VIPNEWS > NOVEMBER 2011

VIPNEWS PREMIUM > VOLUME 141 > NOVEMBER 2011

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VIPNEWS > NOVEMBER 2011

McGowan’s Musings

On the way to the AIF reception at London’s

Royal Festival Hall last week I was distracted

and then somewhat traumatised by the

World Press Photo Awards display in the

foyer. After an excess of images of severed

heads, bloated corpses, shootings and more

death, disaster and mayhem, I was very

much in need of a couple of beers, some

pleasant conversation, and the reassurance

that some people do actually devote their

time and efforts to putting together events

designed to provide other human beings

with enjoyable and uplifting experiences - so

thanks AIF!

In fact I’ve spent the last week or so in the

company of a lot of festival folk as the UK

Festival Awards took place in London on

the day after the AIF bash. The Conference

took place at The Forum in Kentish Town,

a venue I used to frequent when it was

known as The Town & Country Club. This

was followed by the Awards and Dinner at

the Roundhouse , another venue which took

me back to my youth and seeing The Doors

and other legendary bands, plus getting

involved in certain things best glossed over,

when the amazing UFO club was resident in

this former locomotive turning shed. A good

time was had by all, apart perhaps from two

comedians who probably wished they’d

stayed at home watching TV, as opposed to

going down like the proverbial lead balloons!

A lot of discussion time at these festival

events and elsewhere is devoted to new and

up and coming talent – or more precisely, the

lack of. It seems ‘new’ headliners are actually

old bands and that that reformations are still

providing aging artists with pension funds.

The Stone Roses are to grace the festival

circuit next year, earning themselves a few

million, and apparently most of the original

Van Halen line up with the addition of Eddie’s

son, are about to return to the fray. I keep

thinking, are there any bands left to reform,

and sure enough – there’s another one!

A large part of the industry news in 2010,

was taken up with speculation as to whether

the powers that be would allow the creation

of a live music behemoth as a result of the

union of Live Nation and Ticketmaster , and

the effects this would have on the business.

It now looks as though we may see similar

disquiet in the recording sector in 2012

following on from Universal’s purchase of

EMI. Many think that the newly engorged

Company will be in a position to manipulate

the business in ways that will shoulder smaller

players aside. US regulators don’t appear

to have a problem with the situation, and

Universal has started to make arrangements

for regulatory approval, but trade bodies

such as Impala are obviously hoping that

their misgivings will be recognised and acted

upon by the European authorities. It should

be noted that Live Nation Entertainment

and Universal recently entered into an artist

management joint venture, so let’s not

assume that the live industry can watch from

the sidelines as this all plays out.

Still, let’s face it even giants can be

vulnerable , at a time when whole countries

are desperately trying to sort themselves

out, perhaps the best thing is to stay alert

and just get on with things, which is exactly

what we’ll do… Ladies and Gentlemen – the

News!

COLOPHON >

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VIPNEWS > INDEPTH STORY > NOVEMBER 2011

London Venue News Allan McGowan am@vip-booking.com

London’s small and mid sized venues have experienced varying

fortunes in the last couple of years with economic and licensing

problems making life very difficult for many.

The future of yet another long time fixture of the capital’s music pub

circuit is now in question with North London gig venue the Bull &

Gate coming up for sale, if you’d like to ensure that it continues as

an important gig you’ll have to find £2.7 million or so. The sale gives

another signal that things are difficult at the grass roots end of the

live industry. North London has seen several previously long running

venues disappear, Kentish Town lost the Tally Ho a few years ago and

The Flowerpot more recently, and Kilburn’s Luminaire has now closed

down.

However there are some grounds for optimism; The Flowerpot started

up again at The Wheelbarrow on Camden High Street and two new

live music venues open this month: Clashbar a 100-capacity venue

situated in the basement of one of London’s biggest backpacker

hostels , Clink78 in King’s Cross, launches on November 24. Islington

Assembly Hall, was an important venue in London’s post-war years,

it has recently been refurbished and the main hall will seat up to 170

people cabaret-style or 230 people theatre-style, with additional

seating is available for another 200 people in the upper circle. It is

now being run by AGMP, whose founder Adrian Gibson has promoted

concerts in London since 1989.

Go online - www.vip-booking.com

Need to know who is touring Europe

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vip-booking.com

The Flowerpot

4

VIPNEWS > INDEPTH STORY > NOVEMBER 2011

Festival FeatureUK Festival Awards2011 Winners

5

James Drury, Managing Director

of Festival Awards, Ltd, said,

“The Festival Awards is all about

recognizing the hard work everyone

in the industry puts in, and sharing

the thanks and love from the public

for those efforts. Everyone involved -

not just the winners - should be rightly

proud of what they’ve achieved in a

year that has been more challenging

than others.”

The Awards were decided through a combination of online fan votes and music industry experts:

Best new festival: Wilderness

Best metropolitan festival: Tramlines

Best dance event: Creamfields

Best overseas festival: Outlook (Croatia)

Best family festival: Beautiful Days

Best breakthrough artist: Ed Sheeran

Line-up of the year: Sonisphere

Headline performance

of the year: Paolo Nutini - Latitude

Anthem of the summer: Chase and Status - Blind Faith

Agent of the year: Steve Strange

Promoter of the year: Secret Productions

Best small festival: End of the Road

Best medium-sized festival: Secret Garden Party

Best major festival: Glastonbury

Fans’ favourite festival: Bestival

The lifetime

achievement award: Steve Heap

Mrs Casey Music/

Towersey Village Festival

The grass roots festival award: Y-Not Festival

Concession of the year: The Beat Hotel

The greener festival award: Shambala

Best toilets: Y-Not Festival

Best sponsor activation: Capitalize - Bacardi

The extra-festival

activity award: Bearded Kitten

Outstanding contribution

to festival production: The Event Safety Shop

VIPNEWS > INDEPTH STORY > NOVEMBER 2011

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Conference: It’s an Ill Wind…

This year’s edition of the Conference

included panels on Social Commerce, on the

increasing number of hats festival promoters

have to wear, the competition for sponsorship

between sports and festivals in the year of the

Olympics. The outstanding news headlines

of the 2011 Festival season were of course

the reports of the fatal disasters caused

by extreme weather conditions, and not

surprisingly one of the main panels at the

Conference preceding the 2011 UK Festival

Awards addressed the unpredictable and

horrific effects that the elements can have on

the best planned events, called ‘Weather –

Or Not’,

The panel agreed with Rudi Enos (see

below) that, “We can make all sorts of

allowances for the stresses and strains

of structures, but what we can’t always

make allowances for is the weather.” It

was also agreed that it was not only more

weather that needed consideration , but

the increasing number of events obvi-

ously upped the risks. The Ops Director of

Julie’s Bicycle pointed out from the floor

that, “It’s what global warming causes that

matters , it is getting windier and the violent

and extreme weather events that affected

the global festival industry this year, drought,

floods, storms, will occur more often.” In a

kenote interview Melvin Benn, MD of Festival

Republic, said, “Perhaps we should now

make allowances for and instigate procedures

for much worse weather than previously

anticipated ,” he told delegates. “Tents and

stages can be better stabilized and supported .

