The VIP-Booking european live entertainment Book

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VIP- News
premium ›› Vol. 101 ›› MARCH 2008
McGowan’s Musings:
Well – I survived and, apart from a completely bruised left arm, got home in one
piece! Oh, do pay attention! – From my first
ever skiing trip - remember? I told you I was
going in the last issue – it just shows how
little you care! Anyway, for those of you that
are bothered I was introduced to the joys of
the slopes in Finland (at least Ville Kilpeläinen bothered to ask where I was going, but
then he and his mates at Music Export
Finland keep an eye on all music industry
types that infiltrate their territory!), then,
almost without pause, (at the instigation
and invitation of that madman Ronni Didriksen) with all of the VIP crew plus various
partners and children it was off to Norway
to strap on those hideously uncomfortable
boots for another go, and quite frankly it’s
all been downhill ever since!
OK, some of them can ski, of those that
couldn’t, some, the women and the children actually, picked it up quite quickly,
and others – a certain Manfred Tari comes
to mind, were probably put off the whole
idea for life! I probably had something to
do with that, apparently the remaining
blood drained from his at best of times
pale - though strangely attractive! - face
(too many music conference rooms and too
Allan McGowan
many smokes!) at the speed blurred sight of
me hurtling downhill towards an only semi
- frozen lake (global warming!) with no indication of stopping (he didn’t know that my
Finnish experience had at least taught me
to scream and throw myself sideways at the
last second!) – Anyway, Black Slopes here I
come!
Usually, at this time of year, I am in Austin
chasing the next plate of barbecue and
wondering why I’m watching a band from
Brighton or London, wonderful though
they might be, in Texas, but reassuring myself that I’ll be watching some great US and
local acts in the foyer of The Four Seasons
Hotel the following morning. But sadly,
though scheduled to chair a panel on Saturday’s SXSW Conference programme, due to
various circumstances, I am at home. I will
miss many aspects of SXSW, and certainly I
will miss a great number of the people who
put it together and those that attend from
all over the world, but I must admit that
I was finding the very scale of the event
– 1700 bands this year - more than a little
daunting. A year off may not be a bad thing
– I’ll be back in 2009 (barring unfortunate
skiing incidents!)
At least I now have time to recover from the
excesses of the sell out and highly successful 20th ILMC in London (see our report in
this issue). The attendance was again up
– 950 people this time. It struck me that the
attendance at this Anniversary edition even
more than usually mirrored the changing
landscape of the live industry, with many
first time delegates from established and
brand new businesses from all over the
world, and the gradually increasing presence of more people from other sectors,
record companies, publishers etc (The UK’s
Performing Rights Society for instance
sponsored the Saturday lunch). Many of the
News stories in this issue relate to topics addressed at ILMC 20.
So as I’m not in Texas it allows me to contemplate a UK based St. Patrick’s day for the
first year in a very long time. I’ll raise a Guinness to you all!
The VIP-Booking European Live Entertainment Book
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professionals all over Europe. You will find no better place to expose your
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VIP- News - M a r c h 2 0 0 8
TignesFest – An Alpine Music Event
Allan McGowan [email protected]
Continuing the Skiing theme introduced in
the Musings, here is news of the first edition
of a new festival to take place in The Alps
from 17 – 20 April this year.
TignesFest is planned to be a fresh new
music festival to be held in one of the top
rated (and highest) ski resorts in the world,
Tignes.
TignesFest describes itself as a musical cocktail showcasing fresh talent, from djs to live
bands and exclusive acoustic sets. It’s also a
long weekend of skiing snowboarding, socialising and sounds for the discerning and
curious who like to experience something
outside of the norm. Best and most important of all, the event is FREE !
Curating the show are radio broadcasters
from the UK’s 3 top radio stations; Eddy
Temple Morris (XFM), Kissy Sell Out (R1) and
The Loose Cannons (Kiss FM) respectively.
XFM’s Eddy Temple Morris will be broadcasting his show live from TignesFest on Fri-
day 18th April. He says he is delighted to be
part of the inaugural event in the Alps.
“Imagine if the kind of music I play on The
Remix had its own ‘In The City’... now picture
that city being a town on top of a snow covered mountain... It’s a nice picture isn’t it? You
carve down a beautiful French mountain on
a snowboard, then take your apres ski with
the Autokratz and Boy 8 Bit, and while you go
nuts at a brilliant gig, your mates can hear it
go out on Xfm and curse the fact they’re not
there with you.”
Tignes is regarded as one of the world’s highest and most snow-sure ski areas for skiers
and snowboarders alike. It has pistes to suit
all, with the Naturides (ungroomed pistes)
and the Spot (Skiing the Powder Of Tignes)
zone, a cross between off-piste and a freestyle jumps park. Offpiste activities include
snowmobiling, paragliding, ice diving, iceskating, horse riding, bowling and the Ice
Museum. There are also many spas that offer sauna, Jacuzzi and massage (I could have
done with that! – Ed.)
Colophon ››
VIP-News is published by:
VIP-Booking
26 York Street
London W1U 6pZ
Managing Director:
Ronni Didriksen
[email protected]
General Manager:
Peter Briggs
[email protected]
Writer and editorial:
Allan McGowan
[email protected]
Writer:
Manfred Tari
[email protected]
For advertising enquiries pls. contact
Peter Briggs [email protected]
or +44 870 755 0092
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Tignes
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The Ethos of TignesFest
The organisers of TignesFest claim a very
definite set of principles as their inspiration for the event:
ess of nurturing and developing new talent has changed, and so too has the face
of the industry.
As revenues from product sales decrease
and more and more high profile (and not
so high profile!) artists give away their
catalogues for free, the music industry
is seeking new ways of finding and promoting talent, repackaging music and
marketing their artists – with the added
hindrance of ever-shrinking budgets.
