The VIP-Booking european live entertainment Book

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VIP- News
premium ›› Vol. 135 ›› April 2011
McGowan’s Musings:
The never-ending pursuit of music industry knowledge and news for your information and, hopefully, entertainment has
taken me to Estonia, Scotland and France
since the last issue of VIP-News. The first
of these trips, to Tallinn Music Week, also
attended by VIPs Ronni and Peter, certainly had its thrills and spills; Eurosonic/
Noorderslag’s Peter Smidt and Ruud Berends and myself found ourselves staring at
the still iced over sea from the roof of what
looked like a Soviet era concert hall with
some very ominous cracking noises coming from under our feet. I joined several
others slipping on treacherously icy pavements – I’d show you the bruises but we’d
have to know each other very well! – but
the worst casualty was Martin Elbourne
of the Great Escape and Glastonbury who
unfortunately broke three ribs in a fall – we
wish him a speedy recovery! However, as
you will see from our extensive report the
event itself was certainly worth visiting.
The visit to the ‘Athens of the North’, Scotland’s second biggest City and it’s capital,
Edinburgh was completely opposite in
terms of weather, unseasonably warm and
sunny, but ‘Wide Days’ was also a confer-
Paris by the way was to discuss plans for
the second edition of the MaMA Event,
which will again be based in the venues
along Pigalle and in the cafes and bars of
Montmartre and will take place on October 21-22 – watch this space!
Allan McGowan
ence and showcase event worth attending. I’ve always been impressed – and I
don’t say this purely because of my family
connections, honest! – by the concentration of the panel audiences at events like
this and GoNorth, and by their willingness
to ask questions. I was quite surprised in
Tallinn by the numbers of lap-tops and
smart phones in use during the panels
– some were taking notes of course but
certainly many were doing other things.
Much has been written about a generation
of ‘multi-taskers’, so maybe this is what
we’re seeing and maybe we’ll just have to
get used to it – or make panels so dynamic
and interesting that everyone will be totally absorbed!
With the festival season not far off and
with the US business in particular hoping
to avoid the slow sales, cancellations and
postponements of last year the 2011 buzz
phrase appears to be ‘value for money’.
Following the news that U2’s 360° tour has
overtaken the Rolling Stones’ Bigger Bang,
making £341m with 20 gigs to go, Manager Paul McGuinness said he and the band
were proud of the tour. “That dollar figure
for the gross looks enormous,” he said. “Of
course I can’t tell you what the net is, but
I can tell you that the band spend enormous sums on production for their audience. Fans all over the world agree that a
ticket to U2 360° is good value for money.”
Talking about the 2011 US Festival season
John D’Esposito, founder of US festival
Bamboozle planned for April 29-May 1 in
East Rutherford, N.J, remarked, “It’s like a
Walmart/Costco kind of scenario,we are
providing so much entertainment. If you
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VIP- News - A p r i l 2 0 1 1
added up the eight bands on everybody’s main stage and put their average
ticket prices together, then match that
to the (entry cost), it’s a value.”
Initiative
Musik to
Support ETEP
Certainly Festivals internationally generally held up well last year so maybe the
fan is looking for a measurably higher
return for his or her money, this year’s
Coachella, for example will present more
than 150 bands (does anybody actually
get around to seeing them all?) including Kings of Leon, Arcade Fire, Kanye
West and The Strokes.
Manfred Tari [email protected]
On the touring circuits there is a return
to ‘packaging’, New Kids on the Block
and the Backstreet Boys for instance are
presenting a double bill (I can’t wait!).
So, as long as it’s not just a case of ‘Never
mind the quality – feel the width’ I suppose you can’t deny that these types
of bills are value for money, but it’s not
always the ‘All You Can Eat’ restaurants
that send you home feeling good about
what you’ve consumed.
On that note Ladies and Gentlemen,
here’s an absolutely huge edition of the
News to get your teeth into!
The German organisation Initiative
Musik has announced that it will provide funding for the European Talent
Exchange Programme. ETEP recently
received EU Culture Fund support of
about 2.1 million Euro receive and will
now receive 50.000 Euro per annum
from Initiative Musik for a buy on that
will ensure that for the next five years 4
German bands will play at the Eurosonic festival in Groningen.
1st Top Ten Booking Chart by ETEP
The organizers of the ETEP have revealed the first official booking chart
for the festival season 2011. So far The
Great Escape has confirmed the most
bookings confirming 9 acts, followed
by Europavox and Printemps De Bourges with 7 bookings each and the only
US-festival Coachella with 6 bookings.
Anna Calvi
White Lies
Crystal Fighters
James Vincent
Mc Morrow
Kvelertak
Selah Sue
Moss
James Blake
Mount Kimbie
SBTRKT (Live)
Colophon ››
VIP-News is published by:
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General Manager:
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Writer and editorial:
Allan McGowan
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Writer:
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For advertising enquiries pls. contact
Peter Briggs [email protected]
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Lay-out:
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Anna Calvi part of the ETEP
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Personality Clash Surrounds LEA-Award
The German Live Entertainment Awards (LEA) this year held in
Frankfurt for the first time as part of the Musikmesse Frankfurt,
attracted some unexpected additional media awareness.
The 6th edition of the LEA definitely didn’t turn out as the organizers and its jury expected. The prominent German promoter
Marek Lieberberg refused all awards that he was supposed to be
honoured with. Instead Lieberberg delivered an attack on almost
everything to do with the Awards and in particular Jens Michow
and the LEA Jury. The trade magazine Pollstar quoted him as saying, “We want our achievements to be taken seriously and not ridiculed by this dubious conglomerate.”
This statement was only one of many. Launched by Michow,
president of the trade organisation bdv (Bundesverband Veranstaltungswirtschaft) in recent years the LEA has been generally
accepted as an annual platform to recognise the various players
of the German live music industry. But this year’s edition mainly
turned out to be perfect platform for Lieberberg to undertake a
thorough media bashing blaming Michow, the LEA Jury, the ceremony itself and the rest of the German live music industry, telling Pollstar that the LEA is a: “so-called award show with obscure
categories and c-grade prominence.”
In an interview in the daily newspaper Hamburger Abendblatt
Lieberberg said that the organizers of the LEA were not able even
to evaluate Lieberberg’s lifetime of work. In 2007 the promoter
was very upset when he attended the award show and didn’t win
a best festival LEA for Rock Am Ring in that year.
Michow, who could be said to have a Lieberberg sized ego, responded to his many media interview statements with a press release in responding to what he considered insulting accusations
made by Lieberberg.
One of the 1.100 visitors that had been in Frankfurt commented
afterwards that Lieberberg probably wrongly thought this year’s
LEA edition stood for Lieberberg Entertainment Award.