The crucial fact that more equipment and

time will be needed means the cost will rise

but that’s a fraction of the festival takings.”

The ‘Weather’ session was preceded by a very

pertinent speech from Rudi Enos, of Sheffield

based Rudi Enos Design, one of the senior

designers of portable structures in the event

industry. VIP News spoke to him at the event

and he has since kindly sent us a transcript of

his speech and given us permission to include

it in this edition of The News.

Rudi Enos

A Changed WorldSince the summer of 2011, with the disasters

of the Indiana State Fair, Pukkelpop, 18th

August 2011, Ottawa Blues Fest, July 18th

2011, Flaming Lips at Tulsa Oklahoma,

August 8th, 2011, and a concert by Ivete

Sangalo at Sao Paolo in Brazil on 21st August

2011, the event industry has had its own

Annus Horribilis.

To view this in a rational way, we must accept

that historically, event industry temporary

structures have generally had a very good

safety record. But, based upon the summer’s

tragic events, we have to accept that perhaps

it is time to move on and introduce higher

standards of design, manufacture , installation

and inspection. We need to establish a new

paradigm in temporary structure design and

installation inspection with an emphasis

on the consequence of failure rather than

portability or cost. Perhaps we should now

make allowances for and instigate procedures

for much worse weather than forecasted. For

the purposes of this speech I assume that

large stages are frame tents.

Tents and stages can be better anchored,

stabilised and supported without a vast

increase in effort. The simple fact that more

equipment and time will be needed means

that costs will rise, but that rise is a fraction

of a percentage of festival takings. The

industry is moving into a new era with the

introduction of CDM regulations, it is surely

time to move on in other areas too.

Organisers need to provide the correct budget

and timetables to allow safe structures to be

operated. Not all the fault should be laid at

the feet of the designer, manufacturer or the

installer. They have all worked in an industry

where, for example, temporary structures

designed (and perfectly adequate for)

more benign weather patterns in Southern

Europe are imported into northern countries

and allowed to be used, partly due to pan

European desire for conformity. If only the

weather could read the regulations.

Improved testing regimes must be

implemented . Design strategies that are

both tested and efficient must allow for

this and recognise that more severe testing

is required when the structure is capable

of accommodating ever larger audiences.

Anyon e who saw 20,000 people in the Radio

1, NME tent at Reading this year will see a >

7

> future where festivals can be held which

embody the outdoor nature of the event but

give enhanced cover against bad weather.

This carries the attendant problem of higher

risk.

I have a personal investment in this process ; I

do not want to be a designer whose structur e

has caused a death. I do not want to hear a

litany of second-guessing and 20:20 vision

after a disaster. The festival organiser and their

team do not want to be put in the positio n

of this summer’s unfortunate organisers . We

should always remember the people who

paid to enjoy a musical experience and did

not go home.

There has been a call for better, more local

weather forecasting. While this is possible

or desirable, it will not solve the issue. Once

a severe weather issue arises, the problem

is still there and there may not be time to

take appropriate action. We must make our

response before the event not afterwards.

There is always the solution of removing the

public from danger by evacuation but that is

not a good solution if the structure is lying

on the floor. Severe weather instances can

often be over quickly and the event restarted

in safety, but not if the structure is unusable.

Only advanced design can give the client

the comfort of ever larger, more attractive

structures, which are not only able to handle

capacities undreamt of 15 years ago, but

structures which meet or exceed current

standards and guidelines. We need to set our

own ever higher safety standards, we need to

approach new structure design with humility

and a willingness to deliver a structure that if

installed correctly, simply cannot fail.

This speech should be taken as a clarion

call for the whole industry. In the past we

have allowed commerciality to drive our

industry . We can do much better, we have

the knowledge . We really do know how to

do this; to ignore the imperatives and the

challenge will be our industry’s disgrace.

MyMusicMailer.com enables artists to MAIL their music to more than 6.000 venues and agencies worldwide…

Pukkelpop stage colapse

VIPNEWS > INDEPTH STORY > NOVEMBER 2011

Festival Stage Collapse Disasters Prompt 2012 Seminar

Festival InsuranceBeing responsible for open-air events that in

some cases bring together more people than

make up the population of small towns is a

serious business and as recent incidents have

shown, all sorts of unexpected things can

happen. How do festival promoters go about

covering themselves and their charges, the

festival goers, artists, crew, equipment etc.,

in increasingly unpredictable conditions?

VIP News spoke to Christian Raith, Managing

Director and owner of insurance brokers ,

Eberhard, Raith & Partner GmbH www.

erpam.com who has been working in the

insurance industry for more than 20 years.

Since 2000 he and Bernhard Eberhard

have run ERPAM, specializing in the

entertainment sector. Since 1989 the

company with its 25 employees has advised

promoters in Germany and in other European

countries. As a broker ERPAM has the facility

to select from more than 50 insurance

companies in order to optimally insure the

worldwide risks of its clients by also utilizing

global partners located in London and New

York.

What changes, if any, do you expect in

insurance fees for promoters in 2012?

– We assume no major changes in the

insurance premiums for the next year.

Keeping in mind that some festivals and

events for 2012 have already been covered,

up to now there are no observable trends in

the market that require reconsideration of

our assumption.

Have you had to deal with an increase in

insurance claims from your clients over

the past year, and if so, what kind of

incidents have resulted in these claims?

