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VIPNEWS PREMIUM > VOLUME 150 > OCTOBER 2012
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VIPNEWS > OCTOBER 2012
Welcome to the 150th VIP News! – I can’t
quite believe it myself, but it’s true – shouldn’t
Manfred Tari and I be getting some sort of
long service medal? – Or something….
Anyway – the whole of the VIP team was
in Hamburg last week for the Reeperbahn
Festival and of course Reeperbahn Campus .
It seemed to me, and others have said
the same, that this year’s event raised
the standard quite noticeably, making
Reeperbahn an essential date in the industry
calendar. See the report in this issue.
One thing though was that it was very chilly
on a couple of nights, we’re definitely now
into the cold weather events and I’m going
to have to watch what I pack for my trips to
Paris and Tampere for MaMA and Music and
Media next month…
There’s a lot going on with the giants of the
industry at the moment, firstly, as expected,
Universal has been given the go ahead by
the European Commission to complete it’s
take over of the EMI record company. But
there are conditions; Universal, the record
company that puts the major in majority of
the business, will have to hive off some of
its own assets and EMI labels and catalogues
such as Parlophone, Chrysalis and Mute -
they do get to keep The Beatles and Robbie
Williams – just to keep them going of course!
Just to assure us that we shouldn’t be scared
that the giants will swallow us all up, the EC
said in a statement:
“The very significant commitments proposed
by Universal will ensure that competition
in the music industry is preserved and that
European consumers continue to enjoy all its
benefits.”
Another colossus, Mr. Philip Anschutz has
decided to put AEG, the second biggest
concert promoter in the world, and owner
of a huge string of sporting and music ven-
ues plus other things, up for sale, we now
have to see who’s got the odd 6 or 7 billion
to spare to become the owner of such units
as AEG Live and the O2 venues – and of
course to keep the Monopolies Commissions
busy – we’re getting quite used to waiting
with bated breath for the outcome of these
considerations in the last few years.
However – while we’re waiting for the music
industry to take on the appearance and the
table manners of Jabba the Hutt, (what do
you mean you’ve never seen Star Wars?….)
there is still activity down here amongst us
humans; on the good side there is hope that
as the Live Music Bill comes into effect many
new venues will come into operation at the
start up end of the business (see article in this
issue) whilst on the bad side the effects of
a torrid season for UK festivals have claimed
two more victims. Vince Power’s Music Festi-
vals Ltd, Hop Farm and Benicassim, has called
in the administrators, as has the 21-year-old
family friendly event Guilfest.
It seems that even Vince’s previous Midas
touch has not been enough to combat the
pressures on festivals. It’s also a shame to
see Tony Scott’s event go – I once spent an
overawed half hour at a backstage table at
Guilfest with Eric Clapton and Peter Green,
not to forget Arthur Brown. I’ve got the
photos somewhere to prove it and my son
recently rediscovered the napkin bearing
the autographs of the two great guitarists
(probably worth a fortune by now!)
So – as they say in China – we live in
interesting times! Ladies and Gentlemen –
The News!
COLOPHON >
VIP-News is published by:VIP-Booking145-157 St John StreetLondon Ec1V 4PW
Managing Director:Ronni [email protected]
General Manager:Peter [email protected]
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2
McGowan’s Musings
3
VIPNEWS > OCTOBER 2012
UK Music Researches Impact of Live Music Act Allan McGowan [email protected]
On Friday 21st September UK Music unveiled
new research into the potential impact of
the Live Music Act 2012. Passed as an Act of
Parliament in March 2012, the Live Music Act
will see the deregulation of live performance
in venues of no more than 200 people.
UK Music, commissioned The Market
Research Group at the University of
Bournemouth to survey 1000 premises to
consider the potential impact of the Act. The
research indicates that despite 2.4 million
live music performances taking place in the
12 months that immediately preceded the
survey , the UK appetite for live music is still
not satisfied.
According to the findings, the Live Music
Act could lead to an additional 13,000
venue s staging live music in their premise s
for the first time, and a further 23,000
venues increasin g their current provision of
live music . In total it is possible that 36,000
premises will stage more live music once the
Act comes into force than they have in the
last 12 months.
The research showed that more than half
(51%) of small venues in England and Wales
currently hold a licence from their local
authorit y to stage live music. However 78%
of all small premises surveyed were unaware
of the passing of the Live Music Act. The
researc h has indicated that there must be
an education process to unlock the Act’s full
potential.
Jo Dipple, Chief Executive of UK Music said:
“The results of this baseline research are very
exciting. The Act, as we had hoped, has a
potentially huge impact on the live music
scene. The purpose of this legislation is to
encourage more live music performances.
Small venues will no longer have to apply to
their local authority to stage live music. The
Act will mean that the staging of live music
will be cheaper and easier for venues up and
down the country . UK Music has committed
to working with the Musicians’ Union on an
awareness campaign for venues and artists to
ensure that the Act has the biggest impact . We
also look forward to working with Government
on the implementation of the Act.”
Ed Vaizey, Minister for Culture,
Communication s & the Creative Industries,
DCMS, says:
“The Live Music Act is a thoroughly welcome
piece of legislation. It had my full support and
that of Government as it became law and we
are now committed to seeing it implemente d
quickly and efficiently. New legislation should
be scrutinised and initiatives like this UK
Music research will help Government assess
its impact.
However, much as this all sounds like good
news for aspiring musicians to develop
their acts and to start building a fan base
get their first foot on the ladder to success,
not everyon e will necessarily welcome all
this new potential. Many existing dedicated
live venue s are having their problems with
everything from the state of the economy
to noise restrictions. In fact throughout
the country several venues have closed
down in the last year, hopefully the Act will
have a beneficial effect, but the increased
competitio n from pubs who may not charge
on the door, aiming to cover costs from
increased bar sales, may be too much for
those non pub venues who also need door
take to stay solvent.
As Dominique Czopor of the independent
promoters and venues association We: Live
and owner of the 250 capacity Boiler Room
in Guildford told IQ Magazine as far back as
the summer of 2011:
“Creatively the UK is at the forefront of music .
We have so many amazing bands that play,
but because the market is so saturated it puts
pressure on the venues. And because pubs
now put on so much music, it’s taken away
the mystique of going to a venue. At the entry
level there are more places staging live music
than ever but fewer dedicated music venues .”
Well, let’s hope that things develop as well as
UK Music and the Government optimistically
predict – it’s possible, but it will definitely be a
case of ‘Watch this Space’ for some time yet.