However, LEA 2010 Winners at a Glance
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Best Arena-Tour - Helene Fischer
- „So wie ich bin“ - Tournee 2010
By Dieter Semmelmann for Semmel Concerts
Best Festival 2010 - M´era Luna
By Folkert Koopmans for FKP Scorpio Konzertproduktionen
Club-Tour 2010 - Ben L´Oncle Soul Tour
By Hamed Shahi-Moghanni for SSC Group
Concert of the Year - Jamie Cullum at Stadtpark Hamburg
By Ossy Hoppe for Wizard Promotions Konzertagentur
Best Tour promoter of the year - Wizard Promotions Konzertagentur
Ossy Hoppe
Best local promoter of the year - Hannover Concerts GmbH
Michael Lohmann
Best agent/manager - Sundance Communications
Oliver Wirtz
Best Newcomer Support - Reeperbahn Festival GbR
Alexander Schulz
Concert Club of the Year - Jazz-Club A-Trane
Sedal Sardan
Concert hall of the year - Kuppelsaal
by Joachim König for Hannover Congress
Jury Award – Saftey concept for Rock Am Ring
Marek Lieberberg Konzertagentur
Lifetime Archivement Award - Marek Lieberberg
Show of the Year - Bülent Ceylan
by Silke Marthen and Stefan Schornstein for KULTURBUREAU & S-Promotion
New Style Event of the Year - 30 Seconds to Mars sponsored by the fashion brand New Yorker
Marek Lieberberg Konzertagentur
Helene Fischer and Michael Bolton performed at LEA 2011
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Ossy Hoppe wins concert of the year at LEA 2011
Pop Up
Cancels
Exhibition
No Change to PRS FOR Music
Fees for Festivals this Year
Allan McGowan [email protected]
non-music content, such as comedy
and theatre, and accommodation and
camping.
VIP-News attended the City Session
organized by Festival Awards at the Islington O2 Academy on April 15, which
dealt with two areas of financial concern for Festivals, PRS and Policing.
Leipzig Pop Up 2010
Pop Up, the music convention based
in Leipzig has announced the cancellation of the exhibition part of
the music fair. While the festival and
conference program will go on as
scheduled, the exhibition, until now
considered one of the key assets
for this business event, has suffered
from a lack of demand by potential
exhibitors.
The tenth edition of the event will
take place on May 20/21. For further
information please check:
www.leipzig-popup.de
In June last year PRS announced a review of the tariff for live music events.
Although the existing tariff is at 3% one
of the lowest in the world, the Collection Society’s timing for this announcement was not good, coming at a time
when ticket sales were dropping off
and a VAT rise was due to make these
tickets even more expensive.
At the Session Director of Public Performance Sales Keith Gilbert said he
could not predict the outcome of the
PRS For Music Board’s decision – expected later this year, but he told delegates it was quite likely there would
be no change to the tariff in the near
future. He stressed that PRS wishes
to continue a dialogue with the business, and even though the formal
consultation period is closed urged
festival organisers to get in touch with
thoughts and concerns so that PRS
could institute the best solution for all
concerned.
PRS set in place a consultation system,
calling for comment and opinion from
the business concerning the Live Music
Tariff.
Continuing dialogue was also the message from Derek Smith, Director of Finance, West Midlands Police, the officer
with overall responsibility for Charging
for Police Services.
As yet no decision on the rate has been
taken, but following approaches from
a worried festival industry about the
effects that any rises would have on already high budgets concessions have
been announced for Festivals for the
element of the ticket price covering
The City Sessions is a series of regional
mini-conferences produced by Festival
Awards Ltd, organiser of the UK Festival Awards and Conference in November. It is supported by Academy Music
Group, Doodson Entertainment and
Music Tank.
Keith Gilbert - PRS
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Recreating the Live Experience
For many years, and particularly during
the ‘golden’ period when live music was
riding high as the ‘cash cow’ of the music
industry, it was often said, and accepted
pretty much as fact that “You cannot replicate the live experience.” However many
fans that attend concerts in major venues
or festivals have become more and more
used to watching the artists on giant
screens, rather than straining to see those
tiny figures off in the distance.
So perhaps it’s not surprising that there
seem to be more and more instances of
live shows being made available on a variety of remote screens: Prodigy have been
screening a concert film, entitled ‘World’s
On Fire’ and recorded at the Milton Keynes Bowl last July, in cinemas from 31 Mar.
Also a new AC/DC concert film will be premiered on the UK’s largest cinema screen,
apparently. The movie, called ‘AC/DC Live
At River Plate’, will be screened at London’s
Hammersmith Apollo on 6 May. The film is
of a 2009 concert in Buenos Aires, Argentina, and features performances of no less
than 19 songs. The screening is really to
promote the DVD and Blu-Ray release of
the live show, which will follow on 9 May.
Also Spotify has streamed performances
by Delphic, The Naked And Famous and
Pony Pony Run Run, plus a DJ set by La
Roux’s Elly Jackson, from London’s Koko
venue on 5 Apr. The event is a co-promotion with Nissan, as part of its Nissan Juke
‘Behind The Hit’ campaign. Spotify’s General Manager, Jonathan Foster said of the
event: “Giving our users access to great
live music in their own home is the next
step in the Spotify experience. We hope to
see many more in the near future!”
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AC/DC Movie screened at cinemas
So, what with improvements in sound in
cinemas and on smaller screens plus all
sorts of other effects including 3-D and
holograms, maybe we can no longer take it
for granted that “You can’t recreate the live
experience.” Let’s see what happens next...
‘Wide Days’ in Edinburgh
“Wide Days is the type of event I would
like to attend myself. Like our regular Born
To Be Wide nights, the aim is to provide
a focal point for all elements of the Scottish music business/scene, and provide
a bridge to the rest of the UK and Continental Europe. This is how Olaf Furniss,
journalist and founder of Born To Be Wide,
sums up the aspirations of his organisation
and this event.
This was the second edition of an intimate
but highly effective one day event, mainly
attracting the Scottish music industry but
with a few, like myself, making the trip
across the border – from down south.
The 2010 edition produced results for the
small number of showcasing acts, with
Meursault playing Glastonbury, and Carrie Mac, supporting Alexandra Burke on a
nationwide arena tour. Found went on to
sign to Chemikal Underground and Hopeless Heroic landed a management deal
with Scott Cohen. This year’s gigs attracted capacity audiences at Cabaret Voltaire
for Withered Hand and Rachel Sermanni
– who also played a couple of numbers in
the crowded front room of the flat which
hosted a welcoming party for delegates
on the night before the main day of the
event - and Sneaky Pete’s for Letters and
Paws, while the Electric Circus was 80% full
for Capitals and Gogobot.
Panels took place in the wood panelled
splendour of Teviot Row House included
and were all well attended and lively – it
appeared to me that those who wished to
be informed were and took away good information from sessions such as ‘Not Just
SXSW’, which yours truly took part in, Music Making Money (there’s a novel idea!),
with The Orchard’s Scott Cohen and Music
in Films – some really good tips on getting
music on to film and TV soundtracks. The
keynote interview featured Regular Music co-founder Barry Wright – some great
stories of the early days of promoting Pink
Floyd in 1968 and finding Edinburgh floors
for The Ramones, Iggy Pop and others to
sleep on, before progressing to putting on
shows with the likes of U2, Oasis and Frank
Sinatra.