– In terms of claims the year 2011 was a

somewhat special year. On the one hand,

there was an increase in notification of claims

due to a higher number of event cancellations

or abandonment compared to previous

years; on the other hand, a comparatively

Examining Large Temporary StructuresAs a project of the Special Structures Lab,

Rudi Enos (see above) in collaboration

with Professor Aleksandar Pavic, the Head

of the Vibration Engineering Section of

the University Of Sheffield and Managing

Director of the Full Scale Dynamics Ltd and

Alan White, a leading structural engineer,

have set up a seminar prompted by the

disastrous stage collapses in 2011.

The two-day event will take place at the

Royal Victoria Hotel in Sheffield on the

28th and 29th March 2012. The semi-

nar will concentrate on the essential ele-

ments of design , construction, and installa-

tion of temporary structures. In particular,

the seminar will focus on manufacturing

techniques , ground anchors, rigging, lift

motors and gearing, and the importance

of erectio n in varying wind and ground

conditions .

The seminar will highlight the failures that can

occur when proper design is not complete d,

or when field modifications to designs are

introduced without a full understanding of

their implications. This includes unlawful and

reckless removal of side guys and structural

bracing on tents and stages.

Rudi Enos comments, “The industry is already

highly regulated in the UK, and does not

requi re more. The necessary experience and

expertise is already in place. What we need

to do is let the knowledge ‘trickle down’ into

general use at the level of examining officer s

and event safety teams. The seminar will

provide a good start to that process”.

Interested parties can register for the seminar

at www.specialstructures.com If you would

like more information about this topic, or to

speak with Rudi, Alan or Alex, call Rudi on

0114 257 7755 or email to

seminar@specialstructures.com

For further information please check

www.buma-rotterdam-beats.nl

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VIPNEWS > INDEPTH STORY > NOVEMBER 2011

>

VIPNEWS > INDEPTH STORY > NOVEMBER 2011

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Christian Raith

higher individual extent of damage. The

main reasons behind that might be the bad

weather during the summer months, as well

as the increased number of outdoor events.

Actually, we notice a year-to-year increase in

the number of festivals or open air events.

What are the differences between

insurances offered in the UK for the live

entertainment industry and those in

Europe ?

– The main differences between insurance

offers in the UK and Europe become

obvious when looking at the small print,

i.e. the conditions . Unfortunately, these

particular points make it very difficult for

the promoters to compare the different

offers, and usually, the differential effect

becomes clear only in the case of a concert

cancellation or another claim. Let’s give an

example: the premium of an English cover

for a festival contract seemed to be a good

deal, at least at first glance. However, taking

a closer look at the policy we discovered a

clause that commits the festival organizer to

provide a replacement event. How should

that be technically possible ? Therefore, we

recommend paying close attention to the

fine print and also thorough discussion of

the different conditions together with your

insurance partner. This might help you to

avoid unpleasant surprises.

Many promoters noticed that

Pukkelpop’s insurance didn’t cover the

damages caused by the bad weather

incident . In these days what kind of

insurance is needed to protect promoters

more efficiently ?

– Cases involving other festivals prove

that adequate insurance coverage can be

obtained without any difficulties and also

holds true in the case of a cancellation

or another claim. You might be aware of

some of these positive examples. However,

some promoters often display a kind of

gameplaying behaviour, similar to russian

roulette, when considering their insurance

requirements. This is especially the case if

they have not experienced any problems for

years, thus asking themselves if the outlay

for contingency event cancellation insurance

is worth the money. However, immediately

following the case of an uninsured loss

you get the answer; if the worst comes to

the worst a cancelled event can mean the

financial end for the event organizer. Even

worse is the fact that not only the promoter

will suffer from an uninsured loss, but also

other suppliers involved in the event because

they will never see any compensation.

So, what is an efficient insurance for an

open-air event in order to protect promoters ?

Nothing is easier; you might need a

contingency event cancellation insurance

including appropriate weather insurance

coverage, which should be individualized to

the promoter in order to ensure coverage

of special risks such as flooding or obscured

visibility . Also make sure that the build days

before the first act steps onto the stage

are included. Moreover, a comprehensive

coverage for other involved trades, such

as stage building, electronics, tents, etc., is

necessary , and finally never forget to obtain

liability insurance coverage.

What are the latest trends in terms of the

coverage of damages due to bad weather

incidents and what kinds of damages are

no longer covered?

– Until now, the coverage is still unchanged .

Of course, there is a natural link between

catastrophes like storms and a subsequent

increase in interest for insurance products

following such catastrophes. However , this is

only of short-term character. In a lot of cases

it’s often too late to purchase insurance ,

especially covering contingency event

cancellation resulting from damages due to

weather issues as many insurers require a

lead time of between 2 to 4 weeks.

Did the tragedy at the Love Parade in

Duisburg in 2010 impact on the kind

of insurance coverage you have since

recommended to your clients ?

– Generally speaking there are always

9>

customers who only have obtained insurance

coverage because of this tragedy. We

noticed that there is a lot of uncertainty,

especially from administrative authorities

and promoters with regards to the necessary

amount insured. For us, we can tell that there

was no need for change of our products

as we have always had a comprehensive

insurance coverage as well as sufficient

amounts insured.

As far as we know the broker of the Love

Parade cannot be held responsible as in the

end it’s the promoter who decides on the

sum insured although he may have been

given different advice, taking into account

only the costs based on the promise of an

insurance company. So unfortunately, it is still

the price that plays the most important role,

not the coverage, a bad thing because the

liability is unlimited by law.

The insurance coverage of the Love

Parade in particular has been intensively

discussed in the German media. It has

been reported many times that an

insurance coverage of 7.5 million Euro

wasn’t sufficient , what is your point of

view on this?

– As stated, the promoter decided the

amount insured, and this raises the

important question, what is the right

amount, where does it start and where does

it end? Neither are there any laws or useful

recommendations on this issue. In the case of

the Love Parade, the negotiations are still in

process. Therefore, no judgement has been

given so far that determines the commit-

ment of the promoters. From our point of

view, the expected number of visitors as well

as the type of the event, indoor or outdoor

venue, heavy metal festival or classic event,

should definitely influence the sum insured.

However, it lies in the hands of the promoters

not only to consider the perfect coverage but

also to be prepared to buy it.

>

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VIPNEWS > INDEPTH STORY > NOVEMBER 2011

Association of Independent Festivals 2011 ReportIndie Festivals Contribute £222m to UK Economy• Audience Research Shows Festival Goers

Undeterred by Recession

• AIF Festivals generate £222m for UK

economy

• The Ticket Trust enjoyed successful first

season exchanging £55,770 of tickets

• Social Media drastically increased as a

festival information source.