“I am delighted that
early indications show
it will energise tens of
thousands of new live
music performances,
exactly as we hoped.”Ed Vaizey
4
VIPNEWS > OCTOBER 2012
Finland Pursues International Growth in the Music SectorAllan McGowan [email protected]
Finland’s Minister for European Affairs and
Foreign Trade, Mr. Alexander Stubb, visited
London on Thursday 20 September, aiming
to boost partnerships between the Finnish
and British music scenes. The trip, aimed at
accelerating growth in Finland’s blossoming
music sector, was organised by the new
nationa l export organisation, Music Finland,
along with the Ministry for Foreign Affairs
and the Finnish Embassy in London.
Tuomo Tähtinen, Executive Director of
Music Finland commented:
“Finnish artists have gained a strong foothol d
in international markets and there’s strong
demand for our songwriters and composers .
Minister Stubb’s trip is the first of its kind
for our music industry, and we’re eagerl y
awaiting concrete results from it. We’re
looking for new business opportunities
with British partners as we meet the global
economic challenges. Britain is our most
importan t export market, and our investment
will benefit both the Finnish and local actors.
Finland believes firmly in opportunities for
growth in music and other creative sectors.”
Along with a delegation of some 20 Finnish
music professionals, Stubb met with executives
at BBC Radio 1 and 3, the Universal Music
Group and Serious, a producer of live jazz,
international and contemporary music. The
visitors also met a broad selection of UK music
professionals and media figures at a reception.
The Finnish delegation represented an array of
musical styles and industry segments.
Prior to the event Minister Stubb said:
“The Finnish music sector is currently going
from strength to strength. Its success stories
show that it’s able to cope with the major
ongoing changes. I’m looking forward to
being able to help music companies to find
new partners and expand their business.”
The Ministerial visit is part of the Music
Finland UK initiative for 2012-13. The venture
aims to boost music exports and raise the
profile of Finnish music in the UK and other
target markets influenced by it. The project
is being co-funded by several government
ministries, the Finnish Performing Music
Promotion Centre (ESEK) and the Foundation
for the Promotion of Finnish Music (LUSES).
Finland’s music sector is investing about
a million euros annually in the UK market
during the two-year project. Finnish firms
and their British partners will benefit from
the state input , including tour and marketing
support. In market value surveys conducted
by Music Finland, companies engaged in
exporting music have on numerous occasions
indicated that with German-speaking Europe
and the Nordic region their most important
export market is the UK. For this reason
Finnish music companies target the UK (the
focus market in 2012-2013). The objective
is to increase the export volumes of Finnish
music and to promote the visibility of Finnis h
music in the UK and other target markets,
which are influenced by the British market .
The aim is to create growth within the
business and to generate new business to
both directions.
Project Manager Riku Salomaa told VIP
News:
“Finland is known for its classical, jazz and
- especially - its metal music. Bands like
Nightwish , Children of Bodom and Michael
Monroe have led the way for many acts
not only from Finland but also from other
countries . Nowadays, however, there are
numerous indie bands getting their feet
on the ground internationally and acts like
Phantom have created quite a buzz in the
UK due to being blogged about by The XX.
The biggest growth business-wise, however,
comes from the songwriting sector of the
industry. Just to mention one writer, Teemu
Brunila just recently became the first Finnish
songwriter on a Billboard #1 album in the US.
He has also written songs for Pixie Lott and
JLS and made it to the UK album chart #2,
Another thing is the music-related tech
companies like Mobile Backstage. This is
something we’ve been working on a lot
lately . In music, tech-startups are creating
new ways to make money and we are
pushing them heavily, too.
If we look at our UK operations this year only,
Finland is investing close to a million euros in
actions towards the UK market out of which
about a half comes from music companies
themselves and the rest from the Ministry
of Employment and the Economy and the
Ministry of Education and Culture. Finnish
companies and their partners in the UK can
benefit from the funding through subsidised
marketing and promotion, as well as touring
and other live productions, to mention a
few.”
For more information contact:
Riku Salomaa Project Manager,
UK Music Finland
Phone: +358 40 705 2606
Tuomo Tähtinen
5
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6
VIPNEWS > OCTOBER 2012
ReeperbahnFestival ’12Allan McGowan [email protected]
This year’s sold out 3 day Reeperbahn Festival 2012 outperformed
last year’s successful event presenting a programme of more than 350
events over 60 locations, attracting 25.000 visitors.
290 German and international musicians performed in the clubs
around Hamburg’s Reeperbahn to audiences of fans and industry
representatives. For the first time the Festival also featured classical
music.
22 international Showcases took place at this year’s festival, including
presentations from Luxembourg, Estonia, Lithuania, Portugal, Singa-
pore and Taiwan. For the second time the Canadian Music Associa-
tion (CIMA) presented acts from the Canadian music scene at Hörsaal.
Over two days bands played the well-visited club. Stuart Johnston,
President of the CIMA commented:
“The Reeperbahn Festival is one of the key entry ways not only into
the German music market. Canada has an infusion of different music
styles and this festival is a perfect opportunity to show them all to an
engaged crowd of fans and representatives.”
Reeperbahn Festival Arts presented more than 40 events including
visual arts, poetry slam, digital arts and film - twice the amount of
last year’s event.
Seven broadcasting trucks from the Norddeutsche Rundfunk (NDR)
recorded 40 concerts for German television. An additional 80 shows
were recorded for national and pan-European radio broadcasting.
Alexander Schulz, Head of Reeperbahn Festival, was understandably
pleased: “Reeperbahn Festival was sold out, despite the increase in
capacity. It was a unique atmosphere, where the love for music and
art brought together artists, visitors and delegates. For the latter
Reeperbahn Festival is one of the most important market places in
Europe.”
Tickets for Reeperbahn Festival 2013 are now available for a limited time with an Early Bird-price here:kj.de/tickets.html?artist=2334&event=10560
Reeperbahn by night.Photo: Matias Boem
The place to be– Spielbudenplatz, Hamburg
For the second time the Canadian Music Association, CIMA, presented acts from the Canadian music scene at Hörsaal
VIPNEWS > OCTOBER 2012
Reeperbahn Campus ‘12Allan McGowan [email protected]
The Conference part of Reeperbahn Festival had to do some quick re-
organisation when let down over the availability of two main rooms,
however although the large tented Conference area was somewhat
beset by wind and construction industry noise (the sort of
sounds adopted by certain bands in Germany as
music in the not so distant past!) all meetings
were successful and well attended. Your’s
truly was happy to chair several of
these being particularly entertained
by a session on the wonders of the
German Market – who say’s the
Germans don’t have a sense of
humour!