Furniss, who like Helen Sildna of Tallin Music Week is a well known figure at many of
the international conference and showcase events told VIP-News, “The panels
are intended to be entertaining, as well
as informative, while the workshops are
geared to providing information which
will be useful to young bands and veterans alike. Our events are designed to act as
a leveller and give senior industry figures
an insight into new ideas and approaches
happening at grassroots level. This year
we set up a facility whereby delegates
could book appointments with many of
the speakers and the idea is to get people
to socialise during the day and later in the
evening. With the showcases we prefer
to have a small number of acts and work
closely with them to make the best use of
the opportunities. It is important that the
industry guests should be able to enjoy
the music, rather than feeling that they are
being initiated in some kind of brainwashing cult.”
This was a very enjoyable event and its
compactness allows you to relax whilst actually seeing and hearing a lot. As I said in
the panel, SXSW started off as a localised
and reasonably compact event and look at
it now, so lets hope that Wide Days doesn’t
get enormously wider, but it has some
way to go before that happens, and in the
meantime definitely merits support.
More Information: www.widedays.com
Rachel Sermanni
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Manchester Tops PRS Survey
of Local Gig Scene
A PRS survey has revealed that over three
quarters of people interviewed in Manchester were happy that the local music
scene offered a good variety of gigs to
choose from. Newcastle was close behind
on the percentage of satisfied live music
fans, but Manchester can now claim official recognition of having the best music
scene in the country, beating all other UK
cities and regions.
However it may really depend on how
easily the interviewees are satisfied as opposed to the actual share of available live
music. It would seem that London must
have more gigs – albeit over a larger area
– but only came fifth in the live music satisfaction survey.
Londoners are notoriously hard to please!
The full listing is:
1. Manchester - 77%
2. Newcastle - 77%
3. Nottingham - 73%
4. Lancashire - 70%
5. London - 68%
has always been a hot contender as music
capital of the UK, but we also thoroughly
encourage venues in the surrounding areas, such as Derbyshire, to seek local talent
and host more live gigs”.
Meanwhile, those surveyed in the following areas felt there weren’t enough local
gigs:
1. Derbyshire - 71%
2. Somerset - 65%
3. Yorkshire - 59%
4. Kent - 56%
5. Essex - 54%
PRS spokesman Barney Hooper told CMU:
“Local live music gigs are a great way to
bring communities together and for people to discover local talent. Manchester
Manchester tops UK Local Gig Scene
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FESTIVALS
The Green Evolution
Julie’s Bicycle Announce New Industry
Green Awards:
London, 18th April 2011 – Julie’s Bicycle,
the not-for-profit organisation working
with the creative industries to support environmental sustainability, has announced
the award of their prestigious Industry
Green (IG) certificates to fourteen UK music festivals.
These pioneering festivals are:
Big Chill
Glastonbury
Grass Roots
Hyde Park Winter Wonderland
Isle of Wight
Latitude
Leeds
Lovebox
Reading
Shambala
Sonisphere
T in the Park
Truck
Wood
The IG certification scheme recognises
evidenced commitment to understanding, measuring, improving and communicating environmental initiatives with an
emphasis on lowering carbon emissions
year on year. IG certifications are awarded
on a 1 to 3 star basis, with 3 stars being the
highest award.
Shambala is the first festival to receive
3 star IG certification. The festival, run
on almost 100% renewable energy, has
proven reductions of 63% in its primary
emissions from 2009 - 2010, and is commended for its innovative approach to
sustainability including locally sourced
and ethical food, 100% FSC certified construction timber used on site, research
into audience attitude towards sustainability, an offsetting scheme offered to
those driving by car to the festival; and a
sustainability checklist for suppliers applying for festival tenders.
Of the fourteen festivals, four have been
awarded 2 star IG: Lovebox Weekender,
Isle of Wight Festival, TRUCK and Wood.
Lovebox achieved CO2e emissions reductions of 38% between 2009 – 2010, despite
almost doubling ticket sales in the same
year. The Isle of Wight Festival made reductions of 22% due to improvements to
audience travel emissions and have successfully restored bee populations to the
island with their Let it Bee campaign.
TRUCK decreased its emissions by 10%
and has been encouraging audiences to
travel green through subsidised bus travel
and rewards for cyclists. Its smaller sibling,
Wood is the first UK festival to go fossil fuel
free, and is aiming to be 100% renewably
powered within the next three years. Wood
managed to decrease bio diesel demand
by 30% from 2009 – 2010 despite audience
numbers almost doubling, and promoted
sustainable living with composting toilets,
showers heated by wood-burning stove
and a solar-powered stage.
Nine festivals have been developing ‘baselines’ for 2010 and are implementing strategies for 2011 festivals. Together they are
committing to a range of sustainability
initiatives, many of which are new. These
festivals all achieved 1 star in 2010
Examples of initiatives range across staff
and audiences campaigns, recycling, public transport, locally sourced merchandise
and food, renewable and low carbon energy, and reduced water and landfill waste.
IG provides the festivals with a common
framework that means Julie’s Bicycle can
develop the first industry average benchmarks working with this pioneering group
of festivals. They also join a host of other
creative companies across music and performing arts which are leading the cultural
response to climate change by becoming
IG certified.
These initiatives and achievements send
clear messages from a community of influential organisations to the rest of the
creative industries (and wider audience of
artists and fans) about the importance of
building a sustainable, low-carbon future
for the creative industries.
Shambala festival received a Green Award
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Alison Tickell, Director of Julies Bicycle
said: The challenge of reducing impacts
while growing the business is being tackled head on by this brave group of festivals, It’s not always comfortable to put the
green brand to the test. This group of festivals are doing it for real.
Chris Johnson, Director, Kambe Events
said: ‘Finally there is a credible approach to
benchmarking and assessing sustainable
practice in the events sector. We think the
Ig is worthwhile - its robust, but easy to use
for promoters, and importantly, it places an
emphasis on continual improvement.’
GO-Group launch new think tank project
for the live music industry.
Of course these days all festivals, tours and
concerts worldwide are already optimised
for consideration as being totally environmentally friendly. But there a few that are
doing just bit better than the others.
For many years conferences such as ILMC,
Eurosonic Noorderslag and even Midem
have put green issues related to live music
on their agenda. Often these panels only
attract a very small numbers of attendees.
But lets face facts. Folkert Koopmans told
VIP-News recently, “Heavy weather conditions are meanwhile one of the biggest
risks festival promoters have to deal with.”
It is not only the weather that changes; it is
a fact that the climate is also doing so.