The huge value and contribution of UK

festivals to the British economy has been

quantified in an overreaching survey of over

2,400 festivalgoers.

The 31 AIF member festivals alone,

which include Bestival, Womad and End

of the Road Festival, attracted around

480,000 people this summer. Spending

an average £461 per person on festival

costs (travel, accommodation , food and

drink and entertainment), they contributed

a staggering £222 million to the

UK economy and £17m to local businesses.

With over 400 festivals having taken place

in the UK this summer, the total amount of

revenue generated across the whole festival

landscape is projected to hugely exceed that

In fact the £461 average spend per capita is

part of an overall trend of increased spending

as festivals weather the recessional storm with

a durability that other entertainment forms

can only envy. Compared with the overall au-

dience spend of £408 in 2008 or £438.24 last

year, the festival market looks to grow whilst

other sectors such as nightclubs contract. In

a direct comparison of festival vs other enter-

tainment spending, festivals have only been

moderately hit by the downturn as 54.9%

claimed to have their festival spend hit by the

recession as opposed to 71.9% who reduced

spending on other forms of entertainment.

Interest in ethical ticket exchange has

increased since last year up to 68% from

65% in 2010. In response to the issue

of rising ticket prices through secondary

ticketing sites and touts AIF launched The

Ticket Trust, an ethical ticket exchange site,

on the 11th July this year. The Ticket Trust has

enjoyed a successful first season trading 365

tickets to Bestival, End of the Road Festival,

Creamfield, Belladrum Tartan Heart Festival

and Secret Garden Party amounting to £55,

770 worth of tickets being resold with no

mark up fees.

Social media has officially overtaken word

of mouth as a major source of festival

information and climbed dramatically since

2008. 57.7% claim social media to be a

major source from 34% in 2008 although

still not beating out the festival’s official

website whom the majority of 68.7% claim is

a source of information. 52.9% currently use

word of mouth and 43.7% of those surveyed

use communal festival websites.

Claire O’Neill, co-founder of A Greener

Festival and AIF general manager said “In

the face of what has been a challenging

>

>

VIPNEWS > NOVEMBER 2011

11

few years for many, we are very happy to

see these positive trends for the continued

steady growth of the Independent Festival

market. Year on year from our audience

surveys the impact to the UK economy

and cultural significance of these events is

confirmed . Delivering a successful festival is

by no means an easy task, and the amazing

accomplishments of our members and their

teams is outstanding.”

About AIFThe Association of Independent Festivals is a

not for profit body set up in 2008 to represent

independent music festivals in the UK and

Ireland.Conceived by Bestival promoter Rob

da Bank and Graphite’s Ben Turner, the

association’s founder members included

Bestival , Cornbury Festival, Creamfields ,

Evolution Festival, Field Day/Underage, Secret

Garden Party, Summer Sundae Weekender

and WOMAD.

With 31 members ranging from Bromley’s

Leefest to the 55,000 capacity Bestival in the

Isle of Wight, AIF enables the promot-

ers of some of the UK & Ireland’s most

innovative and successful festivals to speak

with one voice when addressing the wider

music business and government. AIF aims

to establish best practice for festivals in a

variety of areas such as security, the environ-

ment and beyond, providing a knowledge

base for festival promoters, as well as cre-

ating collective purchasing and marketing

opportunities for its members.AIF operates

as an autonomous division of the Association

of Independent Music.

C

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Y

CM

MY

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CMY

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Anzeige_VIPMag_ProSky_X4.pdf 1 09.12.10 10:43

Bestival member of the AIF

VIPNEWS > NOVEMBER 2011

Intellitix Opens UK Office and Announces Key Appointments Allan McGowan am@vip-booking.com

The implementation of Radio Frequency

ID (RFID) technology by festivals has seen

substantial growth over the 2011 season ,

and looks set to increase dramatically over

the 2012 European festival season. In

response to this growing demand Intellitix ,

the global market leader in RFID access

control and cashless payment systems, has

announced two key appointments and a new

UK office to focus on the European festival

market in 2012.

Steve Jenner, founder of Virtual Festivals

who most recently worked as Digital

Director at UK promoter Kilimanjaro Live, is

confirmed as Also joining Intellitix is Greg

Parmley, until recently editor of live music

industry title IQ Magazine, who will oversee

global communications in his role as Chief

Information Officer.

The appointments come after Intellitix

activated over 1 million Radio Frequency ID

(RFID) wristbands at festivals in North America

this summer. Sites included Coachella ,

Bonnaroo , Lollapalooza, Outside Lands,

Austin City Limits, Electric Zoo, Moogfest and

Le Festival d’été de Québec. Reports indicate

that the company’s RFID access control

systems securely sealed the festival sites,

radically reduced queues, eradicated fraud,

and withstood all types of weather.

Intellitix boss Serge Grimaux says: “We gained

an impressive list of festival clients in North

America this year, and we are now adding

an equally impressive list of respected figures

in the entertainment world to our team. My

partner Martin Enault and I will continue to

grow the Intellitix platform globally to answer

the needs of the festival communities ,

enchance the patrons’ experience and be a

generator of new sources of income.”

Prior to joining Intellitix, Jenner helped grow

the digital footprint of the Sonisphere festival

brand, amassing more than half a million

Facebook fans worldwide and over 6 million

visitors to its website. A self-confessed

festival nut, Jenner also established both UK

and European Festival Awards and founded

Virtual Festivals.

Jenner says: “RFID technology will

revolutionise the way music festivals are

experienced , produced and shared online

over the next few years. What Serge, Martin

and their team have accomplished in the US

in such a short time frame is phenomenal

and underlines the power of their product

and their strength of vision. To have the

opportunity to build on this success and

allow music festival organisers and fans in

the UK and Europe to share in the benefits of

this incredible technological shift is thrilling.

We want everyone to be part of it.”

Parmley will also be working from the UK

office. A veteran journalist and consultant

on the international live music industry, this

summer he set a new Guinness World Record

for ‘Most festivals visited in 30 days’. Parmley

also retains his role as Director of Content

and Media for the International Live Music

Conference (ILMC).

VIP News spoke to Greg Parmley about his

new role:

This move from journalism to information

officer marks quite a move for you, you

must be quite convinced that this is a

product you are prepared to believe in.