Detlef Schwarte , Head of Reeperbahn Festival Campus gave VIP
News the facts concerning the Campus:
A total of 2.494 professionals attended the Reeperbahn
Festival Campus: 2.124 delegates (up 600 on last
year) and 370 media representatives (same as
2011).
34 nations were represented with
the largest delegations coming
from Denmark, UK, Netherlands,
Switzerland, Canada.
7
Mark Sutherland - Journalist, Bernd Dopp -Chairman & CEO Warner Music Central & Eastern Europe, Detlef Schwarte - Head of Reeperbahn Festival Campus, Lyor Cohen - CEO, Recorded Music, Warner Music Group, USA.Foto: Katja Ruge, Reeperbahn Campus
Detlef summed up by saying:
”Wow, so now it’s over for 2012!
Reeperbahn Festival Campus says a big thank
you to all who attended. We are very happy
everything worked out so well and we’re impressed
with the love and smart ideas that every one of our
150 partner organizations and companies brought
to the Campus. We hope everybody took
home some great memories and a lot of
inspiration from Hamburg.”
8
VIPNEWS > OCTOBER 2012
More comments on Reeperbahn Festival 2012Bernd Dopp, Chairman and CEO, Warner
Music Central & Eastern Europe:
“Reeperbahn Festival is developing terrifically
and is THE get-together for the German
music industry, musically and regarding
international attendance.”
Carsten Schumacher, journalist, Intro/
Festivalguide:
“Reeperbahn Festival has lined up some of
Germany’s most beautiful taverns like a string
of pearls and this alone would be enough to
fall in love. And on top of this also focuses on
the important things: music and the relaxed
conversation about music. Only fools would
stay at home!”
Ben Challis: Lawyer - Glastonbury
Festival / Founder - A Greener Festival:
“Lots of great bands, lots of great music
and lots of great creative diversity...”
Peter Jenner:
“The Reeperbahn Festival is a place to think
about the future of the music in a place
which is the history of music...”
Jens Michow: President – BDV (German
Promoters Association):
“It is the place to be!”
Carlo Schneider:
“It is a really really nice mixture of network-
ing, workshops, panels and also seeing the
artists.”
Claudio Trotta:
Barley Arts - Italian Promoter: “In a very short
time you can meet a lot of different people
from all over the world doing different work,
all in the big family of music entertainment”
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VIPNEWS > OCTOBER 2012
The theme of this year’s Reeperbahn Campus was
“Diversity at Risk”.
With the steady and seemingly inexorable rise
of corporatisation (see comments in McGowan’s
Musings in this edition) in the music industry, with
a particular incursion into the live sector, is there
still room for the individuality and the inspiration
that created the business? There were two keynote
speeches on this topic, one from UK lawyer Ben
Challis , and one from leading independent Italian
promoter, and well-known figure at events like the
ILMC, Claudio Trotta MD of Barley Arts. We may refer
to Ben’s speech in a future issue, but for now, with
his permission of course, we publish Claudio’s speech:
Thanks for inviting me to this important conference, which is so rich
in its contents and potentialities, and thanks also for choosing me for
this keynote speech. I guess this choice might be due to my proverbial
attitude, which is to say what I think at all costs, with no limits or fear
of any kind, which sometimes gets me into trouble!...
But seriously, I believe the choice has to do with my professional
history which has been based for almost 35 years on my work in the
music business and which has expanded in recent years also in the
entertainment business. Maybe some undertakings have not been
immediately successful, commercially speaking, but I have always
carried on with passion, courage, boldness and a keen vision of the
future.
For example, in the 80s I spotted the heavy metal music potential and
imported the ‘Monsters of Rock’ festival. Later, in the 90s I dreamed
of setting up a big festival in the style of Reading, or Rock Am Ring,
and - maybe in a period when Italy was not ready for it - I created
‘Sonoria’. I still put myself on the line and take risks to turn my visions
into reality.
On Barley Arts’ roster there is always room for shows which are very
different from one another, such as, AC/DC and Kris Kristofferson,
Bruce Springsteen and LMFAO, the Queen musical ‘We Will Rock You’
and family shows like ‘Walking With Dinosaurs’, a music festival like
‘10 Giorni Suonati’ a sort of ‘boutique event’ created by us, based
on quality and sustainability, as well as international ‘edutainment’
exhibitions , and Italian rap and indie rock gigs. That’s because I’ve
always thought that diversity enriches human beings. Moreover, as
Freddie Mercury would say, “Whatever you do, do it with style”.
That’s a good point, too.
The theme of the speech I’ve been asked to deliver is actually a subject
that concerns me greatly, the standardization, the globalisation ,
the consolidation of a few big players in the worlds of music and
entertainment , media and communication. This is something that
has been colliding on a daily basis for many years, with people like
me who love the ‘old role’ of the entrepreneur, ‘armed’ only by the
awareness of his idealistic folly, thinking he can do something which is
useful not only to himself, to his own company, to his employees and
to their families, but also to the society he lives in and to the historic
period where he belongs.
And in order to make you understand my thoughts more clearly I’d like
you to hear two quotes from Luigi Einaudi (1874 - 1961), economist ,
journalist, politician and 2nd President of the Italian Republic.
ReeperbahnCampus– Diversity at Risk? Allan McGowan [email protected]
11
VIPNEWS > OCTOBER 2012
- The plant of competition doesn’t come on its own and it doesn’t
grow by itself, it’s not an ancient tree that cannot be shaken by the
raging storm, it is a delicate shrub that must be protected with care
from the diseases of selfishness and of particular greedy interests and
which must carefully be supported against the dangers that threaten
it from any side within the economic sphere. (Taken from: “Economics
of competition and historical capitalism”, June 1942, page 65).
- Thousands, millions of people work, produce and save no matter
what we can invent to bother them, to obstruct and discourage them.
It is their natural bent that drives them, not just for profit reasons.
The pleasure, the pride of seeing your company flourish, gain credit,
be an inspiration and be trusted by an ever wider clientele, expand
its facilities , are a mainspring for progress which is as powerful as the
pure profit itself. If it wasn’t so it would be hard to explain why there
are entrepreneurs who dedicate all their energies and invest all their
money in their own company to end up, quite often, with an income
which is far more modest than what they could safely and comfortably
have gained elsewhere. (Taken from: Dogliani, “Dedication to the
company of the Guerrino Brothers”, 15th September 1960).