Time for a proper workshop that deals
with these issues perfectly timed just
before the new festival season takes off.
In February some of those activists concerned with green issues met in Berlin and
agreed on the subjects that will be on the
agenda for this workshop that also acts as
think tank.
The workshop is an outcome from the
GO Group founded in Bonn in November
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Alison Tickell - Julies Bicycle
last year at the GreenEvents Conference.
GO stands for “Green Operation” and the
founders are Bucks University, GreenEvents Conference, Green Music Initiative
(GMI), Julie’s Bicycle (tbc) and Yourope.
way) and Holger Jan Schmidt (RhEINKULTUR Festival & GreenEvents Conference,
Germany).
In addition the founders of this new organisation also set up a working agenda
which contains the following topics:
1)Identify international best practices
in sustainable innovations for the music
festival and event industry.
The first GO Group Workshop for Sustainable Festivals & Events will take place in
Amsterdam on May 23/24, and will work
to the following agenda received from the
organisers.
On Day 1 (23 May) we will discuss best practise cases on how to overcome dirty and
expensive generators, how to apply renewable energy sources practically and how to
run operations more efficiently and thereby
reduce costs and CO2 emissions. Day 1 will
be hosted and moderated by Teresa Moore
(Bucks University, UK) and Jacob Bilabel
(Green Music Initiative, Germany).
On Day 2 (24 May) we will share effective
communication tools on how to involve
the audience in your green efforts, how to
communicate sustainability to your visitors
before, during and after the event. We will
share information how the audience can be
informed, guided, encouraged and stimulated. Let´s discuss what worked and what
did not. Day 2 will be hosted and moderated by Linnea Svensson (Öya Festival, Nor-
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2) Build a Sustainability Training Curriculum for festival and event promoters in
collaboration with Bucks University.
3) Aggregate, communicate and share
the collective knowledge with interested
stakeholders from all over Europe.
4) Establish working relationships between different industry groups to enable practical and spontaneous exchange
of personal experiences.
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Eastern Europe
– Active Emerging Markets
Live music is by no means a new thing for
the countries of Eastern Europe, and major
acts have been including shows in the region since the 70’s. In many territories there
are established promoters and good venues, however problems varying from overly
zealous state controls and low incomes have
held back realisation of the potential that
these markets hold in terms of lucrative additions to international tour schedules and
local talent, apart from classical, jazz, and
traditional folk music, most are still considered ‘emerging markets’, however over the
last few years ‘emergence’ has been very
noticeable. The festival market with events
like Sziget in Hungary and Exit in Budapest
has grown year on year, attracting more
and more fans from the West. Venues too
have developed, offering attractive rates
for both corporate and music events.
This year’s Emerging Markets panel at
ILMC was co-chaired by veteran Hungarian promoter Laszlo Hegedus, who along
with Estonia’s Juri Makarov and others
have been long term regulars at this leading live music conference event. Laszlo
highlighted the presence of many new,
young, promoters from the region including them in the discussion. In fact there
were 110 delegates from 16 Eastern European countries at ILMC 23, around 10%
of the entire international attendance. It
would appear that things are on the move
in the region.
In this and future issues VIP-News will take
a look at what is happening in these markets. Just to be contrary we will start in
the Baltic region in Northern Europe with
Estonia, officially the Republic of Estonia.
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It is bordered to the north by the Gulf of
Finland, to the west by the Baltic Sea, to
the south by Latvia,and to the east by Lake
Peipsi and the Russian Federation. Sweden
lies to the west and Finland to the north.
The sole official language, Estonian, is
closely related to Finnish. With a population of 1.34 million, Estonia is one of the
least-populous members of the European
Union, Eurozone and NATO. Today, Estonia has the highest GDP per person of any
country that used to be part of the Soviet
Union.
VIP-News joined invited international delegates at the 3rd edition of Tallinn Music
Week, at the time when Tallinn received
confirmation of becoming European Capital of Culture, to see what the country’s
music industry has to offer.
Tallinn Music Week
Tallinn Music Week started out in 2009 in
partnership with the Foundation of “Tallinn 2011” and in all 3 years has remained
one of the key events of the Capital of
Culture’s programme. “Back in 2009 the
Capital of Culture’s partnership was in
fact the first piece of support that gave us
the courage to put the crazy idea of a music industry conference and a showcasefestival into action and make it happen,”
comments Helen Sildna, the organizer of
Tallinn Music Week. “A lot has happened
ever since and we now have a newly formed
organization Estonian Music Development
Centre in place and together with the Academy of Music and Theatre we are working
on a music manager’s training programme
to enhance and develop the growth of our
industry and talent. The Estonian music sector has joined forces and we are determined
to make it work for ourselves and the artists’
scene.”
The third edition of Tallinn Music Week
took place on 24. - 26. March – the event
brought 194 international delegates to Tallinn and was close to being sold out with
423 delegates in total. The festival showcased 147 artists, including 123 from Estonia and the others from 9 different countries to 7600 enthusiastic music lovers over
3 nights in 11 music venues.
Tallinn Music Week 2011 in number:
- 3 nights
- 16 stages / 11 clubs
- 147 artists from 10 countries
- 123 artists from Estonia
- 7600 festival visitors
- 423 delegates (229 Estonian)
- 194 international delegates
- 52,483 unique homepage visits from 88
countries
Tallinn Music Week 2010 in numbers:
- 3 nights
- 100 artists
- 6000 visitors
- 352 delegates
- 107 international delegates from 17 coun tries
- 29 608 unique homepage visits from 74
countries
Organiser Helen Sildna has become a wellknown face at many of the major music
trade events and has been instrumental in
convincing international professionals to
attend TMW. She told VIP-News:
Helen Sildna - organiser at Tallinn Muisc Week
“As for my own comments or thoughts – I
think I can really say it was in a way a breakthrough year for us, first of all locally – for
the first time I really had the feeling that
the local music scene was actively taking
part of the event and the bands and artists in the line-up were much more active in
promoting themselves. In terms of international communication, I am glad we were
lucky to have the Capital of Culture news
together with our 3rd edition – exactly the
kind of a build-up we really needed also in
our own development cycle. What I am extremely happy about is that there seems to
be suddenly quite a lot of interest internationally in the Estonian music and this has
really escalated within these 3 years. Today
I can say, we just got the promising singersongwriter IIRIS confirmed for the Great Escape this year, and we are looking forward
to having our bands play MaMA, Musiikki
& Media, Iceland Airwaves, Popkomm and
EuroSonic. And I just saw the news the Estonian indie-pop band Ewert & the Two Dragons have made a deal with the Icelandic
online store Gogoyoko. What it all means is
that Estonian music is suddenly spreading
out there into the world, bit by bit. There is
definitely excitement in the air.”
The importance of the music industry to
Estonia was made clear by the presence
of the country’s President, Toomas Hendrik Ilves. It was obvious from his opening
speech that he had an active interest in
various styles of music.