When did you first become aware of

the RFID technology and how did you

become involved with Intellitix?

– I’ve been writing about cashless payment

systems and ticketing technology for some

time now, but it’s only recently that I became

aware of how powerful integrating RFID

access control, cashless payment and social

media could be. Individually these are all

powerful tools for an event promoter, but

looking ahead to when they’re all on the

same wristband or entry device, it becomes

game changing.

You famously entered the Guinness

Book of Records by visiting 26 European

Festivals by motorbike this summer.

12

13

VIPNEWS > NOVEMBER 2011

Were any of the events that you visited

on your ‘marathon’, using the system - or

at least considering future use?

– This summer we rolled out Intellitix systems

in North America. Having just opened a

European HQ this month, we’re actively

looking to partner with some key European

events for summer 2012.

Apart from providing a ‘cashless’ facility ,

the data collection aspect is obviously

an application that interests all involved

in the promotion and presentation of

events - do you think that there are

future possibilities for the technology

that are still to be considered or applied?

– There are going to be a huge number

of ways that the technology will develop,

particularly once NFC phones become more

commonplace. NFC and RFID is basically the

same technology, so once the chip becomes

part of your mobile, it unlocks enormous

potential. The basic premise of what we’re

doing is making connections, between fans,

artists, promoters, brands and more – and

the more ways there are to connect, the more

advantageous it is for everyone involved in

the festival, tour or event.

Will Intellitix be setting up regional

offices of your own, or perhaps licensing

the technology?

– We have offices in Montreal and London al-

ready, and we’ll look to open new offices as the

business develops. We’re absolutely talking

to various companies about partnerships as

well. Intellitix is a platform – we work with

any ticket seller, concessionaire , or any other

stakeholder involved in the event – so we’re

very open to discussing possibilities that

could be beneficial for all involved.

Can you see a time when all events will

operate the systems, or are there still

sceptics to be dealt with, and will it be

part of your job to convert them?

– Technology is undoubtedly going to change

the way that fans experience live music, and I

firmly believe that we’re one of the companies

at the forefront of this. The biggest task at

the moment is to communicate just how it

can improve the experience. Many live event

organisers are going to be naturally sceptical

about it, and rightly so – when you’re talking

about access control and payment systems at

a festival, there’s no option for things to fall

over. So the main focus for us right now is

to communicate what we’re doing, and let

organisers know that we have something

that is completely robust and that can pay

for itself from year one.

For more information go to:

www.intellitix.com

Steve Jennerjoins Intellitix

Greg Parmleyjoins Intelltix

Go online - www.vip-booking.com

Need to know who is touring Europe

®

vip-booking.com

13

VIPNEWS > NOVEMBER 2011

This year’s third edition of Luxembourg’s

showcase and conference event, Sonic

Visions , will ask the question whether we

should maybe make a short break to take a

deep breath before we continue running after

the latest technology driven opportunities . As

an artist you need to be in full control of your

project and you need to know the mechanisms

of the music industry. Today’s land of plenty

seems to become more and more a labyrinth:

You can’t make use of every possibility that

seems to be attractive and promising, you

need to have a precise idea of what you really

want and how you can get there. It’s true,

no one can provide a master plan, but Sonic

Visions wants to ask the crucial questions.

Luxembourg is located in the heart of Europe ,

is easily accessible and features a variety of

cultural influences, directly neighbouring

the important markets of Germany, France

and Belgium. Agreeing that networking is

essential in this industry , Sonic Visions offers

the opportunity to meet with peers from all

over the world and make new contacts at the

two day conference on Friday and Saturday

25th/26th of November.

VIP News will attend and report back in the

next issue.

The 46th edition of midem will be held from

January 28 to 31 at Palais des Festivals in

Cannes.

Indicating the increasing importance of the

live sector to this longest established industry

trade event, which previously focused primar-

ily on the publishing and recording sectors will

be the first midem festival.

This innovation will be staged in partnership

with French concert producer Alias.

French music festivals Les inRocKs Black XS

and Musilac are among Alias’ key annual

events and the company also puts on concerts

for top international artists such as Adele,

Gossip, Jamiroquai and Muse.

The midem festival concerts, which will be

produced by Alias, are open to both industry

professionals and the general public and will

include three major concerts to be held in a

dedicated auditorium . The line-up for these

live shows will include international headliners

as well as up-and-coming talent.

“At a time when the music industry is speak-

ing with one voice, it is important to trans-

form words into deeds. Live and recorded

music must move forward together using

new models,” said Jules Frutos , Co-Director

of Alias.

“The creation of the midem festival, as a key

part of midem 2012’s live music programme ,

is a major event for both our clients and the

general public,” added Bruno Crolot, Direc-

torbarley of Music Markets at Reed MIDEM.

“It fits perfectly with the new midem that we

are putting together for 2012 and we are very

lucky to have the enthusiastic support of the

city of Cannes. Our commitment to delivering

a premium concert experience is underlined by

our partnership with Alias, which has a proven

track record of producing superb events and

which shares our artistic aspirations for the

midem festival.”

Alongside the midem festival, a series of

smaller concerts, entitled ‘midem off,’ will

take place throughout Cannes. A dozen ven-

ues around town will showcase new talent

that will complete the programme of midem

festival live performances.

More information: www.midem.com

14

SONIC VISIONS 2011 Allan McGowan am@vip-booking.com

MIDEM ’12 Partners with Alias Allan McGowan am@vip-booking.com

Bru

no C

rolo

t, D

irect

or M

idem

Jules Frutos

VIPNEWS > NOVEMBER 2011

BDV To Launch Own Collection SocietyManfred Tari mt@vip-booking.com

While Prodiss, the French promoter association

continues to lobby the French Government for

legislation in the issue of a promoter’s share

of certain ancillary rights, it appears that in

Germany a law already exists.

Paragraph 81 of the German copyright law

defines that promoters are eligible to obtain

royalties for a show that has been recorded

and afterwards sold as a download or on

sound and other data carriers or which has

been broadcast on TV/Radio or streamed on

websites. It is one of the very few opportunities

for promoters to augment their business

model which is primarily only based on ticket

sales and one off income streams related to

live events.

In its annual meeting in November in Ber-

lin, the German promoters association,

Bundesverband Veranstaltungswirtschaft

(BDV) has agreed to launch a collection society

of its own. VIP News spoke with Johannes

Ulbricht who is in charge of legal affairs at BDV

about this initiative.