From these comments it’s quite evident that my thought is not so
strange, weird or crazy after all...
But let’s take a step back to our recent past and define the concept
of music globalization.
We are all used to listening to American songs, to English songs, to
Spanish ones, or to songs in any language. The pros of this fact are
the personal enrichment of our own culture and to other people’s
culture providing, through its anthropological meaning, a daily
balance , as the ‘language’ of our biological time, as the days which
are spent all in pretty much the same way, yet all being different one
from the other.
Another pro is the widening of the horizons, the contamination
of genres, the removal of those barriers between a ‘cultured’ person
and an ‘over cultured’ one, between ‘light’ and ‘serious’, between
pop and classical.
The cons ... are the loss of cultural identity, the phenomenon of
standardization which causes damage to each one of us, the various
different ‘cultures’ that merge into a single and often impersonal
‘mix’ ... too often we listen to Italian, French or Swedish songs which
are so terribly similar to other Anglo-American ones.
I read an interesting study by Francesco Podestà about Globalization,
which I embrace as a whole. He distinguishes between passive and
active globalization.
1. Passive is what comes out of - for example - increasing division
into genres, sub-genres and microgenres of music: commercial/alter-
native, classical/easy listening, pop/rock and so on. It tends to become
a mental limit we might not be aware of, as it happens in our life
where we are used to think in terms of right/wrong, left/right, black/
white. Globalisation is seen as a threat to our personal individuality.
In this case, we are moving towards a confusing musical listening
experience.
2. Active globalisation is the result of an experience of curiosity. A
simple and basic need for musical knowledge leads towards research
and learning. We make a voluntary effort and tend to extend our
musical culture. The globalisation is lived as an expansion of our own
individuality. In this case, we are moving towards a music experience
awareness.
These two opposite forces that lead us to passive or active
globalisation have a huge influence not only on what we listen, but
also on how, where, when and why we listen to music. Of course
the same force does not always affect us, but while the first one is
automatic, the second one requires an effort on our part. So it’s up
to us to side with one or the other. Choosing to do it one way or
another is what creates the different idea of a company of people,
of business companies , of groups of individuals who work today in
the Music Business and Entertainment, and of the artists and the
audience which is also a primary active element rather than a passive
one and which has wider opportunities nowadays since the British
computer scientist Tim Berners – Lee invented the Internet together
with Robert Caillau.
12
VIPNEWS > OCTOBER 2012
Globalisation also allows some extraordinary opportunities, I mention
briefly two among the many: Firstly, Music Crowdfunding: the case
of Amanda Palmer.
Amanda Palmer used to sing with NY band Dresden Dolls, signed
by Roadrunner label, part of Warner Music Group. Now she’s
unsigned and manages her career by herself. Recently she launched a
subscription , via Kickstarter platform, asking her fan base to finance
her oncoming music project, with a minimum subscription of 5 dollar s
that includes a free digital download of the deluxe version of the
album. Her goal was a budget of 100.000 dollars. She reached 1
million dollars, offered by 20.474 subscribers. 10 times more than
what she expected. She said the total budget will support not only the
recording of the album but also a benefit project that her investors
may like.
Another interesting contemporary experience is the case of the
Sublime Frequencies record label, from Seattle, a label founded by
Alan Bishop that started publishing recorded documents of street
musicians and radio stations of far-off lands like Sumatra or Bali,
mostly recorded many years before the label was even a thought.
So proper ‘world music’, quite different from the polished versions
you usually find near the cash register of a coffee shop... Then in
2007 Sublime Frequencies published the domestic tracks of a Syrian
musician , Omar Souleyman, then the album from a Saharan guitar
band called Group Doueh, that is, contemporary, active, Touring
artists , expanding the label’s focus from archival to contemporary
music, but always with the same focus to deliver not just sounds of
world music but Experiences of the world in music. Bishop said the
aesthetic of the label is actually ‘un – existing’: no ‘world’, ‘ethnic’,
‘alternative’, no ‘labelled’ music.
Let’s listen to Alan Bishop’s words
“MANY PEOPLE ASK US WHAT OUR AESTHETIC IS, BUT THE ANSWER
IS ALWAYS THE SAME: WE KNOW IT WHEN WE HEAR IT”
“WE EDUCATE NATURALLY PEOPLE WHO ARE WILLING TO LISTEN,
BUT AS A LABEL THIS IS AN UNCONSCIOUS FOCUS”
“SURE WE HAVE SPECIFICS THAT WE GRAVITATE TOWARSDS: 1960s
MUSIC; RAW, EXPRESSIVE AND UNFILTERED SOUND; A FOCUS OF
NORTH AFRICA, THE MIDDLE EAST AND SOUTH EAST ASIA...WE
HAVE SO MANY INTERESTS! “
“I have my recorder wherever I go and am always looking and
listening for something to capture in sound. Almost all of my favourite
moments come from random encounters that I would have never
predicted. Persistence and patience are essential to these processes.”
These world music records have migrated from the shelves of the
specialist shops to enter the big media stores. Is there any connection
between this and the removal of the borders, which can be seen
13
VIPNEWS > OCTOBER 2012
today in the globalised world? Has a new awareness aroused within
the public?
Popular music has undergone a conceptual evolution, which has
transformed it into ‘world music’, and this latter role fully fits the
culture of the globalised record company industry. This gives birth
to a few concepts such as ethnic music hybridisation, ethnic music
patchwork , global music, global music city, a widespread ethnicity.
The aim was to apply the analytical tools of globalisation to a field
of cultural production, ethnic music, which is a particularly rich and
stimulating crossroads of meanings.
We should not be afraid of globalisation, we should carry on with
professionalism, creativity, courage, efficiency. This seems to me - and
luckily to many other players in the world - the recipe to positively and
actively apply those processes of change within the society we live
in, processes which obviously don’t only involve our much beloved
‘entertainment family’ but also society as a whole, our present, our
future, and especially future generations.
How is it possible to compete in our live entertainment business with
giants such as Live Nation, Universal, Viacom, and AEG and to take
up the opportunities of globalisation? There are relations and trade
between independent people around the world who might have
different sensitivities but who share a unique individual and common
desire: to express themselves through their work, their identity,
their ability to produce and promote new models which may have
their own dimension and their own economic, social and ecological
support . It’s a new renaissance for the entertainment, concert, and
festival business, which has a global wider attention at 360 degrees
focusing on the quality, diversity and richness of the offer.
