Dion BaltinPhone: +49 (0) 69 2562 6960 E-mail: [email protected] Homepage: www.solarpenguin.de

22

artist avails ››

MorE ArTIST AvAILS oN:WWW.vIP-BooKING.CoM

PoST Your ArTIST AvAILS oN:WWW.vIP-BooKING.CoM


Halfyear results from CTS eventim

Lower revenue and profit results for

the second biggest concert com-

pany. For many years CTS Eventim

had been an investors’ darling, con-

sciously 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 arbi-

tration 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 Amortisa-

tion (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 with-

out 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 hear-

ing 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.

Halfyear results from live Nation

“2011 has shown solid performance

for two quarters, with improved re-

sults across most of our key financial

metrics, providing the basis for prof-

it 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 com-

pany.

The revenue climbed this year in the

second quarter (Q2) up to $1.558

billion compared to last year’s rev-

enue 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 op-

posed 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 mil-

lion in Q2-2010, but still a profit. Tak-

ing 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.

Business News - Music in SharesManfred Tari [email protected]

http://www.paperclip-agency.com

http://www.firehousemusic.com

http://www.italianworldmusic.com

http://www.laguns.net

http://www.solarpenguin.de

http://www.vip-booking.com/

http://www.vip-booking.com/

23

VIP-BOOKING.COM

Israel, especially Tel Aviv, is full of musical talents and some of them

- like Balkan Beat Box or Asaf Avidan - have been seen in the past

years performing across the world. Now it’s time to present some

fresh acts which are stars at home, but still unknown abroad.

The “Tune in Tel Aviv” showcase on Thursday, September 22nd

2011, from the Israel Export and International Cooperation Insti-

tute (IEICI) within this year’s Reeperbahn Festival present some of

the most exciting newcomers. A perfect chance to acquire a taste

of pop and rock music from the young vivacious Middle Eastern

metropolis.

“Our partnership with the Reeperbahn Festival this year is a first

step in bringing together the European and Israeli music market,”

says Mira Geshel from IEICI. “We are pleased to finally present

these bands to the music fans and professionals in Germany.”

The bands selected for the showcase present a mixture of en-

ergetically pop and rock sounds with tastes of hard electronic

beats as well as danceable pop-hymns, Blues, Indie, Soul, Funk

or Rock’n’Roll. They mix up intense sounds with reflective lyrics,

nonsense and self-criticism and prove Israel’s unique sound in

pop music.

All bands and some more are presented on the comilation “Tune

in Tel Aviv” (Finetunes) which will be released on September 16th

digitally.

Website:

www.tune-in-tel-aviv.com

line-up:

16:05 UZI RAMIREZ, www.myspace.com/uziramirez

16:50 LORENA B, www.myspace.com/LorenaBGood

17:35 BILLY AND THE FIRM, www.myspace.com/billyandthefirm

18:20 WATER KNOT, www.myspace.com/waterknot

19:05 PHOTOTAXIS, phototaxis.bandcamp.com

19:50 FELIDEA TRICK, www.myspace.com/felidae.trick

20:35 UMLALA, www.myspace.com/umlalainuse

21:20 THE RAW MEN EMPIRE,

www.myspace.com/therawmenempire

„Tune in Tel Aviv“ – Showcase, Thursday September 22nd, 4-10pm,

Kukuun, Spielbudenplatz 22, Reeperbahn, Hamburg.

notiCe board ››

Another new service in the improved and redesigned vIP-News is the Notice-board, which is available for all readers. reader’s messages will be posted on the Notice-board as a free service, passing on announcements, job postings, buy-ing and selling notices, inquiries or alike. Announcements should be emailed to [email protected]


23


Tune in Tel Aviv at reeperbahn Festival

VIP-Booking ApS cannot be held responsible for loss or damages

incurred as a result of transactions with individuals or companies

through the notice board. We recommend all to make the necessary

enquiries before entering into any agreements.

VIP-Booking ApS may not, for reason of space, be able to post all

announcements received. Announcements should be emailed to

[email protected], including name and email address.

Please shorten your message to the extent possible, to make room for

as many notices as possible.