Do you know the amount of royalties GVL

(the German equivalent of the UK’s PPL,

or Stena Performers in the Netherlands) is

paying to promoters for the usage of live

recordings?

– As GVL is only representing the promoters

regarding a very small scope of rights

(copyright fees on copying and storage devices

and hardware like PCs), GVL is not paying any

sum worth mentioning yet.

Yet it is the case already that eligible

promoters can submit royalty requests

to GVL. With this in mind, what is the

benefit of the new collection society to be

founded by BDV?

– GVL is a collection society run by record

companies and performing artists, and the

owners and members of GVL would be the

licensees of the promoters. To avoid a conflict

of interest, GVL will not represent the rights

of promoters against record companies and

broadcasters, so we need a separate collection

society for this.

Are there already any payment schemes

discussed indicating how much promoters

should receive in royalties for live

recordings ?

– No, we’ll have to negotiate this with the

Licensees and their professional organisations.

Who will decide on the levels of those

payment schemes?

– In case the parties can’t work out a deal

themselves, there would be a mediation

procedure at the patent and trademark office,

which is supervising collection societies. If the

mediation procedure fails, the case would go

to the high court.

In an opinion survey by the German trade

publication Musikwoche regarding the

news of the BDV collection society, more

than 37 percent of the readers were of

the opinion that promoters should not

benefit from neighbouring rights on live

recordings. Have you already experienced

similar reactions from record companies or

artists?

– No, actually we have the impression that

many record companies understand that it is

helpful for the whole industry if there is an

incentive for the promoter to invest into the

long-term success of new acts. There were

always conflicts between the different rights

holders regarding distribution of income in

the past but the music industry as a whole

prospered for many years because there were

incentives to invest in new talent. Any rights

holder who only thinks about defending his

share in the present environment but not

about improving the environment in general is

focused on the past not the future.

For further information please check

http://www.bdv-online.com/

Johannes Ulbricht

15

Reeperbahn Résumé

16

This year’s Reeperhan Festival and Reeperbahn

Campus events took place in Hamburg from

September 21-24. These dates somewhat

clashed with the September VIP News going

on-line, and there was so much News in

October , we decided to leave it till now to look

back on the results of the events, starting off

with comments from some of the attendant

professionals:

“Reeperbahn Festival is a great way for the

music business to catch up at the end of

summer. ” (Rob Challice, CODA Music Agency,

UK)

“In fact a couple of my acts probably wouldn’t

be touring mainland Europe this autumn if they

hadn’t been able to play Reeperbahn Festival

which highlights it’s growing importance in

the European touring calendar for developing

acts.” (Steve Zapp, ITB, UK)

“The atmosphere of Reeperbahn sets a perfect

scene for living and enjoying the rock ‘n’ roll

dream. The Reeperbahn Festival manages to

exploit this, making it an event to be reckoned

with by fans and industry alike.” (Thomas

Rhode , Music Export Denmark, DK)

“The Reeperbahn Festival has developed as the

No. 1 event of the music industry in Germany.”

(Bernd Dopp, Warner Music Group, DE)

“It’s very close to the perfect club festival. It’s

something that puts Hamburg easily to the

top of the current fight for attention and

international reputation within the German

music scene.” (Jörg Augsburg, Der Freitag, DE)

“Hamburg can become the Austin of Europe .

The Reeperbahn Festival has enormous

potential .” (Austin Powell, Austin Chronicle,

US)

“I think you’ve made the Reeperbahn Campus

the most relevant new music event in Germany

which is a hell of an achievement.” (Steve

Mayall, Music Ally, UK)

So, many people have positive things to say

about Reeperbahn ’11, but are the organiser’s

happy? It is not advisable to rest on your laurels

as European Conference events, although

sometimes collaborative, are now in a very

competitive market with economic pressures

having a greater impact on the pockets of

professionals and ‘punters’ alike. We spoke

to Detlef Schwarte, director of Reeperbahn

Campus .

I know you have visited a lot of the other

trade events, looking back on Reeperbahn

’11 how do you think you measured up?

– Yes, I’ve experienced a lot of other industry

events, Spot, Eusosonic, SXSW, Great Escape,

ILMC, CMW, Vienna Waves and some others ,

and this time it was apparent to me that

Reeperbahn Festival’s strength is:

a) Its really unique setting. Most other events

pretend that everything is next door, but often

it isn´t

b) its atmosphere - quite a few international

guests who attended the first time were

impressed by the place and the feel (red light,

prostitutes, bars - but without the feel of being

endangered in any way)

c) the audience - the response of the audience

to the concerts was extraordinary. Never saw

the people so enthusiastic as this year.

And how about Reeperbahn Campus?

– Concerning the Campus I was happy

to see that the Networking opportunities

worked quite well and every session and

matchmaking was well attended. This was and

is an important step for us. The same with the

showcases, this was the first time we offered

these opportunities . Finally we had nine - and

most of them worked well. But this is a thing

that definitely can be improved and extended.

These things prove that there is more and more

business being done and the professionals use

the Campus as an occasion to make contacts

and do business. This was very different two

years ago.

One quote I received some days ago from

Graham Stairs, President, Shadow Cabinet

Music Group Ltd., in Ontario, Canada, might

stress this point of view:

It’s taken awhile to sort things out after

Reeperbahn , but, now that the smoke has

cleared, I wanted to thank you and your

colleagues for putting together such a great

festival. The shows that the Wilderness of

Manitoba played were very well received and

have produced results. Ramona Schmidt of

Wizard Promotions has agreed to be their

booking agent for Germany, Austria and

Switzerland; Jacco van Lanen of DoubleVee

Concerts has agreed to be their booking

agent for the Netherlands and a German label

has made us an offer for licensing the album

for Germany, Austria and Switzerland. I am

expecting other commitments for booking

agents in other territories. So, you made a

good first impression on me and I will definitely

VIPNEWS > NOVEMBER 2011

Det

lef

Schw

arte

, dire

ctor

R

eepe

rbah

n Ca

mpu

s

17

be telling others that Reeperbahn is an event

where you can do business.

This is what Reeperbahn wants to be - the

gateway to the German market.

Any other thoughts on the Conference?