No power-concentration into the hands of a few shall prevent us from
continuing to express ourselves and in such a fragmented society, so
insecure and uncertain about the social models to follow and look
up to, there are - paradoxically - more offers and possibilities. Today
there are many more openings and less cultural homologations than
for example in the 80s and 90s.The age of ‘Video Music’ is finally
dead, the divisions between the musical genres, the style and the
production and organizational possibilities are definitely broken. But
it takes initiative, resolution, originality, and the will to study,
to know and understand the various niches, as well as the ability to
expand and highlight them. - We can make it!
Claudio’s speech concluded with Jimmy Cliff singing,
“You Can Get it if You Really Want it.”
MaMA ’12 – ParisAllan McGowan [email protected]
VIPNEWS > OCTOBER 2012
14
Pink Floyd’s Nick Mason to be
Interviewed at MaMA ’12 – Paris
For the third edition of the MaMA Event to take place in Paris on
October 25/26, the organisers are proud to announce that this year’s
‘Career Review’ will feature Nick Mason, drummer and founder of
Pink Floyd. In ‘Retracing the Steps’ Mason will ponder on the stresses
and strains of rock’n’roll superstardom - how to keep your head
when all around you others are losing theirs, weird scenes in the life
of a band, and the differences between now and back then, with
possible suggestions for new bands starting out today. Interviewed
by Chairman of MusicMetric, Jeremy Silver, Mason will also touch on
his role as Co-Chair of the Featured Artists Coalition, discussing what
the organisation does and why it’s important. ‘Retracing the Steps’ is
scheduled for Friday October 26, from 16.30 - 17.30
This edition has also confirmed 120 Speakers for its main Conference
Programme. For full details go to www.mama-event.com
The programme will also feature the following debates co-or-
ganised by MaMA & its partners:
Festivals: Health & safety, standard agreement, cashless payment...
What’s new? Presented by MaMA & Yourope
Venues for today’s music in Europe: an overview presented by MaMA
& CNV.
Music Business models: What are the main differences? Presented by
MaMA & SMA
MaMA Partners’ will present the following conferences:
UK market insights – Ideas and tips from UK professionals presented
by PRS for Music.
Pooling actions within a professional music network presented by
MAP.
The transformation of cultural and artistic professions: How to adapt
pedagogies and training methods? presented by: Le Centre Musical
Barbara Fleury-Goutte d’Or - Main d’oeuvres - Réseau Ressource.
With the participation of Trempolino.
Partners’ workshops:
Everything you always wanted to know about technologies to boost
your event community presented by Greencopper.
Website Demolition Derby presented by DBTH & Bandzoogle.
LIVE IN MONTMARTRE:
From 6 to 8 pm, there will be an eclectic and quality line-up of
artists performing “Live In Montmartre”. Each act will play 2 sets
in 10 unusual places, such pubs, art galleries, theatres in Pigalle/
Montmartre . Venues include La Midinette, Pub Montmartre - Chez
Clint, Galerie W, Le Saint-Jean, Théâtre de l’Atalante, Café La Cigale,
Le Bel Air, Au Petit.
16
VIPNEWS > OCTOBER 2012 > INDEPTH STORY > GEMA
Anti-GEMA-Protests in GermanyManfred Tari [email protected]
The new rates proposed by GEMA for the usage of music in bars,
clubs & discotheques, which also apply to other live events such as
fairs featuring shooting contests or carnival events, have provoked a
huge spate of objections.
The new rates are intended to come into force from April 2013
onwards . The first version lists two new tariffs: U-V for events with live
music by musicians and M-V for events with recorded music. Originally
both tariffs foresaw a 10 percent fee on all income gained through
entrance fees, sponsorship fees, donations and advertisement fees.
The copyright collection society furthermore requested a surcharge
for events lasting longer than five hours, for which an additional 50
percent levy for every additional three hours was to be charged. The
tariffs also include significantly higher rates for free entry events,
charging a minimum fee of 2.20 Euro for a room of 100 square
meters for every five minutes of music played.
The new tariff only made allowance for a derisory 10 percent
discount for charity events. These rates have been published in the
“Bundesanzeiger ”, an official Ministry for Justice publication on April
13.
Those new rates would have meant that most professional
promoters , particularly as a result of the additional time surcharges
would have had to cope with rates increases of up to 1.000 percent
and more. In the past the German association for gastronomy and
hotels (DEHOGA ) has been the main tariff partner for GEMA, but
in this case protested the new rates and stopped negotiations with
GEMA.
Shortly after the new rates became public, GEMA found themselves
confronted with a massive media and political campaign arranged
by DEHOGA. Prior to this, GEMA had already been heavily criticised
for charging Kindergardens for the copying of sheet music on behalf
of the VG Musikedition, a copyright collection society for sheet
music . Another example contributing to ongoing negative PR is the
undisclosed deal between Youtube and GEMA. Currently instead
of screening music videos on its German platform Youtube often
displaya a notice stating saying that certain videos are not available as
GEMA had not granted the required music rights.
But to understand why GEMA is now attracting such flack, one must
also take into account Page 285 of a 2008 parliamentarian enquiry
report “Culture in Germany”. This stated that GEMA should alter
and improve its modus operandi by instituting a fairer distribution of
royalties, and acting in a more democratic and transparent manner .
Furthermore the enquiry report recommended that the German
government should improve the supervisory mechanism of GEMA by
instituting an official regulatory authority.
The report has not yet lead to significant improvements. However, in
May 2009 Monika Bestle, a small concert promoter from Southern
Germany, independently launched an official petition which gained
more than 106.000 signatures by July 2009, asking the German
Government for the reformation of GEMA citing similar complaints to
those filed in the enquiry report.
Since the newly proposed rates became public in Spring 2012, the
criticism of GEMA reached a new high. Hackers have attacked the
GEMA-server, there have been uncountable numbers of media reports
on TV, Radio, and in Newspapers and social media platforms that have
increased the pressure on GEMA. Even demonstrations have been
organized , the first in July, and the latest on September 6 others were
staged simultaneously, attracting 2.500 protesters in Berlin, 4.000 in
Frankfurt, 1.000 in Leipzig and Nuremberg, 1.800 in Munich, and a
few hundred in Hamburg. In the light of this ongoing negative media
coverage an internal GEMA memo referring to the demonstrations
addressed to members caused further public irritation , by stating that:
“Legal action by GEMA is however - even if many of the organizers
worked with false and polemical assertions –not possible due to
the constitutionally guaranteed right of assembly. ” The member’s
Monika Bestle
17
VIPNEWS > OCTOBER 2012 > INDEPTH STORY > GEMA
newsletter was sent out before the demonstrations took place being
instantly picked up on by journalists via social networks.