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VIP-News spoke to President Ilves:
VIP-News: Music, particularly live music,
appears to have been an essential element for the bringing about of change
and the securing of independence in Estonia - I am involved with the International
Live Music Conference (ILMC) in London and have got to know Juri Makarov
quite well, I also met Rein Lang briefly in
Tampere last year, so know a little about
Rocksummer Festival and the ‘singing
revolution’. Do you think that music remains as important to Estonians and do
you think that both the export and import
of artists and commercial music is a desirable thing in both cultural and economic
terms for the country?
»I do not believe that music
or artists are exportable
or importable. People and
especially artists are not
commodities«
- Toomas Hendrik Ilves
President Ilves: Music remains important
as ever in Estonia even as its social/political function (if we want to speak of music
so crudely) has changed over time. Our
song-festivals began in the middle of the
19th Century as form of social cohesion
building: peasants came to understand
they had and were a culture. Under Soviet
occupation, song-festivals, concerts, etc.
similarly allowed Estonians to feel Estonian
and not just a part of an atomised mass of
Soviet People. This kind of negative pressure is missing today yet concert-going
from avant-garde rock to classical remains
popular. Especially in the latter case, visitors to Estonia frequently remark on how
many young people attend serious music
concerts. A visiting conductor recently lamented to me that if one looks at classical
music audiences in Europe today, in another twenty years the only place to perform
classical music will be Tallinn. While this is
an exaggeration, of course, but the remark
does capture a bit of the distinctiveness of
the Estonian music scene.
stimulated your interest, both Estonian
and international? Do you play yourself?
You have I think, some background in radio, was music a part of this?
President Toomas Hendrik Ilves
I do not believe that music or artists are
exportable or importable. People and especially artists are not commodities. The
art they produce, however, either finds
acceptance and popularity elsewhere or
it doesn’t. I do believe, moreover, that we
need to recognize that music and creative
endeavours more broadly are an important sector of the economy. Arvo Pärt’s
(renowned Estonian classical composer)
music probably does not generate much
money for the Estonian economy but it
does make Estonia a recognizable place
on the world map, which in turn does contribute to the economy.
Until IceSave, (The diplomatic dispute that
began in 2008 between Iceland on one
hand and the and the UK and the Netherlands centred on the creditors of the privately owned (since 2003) Icelandic bank
Landsbanki, which offered online savings
accounts under the “Icesave” brand.) tiny
Iceland (1/3 of ‘tiny Estonia’ ) was known
above all for Björk and Sigur Ros; there’s no
doubt as to which is the preferred brand.
VIP-News: You obviously take an interest
in music yourself, you mentioned Arcade
Fire in your speech, what other artists have
President Ilves: Ever since I can remember anything at all music has been a core
interest. Melomane is the French; I am
not sure, though, if melomaniac would
be the appropriate translation, but since
childhood my friends have remarked that
I have an inordinate if not obsessional
interest in music. For me it’s just part of
life. Which means also that I have rather
catholic (small ‘c’ there) tastes and always
have, with little regard for genre. “Help me
Rhonda” clicks just as much as the Goldberg Variations. I discovered Arvo Pärt listening to a new music programme on CBC
in my car in the early 1980. I was mesmerized, pulled over to the side of the road to
listen to the end and was dumbstruck to
hear that the piece (“Cantus in memory of
Benjamin Britten”) had been written by an
Estonian composer. In other words, I listen
without regard to categories. Eubie Blake
and Steve Reich, Georgian choirmusic and
Gregorian chants, Indian ragas, Pearl Jam,
the Band, I really like them all.
I am alas completely talentless as far as
playing anything, however. I have played
piano, saxophone and guitar, all with abysmal results. My experience in radio was
strictly journalistic.
VIP-News: What are your opinions of the
relevance and importance of Tallinn Music Week. Did you get the opportunity to
attend any other parts of the event this
year?
Nokia Concert Hall, Tallinn
President Ilves: TMW is for me a fantastic showcase for new music and musicians in the Nordic/Baltic region, which
I hope also leads to new synergies - yes
that sounds like ad copy but I do believe
that regional interplay and influences
can make for something more than by
just listening to records. In Vienna in the
18th-19th century there was no recorded
music so it’s not a surprise that proximity
played a large role in musical development but San Francisco in the 1960s and
Seattle in the 1990s became creative cauldrons from people just playing together,
even though by then recorded music
was the rule. I hope TMW does the same.
I attended one concert at the Von Krahl
theatre the night before the opening and
managed to listen to four bands - Finnish,
Lithuanian and Estonian. I was especially
taken by Alan McKim. So much power in
just a voice and a single acoustic guitar:
simply amazing and precisely the kind of
experience TMW is for.
Nokia Concert Hall - Tallinn
Aivar Sirelpuu is General Manager of the
Nokia Concert Hall, Tallinn’s state of the
art venue, and a man with long experience in the concert business. VIP-News
spoke to him in Tallinn:
VIP-News: Did you find Tallinn Music
Week useful for networking purposes?
How did it compare to other events that
you attend?
Aivar Sirelpuu: This year definitely was
the most interesting year of Tallinn Music
Week – in the music & networking sense.
Of course it’s different from huge events
like the ILMC, but a very necessary and developing event, which is a much needed in
our region too.
Tallinn Music Week
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VIP-News: I hear that you were involved
with Juri Makarov, who I know quite well
from ILMC, and Rein Lang in the early days
of using music and I think a music festival
to bring about political change in your
country. Is this what got you into the music
and events business? What have you done
between then and now in your career?
Sirelpuu: Indeed I had the pleasure of
working with both Jüri & Rein during the
early days of the Estonian Republic and
even before that. With Rein I had the pleasure to organise a music festival in the
town of Tartu, in South-Estonia, which during the late 80s was one of the main ‘rebel’
events against the Soviet occupation here.
We just celebrated the event’s 30th birthday a few years back, so we did another
festival with Rein & the crew from back
then. I’m glad Rein has also continued on
the culture path now, becoming the cultural minister of Estonia.
With Jüri we organized a huge rock festival called Rock Summer at the legendary
Song Festival Ground in 1988, one of the
first major international festivals in the Soviet Union. Probably being apart of those
festivals and meeting the artists we managed to get there is one of the fondest
memories I will ever have.
During the 90’s, I ventured to different
paths but still worked as a production
manager and promoter with some huge
concerts in Estonia like Michael Jackson,
Tina Turner & Rolling Stones. From 2004
to 2008, I worked at Saku Arena as the GM
there. In late 2008 Peeter Rebane from the
BDG group asked me to come and work
with a new venue at the Solaris centre. The
ambition and investments really made it
appealing, so here I am today...
Tallinn Music Week
VIP-News: Are the Solaris venue and the
Nokia Concert Hall one and the same, or is
the Concert Hall just a part of the overall
facility?