– It is still very difficult to distinguish from other

conferences. And the interest in panels etc.

seems to be generally low. So I am fine with

the decision we made to have less programme

items than 2010 and only two instead of

three rooms. And we will have to rethink the

conference format from year to year.

Any particular highlights?

– Well, it might be boring but I still very

much enjoy Ray’s Reeperbahn Revues when

professionals , consumers and artists come

together to have an hour of fun. I think this is a

symbol for what makes Reeperbahn so special.

Have you had time to consider particular

plans for the future?

– We will try to develop more formats that

present music to professionals and consumers

and to establish more media channels for

artists to present their music. We will extend

networking and showcase opportunities, and

try to offer an even better setting of Lounge,

Conference rooms and Hotel to the delegates.

Rheinkultur Is History Manfred Tari mt@vip-booking.com

The organizers of free open air event

Rheinkultur have decided to abandon the

event. In a quite comprehensive press release

the 8 stakeholders of the RhEINKULTUR

GmbH, declared that the event, which would

have celebrated its 30th anniversary in 2012,

would not be continued.

The organizers felt that neither the City

Council of Bonn nor local sponsors provided

enough financial and political backing to

continue with the event. The City Council of

Bonn appears to prefer to invest in classical

music events such as the Beethoven Festival

or other so called serious arts. In comparison

the organizers of Rheinkultur only received

a subsidy of €80.000 per year while the

Beethoven Festival is given 1.6 million Euro.

Besides the lack of support by local

politicians and authorities, the promoter also

mentioned that current audience behaviour

at such a free event also contributed to their

decision to stop the event. Binge drinking by

young punters caused more trouble and led

to higher risks and significant extra security

outlay in efforts to run the event smoothly

and safely.

VIP News will follow up on this news in order

to find out if this is definitely the final curtain

for Rheinkultur or if local politicians will

undertake a last attempt to save the event.

Rheinkultur

VIPNEWS > NOVEMBER 2011

18

VIPNEWS > BUSINESS > NOVEMBER 2011

Live Nation – More ShowsBut Less Revenue in Q3

The financial community loves growth stories

and Michael Rapino, CEO of Live Nation

knows well how to cheer the investment

chaps when saying: “We believe the

stabilization of consumer demand for live

events will continue into 2012 and, looking

ahead, we are increasingly optimistic about

our opportunities.”

Rapino also knows how to increase the

excitement when he added: “Given the

continued fan demand for concerts and a

growing supply of artists hitting the road,

we are optimistic about the future growth of

the global concert industry. Based on this, we

believe we are well positioned to generate

improved returns from our business and

deliver shareholder value.”

But contrasting with Rapino’s bullish

statements , the current figures reveal, at least

in terms of revenue results and an increased

number of events a slightly different picture

for the 3Q, which is nevertheless backed by

nine months results for 2011.

In Q3-2011 the overall revenue dropped from

$1.83 to $1.79bn. The reported revenue for

Live Nation’s concert division in Q3 went down

7.3 percent, from $1.38 to $1.28bn. Rapino’s

optimism probably refers to the nine-month

results, where the figures for the concert divi-

sion reveal a growth of 6.2 percent from $2.6

to $2.8bn. The number of promoted events

in Q3 went up from 4.929 to 5.271 while the

number of total estimated attendances went

down from 16.489.000 to 15.561.000. That

also goes for the nine months visitors results

which was 35.765.000 in 2010 and this year

until the end of September 35.558.000. The

ancillary net revenue per attendee rose in Q3

from $16.44 to $17.54.

Other company segments were, in contrast,

able to increase their results: the Q3 revenue

for the ticketing division of Live Nation went

up 9.9 percent from $261.2 to $287.1

million , the division Artist Nation reported a

revenue increase of 9.4 percent from $111.0

to $121.4 million, eCommerce went up an

impressive 41.9 percent from $25.8 to $36.6

million. Also sponsoring revenues went up

from $69.5 to $72.7 million. For the first

nine months the overall revenue of Live

Nation went up 9.7 percent from $3.825.9

to $4.198.3bn.

On September 1st the Live Nation share

stood at $9.13, on November 18 at $9.06.

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19

MUSIC IN SHARES

CTS Eventim – Below Expectations

As usual the European market leader for

ticketing obtained reasonable results within

its ticketing division but the live entertainment

section of the corporate company faced a

significant revenue decline.

In the third quarter (Q3) 2011 CTS Eventim

gained revenue of 82.1 million Euros, the

combined revenue for the first nine months

this year is 345.9 million Euros, in comparison

the company gained 372.4 million Euros in the

same period last year. In particular the ticketing

business appeared to be the biggest driving

force for the earnings results of the company.

After the acquisitions of Tickercorner in

Switzerland and the See Tickets Germany

division Ticket Online came in to full effect,

the ticketing revenue rose 22 percent from

123.9 to 151.1 million Euro. The Earnings

before Interests, Taxes, Depreciation and

Amortisation (EBITDA) increased from 34.7

to 41.0 million Euros, the Earnings before

Interests, Taxes (EBIT) only rose 2.5 percent

from 25.1 to 25.8 million Euros. The result

in the ticketing division of CTS Eventim is af-

fected by costs for additional legal expenses

in relation with the Live Nation-CTS Eventim

case and additional expenses due to staff

restructuring measures going along with the

purchase of Ticket Online.

The live entertainment division is clearly

affected by the deconsolidation of FKP

Scorpio within the revenue results and

lower numbers of concerts and shows with

top artists . The revenue for this part of the

company shrunk 21.6 percent from 253.8

down to 198.9 million Euros. This also led to

significant lower earnings results: the EBITDA

went down 29.6 percent, from 20.8 to 14.7

million Euros, the EBIT 31.7 percent from

19.4 to 13.2 million Euros.

Nevertheless the management of CTS

Eventim expects better earning results than

last year for the ongoing business year and

refers to the seasonally strong 4th quarter.

On September 1st the CTS Eventim share

stood at 23.50 Euro, on November 18 at

20.51.

with a publisher in the US on a full time basis

but whilst still a Writer/Publisher Relations

representative with performing rights society

SESAC he and SESAC UK Representative

John Sweeney explained how acts can secure

US performance fees:

VIPNEWS > BUSINESS > NOVEMBER 2011

VIPNEWS > MISC > SEPTEMBER 2011

MyMusicMailer.com enables artists to MAIL their music

to more than 6.000 venues and agencies worldwide…

Mail your music to the Live Music Industry…

About Our CompanyVIP-Booking’s core product is the Internet’s oldest and

largest database for the European Live Entertainment

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

industry professionals. Since it’s launch in the year 2000,

we have consistently offered our subscribers the very

best in database services and now boast subscribers in

over 30 countries.