At many of these demonstrations regional and local politicians
also took part as speakers. But even more remarkable is the fact
that meanwhile five regional governments filed parliamentarian
documents concerning the new GEMA rates. One of the first was
Mecklenburg West Pomeriana, followed by Bavaria, Brandenburg,
Thuringia and just recently Hessen.
It is interesting to note that almost every party files parliamentarian
papers recommending that measures be undertaken to stop GEMA
introducing the new tariff scheme. Many of these printed papers
appeal to the arbitration court of the German office for patents
and brands (DPMA), asking the court for a fair appraisal of tariffs
appropriate for GEMA and those liable to pay the new rates. GEMA
approached the DPMA arbitration court directly after DEHOGA
refused to negotiate with the society.
However, some of these papers go even further. The SPD and the
Green Party in Hessen proposed the launch of an initiative at the
German Bundesrat, the federal council of Germany, to follow up on
the tariff conflict. The Green party even called within their paper for
an initiative at the federal council for a fundamental reform of the
system of collective rights management by an “economic society”
and for the strengthening of the supervisory function of the DPMA.
Meanwhile, unsurprisingly, the public debate is also heating up in the
German music industry. In an interview, Marek Lieberberg one of the
biggest promoters in Germany, as did many others, sharply criticised
members of the supervisory board of GEMA such as Frank Dostal and
Stefan Waggershausen, of being hardliners responsible for a “self-
care system” for “uninvolved beneficiaries of the GEMA swamp”.
C
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Anzeige_VIPMag_ProSky_X4.pdf 1 09.12.10 10:43
Marek Lieberberg
18
Jörg Evers, a supervisory board member of GEMA responded in
an open letter , accusing Lieberberg of making “unsubstantiated ,
slanderous attacks” on the GEMA board and the mentioned
supervisory board members. These are only the latest incidents in a
long and ongoing succession of a highly emotionally driven debate.
Furthermore as the new scheme was originally intended to abolish
the previously existing 10 different tariffs into two new ones, GEMA
is itself negotiating with different tariff partners over individual
agreements . The first had been made with the German carnival
association on July 24. The second agreement was
confirmed on September 11 with the shootings
clubs association, but foresees separate
treatments for their type of live events.
No information has been given on
these agreements.
Recently, on August 3, GEMA
announced amended versions
for its new tariffs U-V and M-V
in the Bundesanzeiger. Basically
GEMA retained its 10 percent
claim but changed its extended
time surplus from five up to eight
hours with an extra 25 percent charge
for each additional two hours. Amongst
other amendments, the proposal furthermore
foresees a revised rate scheme for events with an
entrance fee between 10.01 to 20.00 Euros, plus an additional
7.50 Euros per 100 square meters from April 2013 until April 2014,
8 Euros until 2015, 8.50 until 2016, 9 until 2017 and 9.50 by 2018.
These new rates have only been published in the Bundesanzeiger and
on the GEMA website; no press release has been issued.
New federal elections will take place in September 2013. Currently
290.000 people have signed an unofficial Online-Petition against
the new tariffs. The official GEMA-Reform petition by the promoter
Monica Bestle meanwhile has assembled two out of the five
statements that are required to respond to close the petition.
Whatever the outcome of the petition or any of the other
parliamentarian papers, it would take serious efforts
by political players to make the necessary
amendments to the current copyright
law in order change the settings of
GEMA policies as the society is an
independent organisation. Until
now GEMA has benefited from
a strong lobby among certain
politicians and previous political
attempts have not lead to any
substantial changes by opposition
politicians to intervene on the
interna l settings and procedures at
GEMA.
Nevertheless, until now those responsible
for the decision at GEMA have never had
to cope with such an unforeseeable coalition of
opponents from every political party questioning the current
policies of the German copyright society.see, what will happen next’.
VIPNEWS > OCTOBER 2012 > INDEPTH STORY > GEMA
Currently 290.000 people have signed an
unofficial Online-Petition against the
new tariffs
Demonstrations against GEMA, the latest this September. Photo dapd
19
VIPNEWS > OCTOBER 2012 > INDEPTH STORY > GEMA
The GEMA Point of ViewIn the spring of his year Ursula Goebel
became the new spokesperson of the
copyright collection society in Germany. VIP
News approached her for comments on the
latest developments regarding the GEMA
intention to increase its tariffs.
The latest attempt by GEMA to raise
its rates for Clubs and Discotheques
has received a lot of attention in the
media . Often the media coverage is very
negative as the rates foresee significant
increases for the usage of music at public
events and locations. What are the
reasons for this?
– The rates we have presented are in reaction
to criticism from politicians, the general
public , customers, and associations who
have demanded since 2007 that GEMA
weed out the ‘rate jungle’ in the event area.
Eleven rates were consolidated into two, and
the new calculation is based on event area
and admission fee. As compensation for
our authors (composers, lyricists and their
publishers ) for the use of their music, we have
set a maximum of 10 percent of the income
from the admission fees. We consider this
more appropriate and fairer means as we
want the authors to have a larger share from
the use of their music, as their creative efforts
make the variety of music possible in the
first place. Also this variety of music makes it
possible to organize a variety of events.
We currently license approximately 1.5 million
music events per year, of which approximately
3,000 are dance floor events. Music use is
much higher in clubs and discotheques than,
for example, at a sports event or street festival ,
a corporate event or a cabaret. In fact, music is
the economic foundation of a club. In the end
without composers there would be no music,
and without music there would be no clubs,
and not vice versa.
Various Members of almost all
parties of the district governments in
Bavaria , Mecklenbur-Pommeriana filed
parliamentarian documents through the
Senate of Berlin, approaching the federal
government or the arbitration court
at the DPMA to consider changing the
new rates proposed by GEMA to make
them more appropriate and fair. Aren’t
the responsible decision takers at GEMA
concerned by such political activities?
– In general, every German copyright
administration society is already under state
supervision. Accordingly, GEMA is also
supervised by the federal government: As part
of its commission as a copyright administration
society GEMA’s work is supervised by the
German Patent and Trademark Office (DPMA),
which is under the supervision of the German
Federal Ministry of Justice. DPMA is granted
this supervision based on the Law on the
Administratio n of Copyright and Neighbouring
Rights. Currently, twelve German copyright
administration societies have permission to
conduct business activities. This permission is
granted after consultation with the Federal
Cartel Authority and is continuously audited. A
direct intervention on the part of politicians in
the ongoing rate negotiations, or to examine
whether the published rates are appropriate, is
not provided for.