The Raw Men Empire - by Tsvika Frosh Uzi Ramirez By Dorel GillermanWater Knot

http://www.tune-in-tel-aviv.com

http://www.myspace.com/uziramirez

http://www.myspace.com/LorenaBGood

http://www.myspace.com/billyandthefirm

http://www.myspace.com/waterknot

http://phototaxis.bandcamp.com

http://www.myspace.com/felidae.trick

http://www.myspace.com/umlalainuse

http://www.myspace.com/therawmenempire

24

VIP-BOOKING.COM

Looking for:

Booking, Management, Record Lable, Festivals

Ninet Tayeb won the first Israeli Idol in 2003. Since then she be-

came one of the biggest artists in Israel. Her first album, released

in 2006, sold Gold after only 24 hours. In 2009 she released her

second album “Communicative”, a Rock Alternative album which

received amazing reviews. The Communicative Live Tour was

also praised by the press, making Ninet one of the best stage

performers In the Local Music industry. Ninet is currently staring

in the Musical “Spring Awaking – Israel”, and working on her first

Album in English.

Monthly featured artist ››

powered by MyMusicMailer

origin: IsraelStyle: Rock, Alternative Agency: Tedy LTD

Name: Rotem VahnnichWebsite: www.ninet.co.ilPhone: +972-52-600-33-12


24


NINeT TAYeB

Ninet Tayeb

The VIP-Booking european live entertainment BookAdvertising in the VIP Book will make you visible to 10.000 business

professionals all over europe. You will find no better place to expose your

company to the whole european live entertainment Industry.

›› reSerVe YOur Ad NOw ON www.VIP-BOOKING.COM

http://www.ninet.co.il


25

VIP-BOOKING.COM

In this section we offer members of vIP-Booking.com some space to present their company to vIP-News readers. If you would also like to present your company please contact Peter Briggs at [email protected]

MeMber presentation ››

In this section we offer members of vIP-Booking.com some space to present their company to vIP-News readers. If you would also like to present your company please contact Peter Briggs at [email protected]

®

vip-booking.com

VIP-BOOKING.COMVIP-BOOKING.COM | 145-157 St John Street | UK - London Ec1V 4PW | Phone +44 870 755 0092 | Fax +44 870 622 1953 | e-mail: [email protected]

25

About Our Company

VIP-Booking’s core product is the Internet’s oldest and largest data-base for the European Live Entertainment Industry www.vip-book-ing.com developed as a tool for industry professionals. Since it’s launch in the year 2000, we have consistently offered our subscrib-ers the very best in database services and now boast subscribers in over 30 countries.

Today VIP-Booking offers a range of tools for the industry – inclu-ding VIP-News, VIP-Booking, VIP-Book and VIP-Contract.

Please visit vip-booking.com for further information.

Your comments and suggestions are always appreciated.


rwe Arena Mülheim an der ruhr

rWE Halle - a multi functional Venue focused in Concerts, Galas,

Conferences & Sport Events offering a perfect service to visitors,

Artists and Promoters.

In the Heart of Germany with best infrastructure and Cities around

like Duisburg, Essen, Oberhausen, Cologne and Düsseldorf – 15

million people catchment area.

Capacity from 1000 to 4000, seated 3500 and 3 variable Tribunes

gives multiple potentialities.

Some Facts and services we offer:

- Large Foyer incl. separate Ticket Entries, Bars, Guest Wardrobes

and culinary offers

- Luxury VIP Lounge

- 3 tiers variable to use

- Externally roofed huge Terrace

- Close to City Centre and Central Station & Airport

- 14 Wardrobes incl. Showers and Lounge Furniture

- Sauna area

- Weight & Sport room

- Production Offices incl. LAN, ISDN & Fax, WLAN all over the Venue

- Press & Conference & Catering Rooms

- Short distance (under 10 meter) from Loading Dock to Stage

ground level

- Bus and Tram stations named “RWE HALLE” are immediately

outside the Venue

Showbiz-Management & Booking Agency is the exclusive Mar-

keter & tenant for the RWE Halle - 45468 Mülheim an der Ruhr -

Germany

All kind of booking enquiries could be sent by e-mail to:

[email protected]

RWE Halle


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