Sirelpuu: Nokia Concert Hall is one of the
entertainment establishments situated in
the Solaris Center. Solaris also features two
hi-tech cinemas, shops, restaurants etc.; A
true centre of Tallinn.
VIP-News: When did Nokia come in as
a sponsor? The Solaris brochure mainly
seems to refer to Conferences and Corporate events, what concert events have
taken place in the last few years.
»I’m very optimistic.
I can see new enthusiastic
faces coming up in recent
years, who have a fresh
approach & who could really
make big things happen«
- Aivar Sirelpuu
Sirelpuu: We approached Nokia as we
were trying to name the hall. As I had
previously worked closely with Nokia during the 90’s, I sat down with them and we
worked out a deal that made both sides
happy. We’ve had hundreds of events already, most of them actually are concerts
and shows – most known performers include Macy Gray, Procol Harum, Joe Bonamassa, Bobby McFerrin, Youssou N’Dour,
Herbie Hancock, Marcus Miller, Marillion,
Rufus Wainwright etc.
VIP-News: Do you think that more international acts will come to play in Tallinn and
is there an audience that wants to see and
can afford to buy tickets for these acts?
Aivar Sirelpuu GM of Nokia Concert Hall in Tallinn
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Sirelpuu: Of course, with a small market
doing shows and budgeting is of great
importance. If you have a known good act
in a good venue with a reasonable ticket
price – people will come.
VIP-News: Do you see the music industry
growing in Estonia, and are you optimistic
about the future?
Sirelpuu: I’m very optimistic. I can see new
enthusiastic faces coming up in recent
years, who have a fresh approach & who
could really make big things happen. The
music scene is the most vibrant in decades,
there are more venues (club and concert)
being built, more bands breaking out of
Estonia & a fresh approach to promoting
and organizing events.
Comments from TMW delegates
VIP-News asked various delegates for their
opinions of the event and its impact on the
Estonian music business. Starting with an
Estonian artist manager. Rein Kutsar manages the Nikns Suns:
I have attended TMW every year since it
started and I can see that due to the Tallinn Music Week Estonian artists are more
into experimenting and the festival itself
actually helps artists to grow their wings. In
my opinion those wings are getting bigger
and bigger every year. However, this festival is still quite young and it needs some
upgrading. But I think that this is only question of few years and it will adapt itself as a
full-grown plant reaching towards the sun,
because of Estonian music and musician’s
needs to be discovered by other countries, promoters and fans. As our President
Toomas-Hendrik Ilves said at the opening,
there’s no reason to look away and try to
find “this” from abroad because “it” is happening right here at this very moment.
Most of the international delegates appeared impressed by TMW:
Rob Berends, Network Europe and Paperclip Agency, Netherlands:
My last visit to Estonia was exactly 20 years
ago, when one of my Dutch bands (Poppi
Uk, also favoured by John Peel who recorded them for the BBC in his famous ‘Peel
Sessions’) was asked to play Jüri Makarov’s
Rock Summer Festival, about a month before formal independence of Estonia from
the Soviet Union.
Tallinn Music Week 2011 gave me the opportunity to recognize many spots in Tallinn, and at the same be amazed at the
pace of change in Estonia. Despite all the
IT-modernity (Skype is from there, and cell
phones were abundant there a long time
ago), Estonia has still retained its traditional love for singing and music. Singing and
music have been instrumental in keeping
Estonian culture alive despite centuries
of oppression and slavery by the Teutonic
Knights from Germany, the Swedes, the
Russian czars, the Nazi’s and Stalin. In the
decade before independence (which came
in 1991), singing Estonian songs in public
became a form of mass-protest against the
Soviet occupation. The Rock Summer Festivals fitted into that protest.
With 1.3 million inhabitants, Estonia is a
small country. Nevertheless, the importance of the musical history promises a
wealth of good music. Tallinn Music Week
is a much-needed initiative to present Estonian music to the world. Hats off to the
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organization for starting this in 2009, and
hats off for the 2011-edition that presented
a very useful list of international delegates,
very interesting panels (although the one
I thought was the most interesting, was
the only one in Estonian…), and the right
amount of showcase events.
Most Estonian musicians and industry people are still a bit shy when it comes to selling themselves and their music. The TMW
organization is focusing on trying to help
change this, and that’s excellent. Shake off
the shyness, shake off the modesty next
to assumed Big Brother Finland, and show
the world that Estonian culture shines!
Ilya Bortnuk, Light Music, St.Petersburg –
Russia:
This year Ilya’s Company is promoting
concerts with Mogwai, Cut Copy, Oi-Va-
Voi, Gogol Bordello, Gotan Project, Matisyahu, Morcheeba and Richard Galliano in
St.Petersburg, as well as 2 festivals: Stereoleto - June, 25, July, 2 with APPARAT BAND,
Chinawoman, Architecture in Helsinki,
Uusi Fantasia, Casiokids, etc, and Muzatsiya - July, 23 - Asian Dub Foundation, Los
Del Abajo and others.
As Tallinn is very close to St.Petersburg I
see a lot of way for communications - to
plan a join routing for the artists, Helsinki St.Petersburg - Tallinn for example.
crowd both locally and internationally. My
personal highlights were President Ilves´s
opening speech (what an inspirational and
passionate person!), Ismo Alanko & Teho
gig at VonKrahl Rabarock showcase, James
Reipas showcase at Rock Café (great venue
as well), our Music & Media VIP reception
at Sfäär Restaurant, the energy of Mimicry
at Rock Café, wonderful Iiris: thanks to
Helen Sildna and all the Estonian team and
partners Tallinn Music Week is really full of
fruitful encounters.
Alex Knight, Fat Cat Records: Brighton (UK):
As for the local bands - I’ve seen some good
artists, and we’ll consider the ways that
we can do their shows in St.Petersburg.
Of course the event is not yet as effective
as Music and Media for example, but it’s
good chance to meet the new partners especially from Estonia.
Paulina Ahokas, Executive Director Music
Export Finland:
It is hard to remember that this was only
the third Tallinn Music Week: it is already
such an important date in the calendar
for Baltic-Nordic networking and a really
wholesome update on the most important
and timely Estonian music on a broad base.
I thought adding even more genre spread
to the showcase programme worked pretty well, as it seemed all of the programme
was presented by the right sub-promoters:
all of the key Estonian festivals and promoters had collected their strength and this is
incredibly wise of them. Thus, each of the
showcases seemed to collect the right
As far as the music was concerned I must
admit to having had my preconceptions
blown out of the water, I had been tipped
off about Mari Kalkun and band but the
live performance surpassed my expectations, beautiful instrumentation, gorgeous 3 part vocal harmonies and an
exceptionally talented pool of musicians,
I’ve bought her CD and look forward to
settling down and giving her a good listen. Pastacas also created a phenomenal
live experience, exceptional musicianship
linked with a creative mind and a taste for
the avant-garde made for a very enjoyable
experience. On a whole the artists I saw
were far more than a pastiche of western
bands and scenes, I was excited to hear
people foraging in new found- sounds
and exploring their Estonian roots to
create complex, original and sometimes
beautiful new music, they seemed to be
blessed with a strong support network
and a whole array of original venues in
which to ply their craft!