In fact, the current protests suggest that
politicians are allowing themselves to
be take n in by the opposition and are
disseminating false as well as misleading
sample calculations, and are using the
polemic debate as election campaign tactics.
The GEMA Petition filed in 2009 by
the concert promoter Monika Bestle
complains about the lack of transparency
and democracy and the unfair distributio n
of royalties. Almost the same critique has
been documented in the findings by the
2008federal inquiry commission ‘Culture
in Germany’. Taking the current political
mindset in consideration, how likely is
it that there is a danger for GEMA that
parliamentarian activities may lead to
legal amendments, enabling official
authorities to intervene, when it comes
to internal GEMA affairs?
– As a copyright administration society,
GEMA is obligated to adhere to the Law
on the Administration of Copyright and
Neighbouring Rights. This law regulates
all of the activities and processes for the
administration of copyrights for members.
The distribution plan of GEMA is subject to a
permanent transformation process, which is
actively carried out by its members. Changes
in the details are discussed democratically
and voted on during the annual general
meeting. In addition, the distribution plan is
constantly audited by judicial institutions and
judged to be fair.
What kind of activities has GEMA
considered undertaking to remedy its
current public image?
– As of June this year, I have been the director
of the communications and public relations
department at GEMA. One of the main
tasks is a long-term campaign to improve
our corporate image. The strategic planning
for GEMA’s communication activities will be
discussed with the Board of Supervisors and
voted on by the Board of Supervisors.
Ursula Goebel
20
VIPNEWS > OCTOBER 2012 > INDEPTH STORY > GEMA
No Results from Livekomm Negotiations with GEMA
A relatively new organisation has appeared
on the landscape of trade associations for live
music in Germany; ‘Livekomm’ was founded
in May 2012 in order to undertake joint
measures against GEMA and its new tariff
rates.
Livekomm can actually be seen as the
umbrella organisation for many until now ad
hoc local or regional music club associations .
The new association can also be seen as a
pool of club promoters that didn’t feel that
their interests were covered by the two
other live music trade organisations BDV and
VDKD.
Karsten Schölermann, the president of
Livekomm often emphasized that the new
organisation foresees the possibility that
music clubs and discotheques will manage to
obtain its own agreement with GEMA about
appropriate tariffs. Livekomm has therefore
developed a tariff proposal for live music
events and met with GEMA shortly before
Reeperbahn Festival in order to negotiate its
proposal. At a panel discussion at Reeperbahn
Campus, the music industry convention
part of the Reeperbahn Festival , Livekomm-
members and one GEMA representative
reported on the outcome of the these talks
between both parties.
Schölermann and others members of
Livekomm delivered good explanations of
the economic conditions for music clubs; also
raising the point that most promoters were of
the opinion that GEMA should consider par-
ticipating in the risk and often the financial
loss that promoters bear when they do
shows with newcomer acts or talents . Lorenz
Schmid responded as slickly as expected in
the panel, ignoring the promoters arguments
and concerns, and continually repeated the
mantra that ten percent is considered an
appropriate fee for authors and composers.
The ten percent demand is only the tip of
the iceberg. GEMA also requests a surcharge
for music that is played on a laptop with
audio files. This plus the other surcharges for
the duration of events lasting longer than
eight hours, and the request to participate
in sponsor fees indicate that the copyright
collection society is following a policy of
demands aimed at achieving the best results
for its members. Nevertheless, the audio
files surcharge is a very strong indicator
that the GEMA decision takers still have
a mind set that shows that this copyright
collection society is removed from a true
comprehension of how this part of today’s
music industry actually works.
On the panel it was furthermore declared
that the first negotiations between GEMA
and Livekomm have not yet reached
an agreement . The negotiations will be
continued in January 2013.
Debate at Reeperbahn between Livekomm and GEMA.
Lothar Scholz (Musikmarkt)Olaf Möller (Clubcommission Berlin), Lorenz Schmid (GEMA)Terry Krug (Clubkombinat Hamburg), Karsten Schölermann (LiveKomm )Klaus Bossert (Clubs am Main)
(Foto: Musikmarkt/Ivana Dragila)
20
AEG for SalePhilip Anschutz, owner and founder of the Anschutz Entertainment
Group intends to sell his company. This news certainly weighs heavily
for the live music industry as it could lead to significant amendments
for this industry sector.
AEG owns and operates around 100 arenas and 25 sport teams
worldwide, and is likely to achieve a purchase price of between $6
and $8billion According to media reports Anschutz’s aim is to sell the
company as a unit and therewith to keep the company structure as
none of his three children are thought to have an interest in running
AEG in the future. Anschutz himself is 72 years old and founded AEG
34 years ago.
Companies such as Colony Capital LLC, Guggenheim Partners LLC
and Liberty Media Corp have been mentioned as potential buyers.
Liberty Media Corp already holds a 21 percent stake in Live Nation.
The sale will be handled through Blackstone Advisory Partners, the
investment banker for AEG.
Music Festivals PLC Shares SuspendedThe shares of Music Festivals PLC have been suspended from trade
at the AIM (Alternative Investment Market) on the London Stock
Exchange . Therewith after its IPO so recently in June 2011, one of the
shortest appearances of a live music company at a stock market came
to an end.
The company board has requested the suspension of trade due to
“pending clarification of the Company’s financial position”.
Music Festivals PLC is expected to suffer a substantial financial loss.
At the beginning of August the company was already seeking further
investments in order to retain the liquidity of the company.
VIPNEWS > BUSINESS > OCTOBER 2012
22
MUSIC IN SHARES
Music in Shares Manfred Tari [email protected]
Sang lead in first Riverdance tour of North America 1998 as well as Riverdance on Broadway 2000 and 2001. His version of "Danny Boy" has been viewed by almost 6 million people on Youtube.
Co-produced his own PBS special, Michael Co-produced his own PBS special, Michael Londra's Beyond Celtic in March 2011 which aired nationally over 300 times.
Nominated for 2 Irish Music Awards for Best Solo Performance and Best Irish Tenor and recently won Best Irish Tenor in 2012's Irish Music Awards.