Today VIP-Booking offers a range of tools for the

industry – including VIP-News, VIP-Booking, VIP-Book

and VIP-Contract.

Please visit vip-booking.com for further information.

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VIPNEWS > MISC > NOVEMBER 2011 MEMBER PRESENTATION

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

production of entertainment and music shows, revolves around the

figure of Claudio Trotta (b.1957 in Milan)

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

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

he’s at Canale 96, the very first news radio, organising the first live

shows of his life. In 1979 he graduates at the Civica Scuola di Arte

Drammatica as music operator, spending a training period at the

Teatro alla Scala. The same year he founds BARLEY ARTS PROMOTION

(first tour: JOHN MARTYN) whose name is a homage Trotta pays

to one of his early passions, Anglo-Saxon country and folk. Going

through some TV experience (TeleRadioMilano 2), he’s involved by

Lucio Salvini (chairman at Ricordi by that time) in his Country e Folk

Label project and becomes the Italian promoter for the artists in the

roster. Later on, Salvini will entrust him with Artistic and Marketing

Direction of the Blues & Rock Project series at Carosello. As one of his

latest personal side projects, Trotta edited The Milan Music Dictionary

(1995), together with Paolo Zenoni. He’s one of the Founders of the

following Associations:

· ASSOMUSICA

Italian Association of Producers and Organisers of Live Music

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

· YOUROPE

The European Festival Association (founded 1998): Board Director

1998-2001.

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

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

1) Promotion of international artists in Italy. E.g. STING, PEARL JAM,

BRUCE SPRINGSTEEN, TOM WAITS, SHAGGY, AEROSMITH, THE

CURE, LENNY KRAVITZ, AC-DC, PHIL COLLINS, SLIPKNOT, METALLICA ,

STEVIE WONDER, RAY CHARLES, BARRY WHITE, EARTH, WIND & FIRE,

VAN MORRISON, B.B. KING, PAGE & PLANT, KISS, IRON MAIDEN, YES,

CHEMICAL BROTHERS, DREAM THEATER, PRODIGY, LOREENA MC

KENNITT, RAGE AGAINST THE MACHINE, DEFTONES, PAUL WELLER,

LIMP BIZKIT, DEEP PURPLE, DAVID SYLVIAN, HOOVERPHONIC , DAVID

BOWIE, SANTANA, FRANK ZAPPA, LORD OF THE DANCE, SHAOLIN

MONKS and more.

2) Promotion and production of Italian artists in Italy (NEFFA,

SOTTOTONO , LITFIBA...)

3) Production and co-production and Promotion of Festivals:

MONSTERS OF ROCK, SONORIA, MILANO BLUES FESTIVAL, IRLANDA

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

MONZA ROCK FESTIVAL, PISTOIA BLUES FESTIVAL, COCA COLA

DANCE FESTIVAL…

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

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

Ramazzotti, Sabrina Salerno...)

20

MONTHLY FEATURED ARTIST POWERED BY

ORBITAL Territory: WORLD Period: APRIL 2012 ONWARDS Agency: VALUE ADDED TALENT Agent: DAN SILVER Phone: +44 207 704 9720 E-mail: dan@vathq.co.uk Homepage: www.vathq.co.uk

Skid Row Territory: Europe Period: July/August 2012 Agency: ARM Entertainment Agent: Dana Strutz Phone: 1-651-483-8754 E-mail: ds@armentertainment.com Homepage: www.skidrow.com

Blaze Bayley (Wolfsbane,ex-Iron Maiden) Territory: Europe Period: March-April 2012 / Festivals - July - August Agency: Real Media Music Agent: M.Kostrec Phone: +44(0)7526171555 E-mail: miro@realmediamusic.co.uk Homepage: www.blazebayley.net

Firehouse Territory: Europe Period: 1/5/2012-31/5/2012 Agency: ARM Entertainment Agent: Dana Strutz Phone: 1-651-483-8754 E-mail: ds@armentertainment.com Homepage: www.firehousemusic.com

THE DOORS ALIVE - BEST DOORS TRIBUTE ACT IN WORLDTerritory: WORLD Period: JANUARY 2012 ONWARDS Agency: VALUE ADDED TALENT Agent: DAN SILVER Phone: +44 207 704 9720 E-mail: dan@vathq.co.uk Homepage: www.vathq.co.uk

Wayne Henderson Territory: Europe/UK Period: January 2012 Agency: Universal Attractions Agent: Nicholas Szatmari Phone: +1.212.582.7575 E-mail: ns@universalattractions.com

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

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

ARTIST AVAILS

Skid Row

21

Ashton Lane

In late 2010, Esther O’Connor and her band Ashton Lane made their first visit

to Nashville after being stateside gigging and getting the gears in motion for

the release of their debut album. Prior to this, the band was buried away deep

in the recording studio for a few months writing and recording ‘Other Side’.

Ashton Lane are: Esther O’Connor (lead vocals), Tim O’Connor (guitar , backing

vocals) and James Duffin (lead guitar, backing vocals).

Esther O’Connor is the lead singer of her 3-piece band that includes her

husband and brother. They write all their own songs, and sometimes even

co-write with Dad! (Graeme Duffin from legendary 80’s/90’s band ‘Wet Wet

Wet’). Graeme and James also produced this new album “Other Side”

Ashton Lane is an internet phenomena, receiving a million.

You Tube views of their ‘Tuesday Live Sessions’ in just over a month and growing

fast. Last month they also achieved the spot of 18th most viewed musician in

the UK and 44th most viewed musician on youtube.

She has already received support on BBC Radio 2 and on regional radio

nationwide despite being unsigned. Tom Morton of Radio Scotland describing

one of their tracks as “Neil Young meets Beyonce round at Joni Mitchell’s

house”, recognising the retro flare that runs through their music and the bands

love of a sassy pop hook. Journalists and fans alike recognise that Ashton Lane

are trailblazers for new country-pop forging the way ahead in this new musical

landscape. Esther’s previous solo albums also received 4 and 5 star reviews in

the national and Scottish newspapers.