Paul Cheetham at Tallinn Music Week
Paul Cheetham, Popkomm - Berlin:
“What I see in Tallinn Music Week is a pure
realisation of Helen’s original vision; the
event is cultured, passionate, dynamic,
intriguing, inclusive, and soulful - everything she would insist on. The seamless
mixture of classical, jazz, rock and pop is
surely unique amongst the myriad music
events already in the calendar. Despite its
rapid growth, Tallinn Music Week remains
a truly bespoke occasion. There is a feeling
of specialness about being a delegate. I always return from Tallinn feeling satisfied,
with new contacts, fresh perspective, and
having discovered 1 or 2 fascinating new
acts to explore further”.
»The seamless mixture of
classical, jazz, rock and pop
is surely unique amongst the
myriad music events already
in the calendar. Despite
its rapid growth, Tallinn
Music Week remains a truly
bespoke occasion«
- Paul Cheetham
Jesper Borup, Spot Festival - Denmark:
I´ve attended TMW since the first issue
in 2009, and it has been very interesting
to monitor the explosive development
the festival has gone through. 2011 has
Paulina Ahokas at Tallinn Music Week
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VIP-BOOKING.COM
definitely been the best so far, with many
good bands and a production-team that
takes good care of the delegates. The Estonian music scene is indeed very interesting with many original artists, and it seems
that with TMW it has grown to trust its own
cultural musical origins. That has resulted
in a high amount of Estonian bands now
doing their own thing, and not trying to
copycat what has become mainstream.
Artists like Abrahams Cafe, Mari Kalkun,
Pastacas and Ewert and the Two Dragons
was some of the highlights of the festival.
Joe Porn, Music Glue: (UK)
I was extremely impressed with my first
visit to Tallinn, I found the people warm
and friendly, the city wonderful to explore
and the local music scene to be of a very
high standard. The Tallinn Music Week
program was very interesting and diverse,
the selection of venues to be great too.
Delegates were treated very well and I
found it very helpful to meet music industry professionals from around Europe.
I certainly hope to be coming again next
year and would have no problems seeing
Estonia artists perform to a UK audience
Jan Sneum, Danish Radio:
After having the great pleasure of being
present at three editions of Tallinn Music
Week my interest in Estonian music is still
growing. I simply want to know, learn, see
and hear more. About the music scene and
about Estonian art and culture at a much
larger scale. During Tallinn Music Week
2011 I heard more music, made more interviews and bought more records and book
than ever before. I do hope to be back in
2012!
John Rogers, Brainlove Records:
As a debutante at Tallinn Music Week, I
was struck first by the beauty of the city of
Tallinn and the depth and richness of the
music on show - from stunning contemporary classical performances in spectacular
vaulted spaces to experimental industrial
music in dark basements: there was a very
impressive range of music to engage with.
I think several of the acts I came across
could appeal to existing audiences in Europe, the UK and the USA, where international variants on avant-garde musical
practice are an interest already. The Odessa Pop night started with a trilogy of excellent acts in Multiphonic Rodent, Pastacas and Kreatiivmootor: three thrillingly
inventive projects. Cleaning WOmen was
a very interesting avant-garde band. The
performance of “North Wind, South Wind”
by Helena Tulve was also a highlight.
Peter Smidt, Buma Cultur: Eurosonic, Amsterdam Dance Event:
I think Tallinn Music Week offers a great
opportunity to meet the music sector of
the fast developing region of Estonia and
surrounding territories. You also can wit-
Peter Smidt at Tallinn Music Week
ness a high number of acts this region has
to offer in a nice and very well organized
setting.
Grimur Atlasson, Iceland Airwaves:
Regarding the Estonian music scene I have
to say it has some years yet to develop on
the popside of matters - but in the traditional and classical/jazz front you are really
on top level. I liked most the bands that had
the unique sound and did what was their
stuff: Kreatiivmootor and Mari Kalkun. I will
probably try to book Kreatiivmootor. I’m
going to have one more look at Iiris before I
book her - she’s has a huge talent.
Shain Shapiro, Canadian Blast:
I really enjoyed TMW. The hospitality
shown by everyone and the ardour on display from the bands displayed Estonia as
one of the most exciting hubs for new music in Europe. I hope they invite me again’
Martin Elbourne, Great Escape:
I thought the level of organization and
hospitality Tallinn Music Week provided
was superb. Tallinn’s concert venues were
great. It was one of the most enjoyable
conference showcase events I have been
to (and I have been to a few!).
www.tallinnmusicweek.ee
Artist applications for Tallinn Music Week
2012 together with delegates’ registration
will open up in September 2011.
Jan Sneum at Tallinn Music Week
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VIP-BOOKING.COM
DEAG Prolong
its Deal with
David Garrett
David Garrett
Business News
Festival Republic Acquires
Majority in Berlin Festival
Becoming one of the very few investments by a foreign company in the
German live music market, UK company Festival Republic Ltd has purchased
a 51 percent stake in the Berlin Festival
GmbH & Co KG. Following the acquisition Festival Republic MD Melvin Benn
has been appointed joint managing
director for the company alongside
Matthias Hörstmann, both have a 50
percent voting rights.
New contract last until 2016 and
covers 100 concerts with the popular violinist
DEAG has announced that it has
signed another exclusive agreement with its top artist David Garrett. The deal is said to guarantee
the artist the highest payment ever
had paid to a classical music artist.
Nevertheless the company has not
released definite information about
the payment. DEAG declared that
180.000 tickets have already been
sold for Garrett’s current RockSymphonies tour starting in May. In
2012 the artist will play a tour with
8 concerts where he will only play
classical pieces.
In 2009 Hörstmann invested in the
event and involved Stefan Lehmkuhl as
the artistic director. Lehmkuhl who is
also in charge of the Melt! Festival and
Melt Booking managed with his team
to establish a successful music festival
in the German capital for the first time.
The event itself was launched in 2005
by Hilary Kavanagh and Cornelius Opper, and is meanwhile located in the
inoperative airport Tempelhof.
However, the upcoming edition of the
festival will be expanded significantly.
Lehmkuhl will continue as the artistic
director for the event and also oversee
as well the nighttime extension to include various concert clubs and venues in the Kreuzberg district. The basic
idea is to continue the festival after
its curfew on the Tempelhof site. The
name of this part of the festival is “Club
Xberg” clubs such as Arena, Arena Club,
Glashaus, Lido, Magnet, Comet and Astra Kulturhaus are already confirmed
for the event.Another possible extension is cooperation with the “Clubnacht” by the Berlin Club Commission
that will go on in 30 venues.