Irish Tenor International Superstar
"This show is spectacular. If you are not in the spirit of theholidays, you will be after seeing this show" CBS 5 - Celtic Yuletide
"I just listened to your version of DANNY BOY and sat here crying myeyes out. Just beautiful. Your voice is a diamond."
Julie Gold - songwriter - From A Distance by Bette Midler
"Asoaring voice that is both deeply emotional and tremendouslyexpressive, transporting you into an amazingly beautiful world" - Irish Editionexpressive, transporting you into an amazingly beautiful world" - Irish Edition
For More Visit: www.michaellondra.comManagement: WBA Entertainment|PO Box 291802 Nashville, TN 37229|www.wba-ent.com
For live performance contact Glenn Blackman [email protected] +44-20-8133-0152 or +1-615-278-9654
24
VIPNEWS > OCTOBER 2012
Waves Vienna– Music Festival & Conference
12 Stages – 4 Days – 90 Acts
From October 4th to 7th 2012, Vienna’s club and showcase festival
Waves Vienna will take place for the second time. New talents
and already established acts will be performing on twelve stages
along the Danube Canal and Praterstraße in Vienna’s 2nd district.
This year, Waves Vienna will welcome two guest countries. True to
the motto “East Meets West”, the live programme will have a special
focus on acts from Poland and France. The Waves Music Conference
moreover will devote a part of its programme to the music markets
and scenes of these two countries.
Facts & FiguresDate: October 4th to 7th 2012
Venues: Badeschiff — Clubschiff — Caf. Dogenhof — Flex — Fluc
— Fluc Wanne — Heineken Music Train — Hotel City Central —
Hotel Stefanie — MS Schl.gen — Odeon — Pratersauna — Red Bull
Brandwagen .
Artists: The Soundtrack of Our Lives (se) — The Wedding
Present (uk) — Dillon (de) — Ghostpoet (uk) — Scout Niblett (us) —
Gravenhurst (uk) — Tu Fawning (us) — Gold Panda (uk) — Rustie (uk)
— Kavinsky (fr) — Mario & Vidis (lt) — Paula & Karol (pl) — Housse de
Racket (fr) — Kamp! (pl) — Vinnie Who (dk) — B. Fleischmann (at) —
... and many more!
Capacity: 15,000 (Thursday to Sunday)
Web: www.wavesvienna.com
Tickets: Available at www.wavesvienna.com
Advance sale:
Festival Pass: € 52
Day Pass: € 26
Evening box office:
Festival Pass: € 56
Day Pass: € 28
Pro Pass (festival + conference): € 125
Music Conference (conference only): € 80
Music Conference Day Pass (conference only, Thursday or Friday): € 50
Contact:
Head of press department: Manuel Fronhofer
+43 1 907 67 66 – 25 (fax 99), [email protected]
www.wavesvienna.com/en/press
NOTICE BOARD
MONTHLY FEATURED ARTIST POWERED BY
Howie D (Backstreet Boys) Territory: EuropePeriod: October 2012Agency: Insanity ArtistsAgent: Matt WynterE-mail: [email protected]
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: [email protected] Homepage: www.vathq.co.uk
REVERENCE Style: Power MetalTerritory: EuropePeriod: November 2012Agency: Real Media MusicAgent: Real Media MusicPhone: +44(0)7526171555E-mail: [email protected]: www.reverencemetal.com
Dalma LIVEXPERIENCE Territory: WorldPeriod: 27.03.2012 - 1.09.2012Agency: Artist MallAgent: Adrian VoinescuPhone: 0040743160293E-mail: [email protected]: youtu.be/rtdhkqbwwjy
Pratola Folk Territory: WorldwidePeriod: Penerally availableAgency: Maffucci MusicAgent: Canio Rosario MaffucciPhone: +39.339.485807E-mail: [email protected]: www.italianworldmusic.com
Doina Sulac Territory: Europe, US, AsiaPeriod: Please callAgency: Liveartist Music ManagementAgent: Florin NedelcuPhone: 0040721929622E-mail: [email protected]: www.liveartist.ro
MORE ARTIST AVAILS ON:WWW.VIP-BOOKING.COM
POST YOUR ARTIST AVAILS ON:WWW.VIP-BOOKING.COM
ARTIST AVAILS
THE DOORS ALIVE
25
Dee Nyoni
Dee Nyoni strikes the drum for soul served with grit. Her songs pay tribute to retro
grooves with modern funky urban breaks mixed down with sassy background
vocals. Her live delivery is fearless and has wowed audiences from NYC’s Apollo
Theatre, 5 Spot Soul Food and Sounds Of Brazil to London’s Ronnie Scott’s The
Jazz Café, Spice of Life , Hootananny, Charlie Wrights and Troy’s. With a tight
band support, Dee Nyoni shows why her name is being whispered as one of the
UK’s freshest live performers. She has opened for Acid Jazz giants James Taylor
Quartet and toured with Afrobeat band, Thabani, during their UK Kulturalfusion
University tour as well as special dates in the US and Japan. 2011 unveiled her
long awaited debut album Beautiful Day, which was an independent release
on her own label (UrbanZulu), with the title track being plucked to promote
the new season of US TV hit “Californication” on the Channel 5 network. This
year Dee sets her sights on writing and recording her second album as well
as collaborations with QuartierFrancais and underground House crew House of
Praise on a single for a summer time release.
Read more about Dee Nyoni:
http://www.click-a-gig.dk/epk/200/bio
26
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TRAIN is a privately owned live venue and nightclub placed in the
central of Aarhus, the second largest city in Denmark. TRAIN is
appointed as a regional live venue by the Municipality of Aarhus and
The Danish Agency for Culture.
TRAIN is a fully professional venue and has been running succesfully
since 1. april 1998. TRAIN is one of Denmarks largest regional venues
and nightclubs. The concert capacity is 850 guests for live concerts
and 1700 guest for nightclubbing. There’s no agelimit for live concerts
at Train.
TRAIN presents a broad program of music, covering many different
genres and styles. Throughout the years a lot of international and
national artists have been perfoming on the stage. Artists like Snoop
Dogg, Iggy Pop, Suede, Bryan Ferry, Motörhead, The National, The
The, N*E*R*D, Patti Smith, Kaiser Chiefs, Babyshambles, Black Rebel
Motorcycle Club and many many others. The clubscene has been
honoured by perfomances by artists like Major Lazer, DJ Shadow,
2ManyDJs, Modeselektor, Benga & Skream, Andy Fletcher, Simian
Mobile Disco, Peaches, Kele Okereke, Moderat, Cassius, Zombie
Nation and many many more.
Train