The taking on board of Festival Republic by the Berlin Festival could have a
significant impact on the German festival landscape. The team around Hörstmann and Lehmkuhl have already
proved with the success of the Melt!
festival that they are able to establish
in short time an event that managed
to attract international visitors and
be successful. Taking into consideration that Berlin has become a tourist
hotspot especially for young visitors is
another element that could contribute
to the success of this festival.
Last years festival edition suffered
from a questionable decision by local
authorities to interrupt the event as
they assumed that one of the hangars
where concerts took place was overcrowded. The decision had been made
in the light of the fatal incident at the
Loveparade in Duisburg and meant
that almost half of the program of the
festival had to been rescheduled during the event. But it also revealed the
very limited experience of the Berlin
authorities with music festivals and
their audience.
Melvin Benn appointed MD for Berlin Festival
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notice board ››
Another new service in the improved and redesigned VIP-News
is the Notice-board, which is available for all readers. Reader’s
messages will be posted on the Notice-board as a free service,
passing on announcements, job postings, buying and selling
notices, inquiries or alike. Announcements should be emailed
to [email protected]
artist avails ››
Dub Syndicate
(feat. Adrian Sherwood and Style Scott)
Territory: Europe
Period:
November - December 2011
Agency:
Paperclip Agency
Agent:
Rob Berends
Phone:
+31 24 323 9322
E-mail:
[email protected]
Homepage: www.paperclip-agency.com
THE FAMILY STONE
LIVE: www.youtube.com/watch?v=m5rJrvdn0gk
Original Founding members Jerry Martini, Cynthia Robinson and Greg
Errico bring you the hits of Sly & The Family Stone.
Keeping the legacy true to its original sound and raw funk groove, these
Everyday People will leave you Taken Higher. Cynthia, Jerry & Greg continues giving you the musical experience that has brought them in front of
over half a million people through Europe and the US; spreading the roots
of funk that is The Family Stone Project.
The Family Stone is available for touring in Europe around September4!
I look forward to your respective proposals and remain with best regards
Nina Pernica
Rahzel (The Roots)
Territory: Europe, Afrika
Period:
May 7th - 28th and July
Agency:
Frero Music Entertainment
Agent:
JF Ehrhart
Phone:
+33 611 503 615
E-mail:
[email protected]
[email protected]
Homepage: www.freromusic.com
Anthony B
Territory: Europe
Period:
24th of June to 23rd of July 2011
Agency:
Magicbox
Agent: Pedro Pontes
Phone:
+31 5 915 378 951
E-mail: [email protected]
Homepage: www.magicbox.pt
Barclay Jame Harvest feat. Les Holroyd
Territory: Europe
Period:
Summer 2011, October 201
Agency:
Kultopolis GmbH
Agent:
Markus Sollner
Phone:
+49 6 861 939 980
E-mail:
[email protected]
Homepage: www.kultopolis.com
LA Guns (feat. Phil Lewis & Steve Riley)
Territory: Europe
Period:
01.09 - 31.10.2011
Agency:
ARM Entertainment
Agent:
Dana Strutz
Phone:
+1 651 483 8754
E-mail:
[email protected]
Homepage: www.laguns.net
The Family Stone
Groove Armada
Territory: Europe / Worldwide
Period: Worldwide 2011
Agency: WME - William Morris Endeavor
Entertainment
Agent: Steve Hogan
E-mail: [email protected]
Homepage: www.groovearmada.com
More Artist avails on:
www.vip-booking.com
Post your Artist avails on:
www.vip-booking.com
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VIP- News
VIPNews
- A u-g A
u sp
t 2r 0i 0
l 52 0 1 1
Monthly featured Artist ››
THE SELECTER
Origin: Style: Tour period: Territory: UK
Ska - Worldmusic
May 2011 - December 2011
Europe - Asia
Agency: Name: Email: Phone: Artistagency
Bart Quintens
[email protected]
+32 16 777 670
Selector’s Pauline Black and
Arthur “Gaps” Hendrickson reunite
THE SELECTER is fronted by the original singing duo of Arthur
‘Gaps’ Hendrickson and the female icon of the two-tone era
Pauline Black. Classic hits like ‘Three Minute Hero’, ‘Missing
Words’, ‘Too Much Pressure’’ ,“ On My Radio” and of course ‘Too
Much Pressure’ will herald the return of one of the most vital, visceral and important Ska acts ever, who will deliver what promises to be a stunning performance and a must see for any TwoTone fan.
The Selecter
The VIP-Booking European Live Entertainment Book
Advertising in the VIP Book will make you visible to 10.000 business
professionals all over Europe. You will find no better place to expose your
company to the whole European Live Entertainment Industry.
›› Reserve your ad now on www.vip-booking.com
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to present
present their
their company
company to VIP-News
to VIP-News readers.
readers.
If
you
would
also
like
to
present
your
company
please
contact
Peter
Briggs
at
[email protected]
If you would also like to present your company please contact Peter Briggs at [email protected]
Cult Concerts Agency GmbH
Since 1993, we have booked more than 3000 shows for national
and mainly international artists in Switzerland and Europe. Cult
Concerts Agency and Black Lamb Productions have now become
one of the main Swiss booking agencies for festivals and tours.
Our clients include The Metropop Festival, Sound Arena, Baregg
Festival, AVO Session, Open Air Gampel, Outside Zürich Festival,
Bex Rock Festival, Balélec, Out-in-the-Green festival, Open Air St.
Gallen, Paléo Festival, Gurtenfestival, X-Tra Limmathaus, Kaserne
Basel, Fri-Son, Bierhübeli, AlpenRock House and many others.
The Tours and off-dates:
We act as local promoters for international acts performing in
Switzerland, either on the promoters requests or on agent¹s request. Our job is to look for artists for the clubs/venues/promoters/special events/festivals or to look for places to play for the
Artists on tour.
of the overall organisation, Production Management, Artist Relations, Backstage management (dressing rooms & catering), Artist Transports, Press Office, Security, etc.
Management & publishing:
We are managing and taking care of the publishing of some artists
Future developments:
We intend to consolidate our position on the Swiss market in
terms of festivals and corporate bookings as well as developping
our booking activities for Swiss and International acts in Europe.
We also are exclusive booking agents for several Swiss and International acts.
The Festivals, corporate and special events:
We have exclusive deals with some of the most important festivals in Switzerland as well as with a growing number of corporate events. What we do for them varies from case to case:
it goes from the making of the programme to the coordination
About Our Company
VIP-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.
Your comments and suggestions are always appreciated.
®
vip-booking.com
VIP-BOOKING.COM
VIP-BOOKING.COM | 145-157 St John Street | UK - London Ec1V 4PW | Phone +44 870 755 0092 | Fax +44 870 622 1953 | e-mail: [email protected]
22
VIP-BOOKING.COM

The VIP-Booking european live entertainment Book

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