With TignesFest we aim to help find and
support new talent, provide a platform
for promotion and encourage a new
generation to think about the detrimental effect music piracy has on the industry and musicians whilst also giving the
consumer FREE opportunities to discover
new talent and thus gain their support
of up and coming artists. Radio broadcasters meanwhile, are still very much at
the forefront of finding new music; they
receive hundreds of demos and promos
each week, and they help to shape what
the public listen to.
The internet - whilst beneficial for introducing new artists into the scene and
giving them a break via portals such as
Myspace - has contributed to the demise
of music sales by the direct increase of
rampant online piracy. The digital revolution has therefore also served to reduce
the amount of support the industry can
offer new acts. Along with this, the proc-
With this in mind, TignesFest has the support of three key broadcasters in the UK
who will help to curate the event. With
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many years radio and music experience
under their belts, the curators have been
instrumental in developing their respective music genres and finding new and
exciting artists whilst supporting the industry’s key DJs and musicians.
New talent line up
A Human, Alex Metric, Alex Skt, Autokratz live, The Bloody Beetroots, Boy 8Bit, Chris Lung, Cristal Palace Band, Dark
Jedis, David E. Sugar, James Yuill, Kissy
Sell Out featuring Dan M, Naomi Roper,
Poney Poney, Primary 1, South Central,
The Shoes, Tokyoyoyo, Trash Fashion and
Trevoy Loveys
For More information go to:
www.tignesfest.com/
www.myspace.com/tignesfest
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13/3/08 10:50:46
VIP-BOOKING.COM
Take That and Led Zeppelin the hottest
tickets of 2007
VIP-News received the following Press Release from Tixdaq – this research company
is doing excellent work in providing useful
and accurate ticketing data. We are happy
to pass on this release as we received it:
ternet, the highest for any individual artist.
Led Zeppelin’s reunion gig at London’s O2
Arena produced the highest average ticket
price at £707.97, despite stringent security
measures designed to outlaw touting.
Top 10 tickets generate £50m
Secondary market needs to shake off ‘Arthur
Daley’ (UK TV comedy character) image.
6 March 2008: Newly released figures from
independent ticketing research consultancy Tixdaq reveal that concerts by the
reformed Take That and Led Zeppelin were
the hottest tickets on secondary ticketing
exchanges in 2007.
Take That tickets generated a total of £12.8m
in sales of “secondhand” tickets over the in-
just a couple of years, and valuations for the
leading firms are now well in excess of £50m
each. No wonder artists are concerned that
they do not generally share in the proceeds.”
More transparency required
Tixdaq monitors secondary sales of concert
tickets on the 25 most popular sites in the
UK. It is the process of extending its monitoring services to the Continent and ultimately the US.
Tixdaq founder Will Muirhead said, “These
figures give a fascinating insight into the scale
of the secondary ticketing market in the UK
”Secondary ticket exchanges – like Seatwave, Viagogo and GetMeIn have created an
£200m market in concert tickets in the UK in
2007’s Top 10 Most Expensive Secondary
Ticket Sales
Average Price
1.
Led Zeppelin
£ 707.97
2.
Electric Proms: Paul McCartney
£ 498.14
3.
Electric Picnic
£ 360.96
4.
The Liverpool Sound - Paul McCartney
£ 330.00
5.
Liza Minnelli
£ 261.93
6.
Nick Cave
£ 249.95
7.
Celine Dion
£ 219.37
8.
Isle of Wight Festival
£ 217.55
9.
V Festival - Staffordshire
£ 205.58
10.
Download Festival
£ 202.23
While secondary ticketing may provide a
useful service for some music fans, there
are real concerns about rogue operators
advertising non-existent tickets or “underthe-counter” deals which are designed
purely to inflate the price of tickets at the
expense of consumers.
“Secondary ticketing is clearly a popular service with music fans, but there is no doubt
that more transparency is required. That is
why we welcomed the Culture Media & Sport
Select Committee report into the market.
“The Select Committee specifically called for
more research in the market and Tixdaq is
committed to providing this.
“Without transparency, the secondary ticketing market will never shake off its Arthur
Daley image.”
For more information:
contact Steve Redmond on 07770 924720
or [email protected]
2007’s Top 10 Biggest Grossing Tours& Festivals for
Secondary Ticket Sales
Gross Transactions
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Take That
T in the Park
V Festival
Spice Girls
Carling Reading Festival
Prince
The Police
George Michael
Genesis
Bruce Springsteen
£
£
£
£
£
£
£
£
£
£
12,896,591.39
8,719,848.60
6,768,286.89
5,339,476.61
4,959,750.89
4,262,625.83
3,453,926.99
3,008,115.89
2,933,954.69
2,173,504.07
Source: Tixdaq
VIP-BOOKING.COM
Led Zeppelin
All Change In The Middle
East
Many discussions at ILMC 20 referred to the continuing international rivalry between the ‘concert giants’, Live Nation and AEG, also the growth
in importance of the recently ‘emerged’ markets featured in more than
one of the conference sessions. The following item involves both these
topics.
Live Nation - Mirage
On February 15 Live Nation announced that it had entered into a definitive agreement to acquire a 65% controlling stake in Mirage Promotions, a leading promoter based in Dubai. Mirage managing director
Elissa Murtaza, will head up the newly formed Live Nation Middle East,
and is quoted as saying that the deal “married the biggest generic entertainment provider in the world, with an established regional promoter.
From our side, Mirage brings to the table 17 years of high level regional
contacts and clients. Live Nation can provide the experience, global clout
and infrastructure to turn our clientele’s ideas into reality.” Mirage has
been responsible for a wide range of concerts, shows and events in
Dubai and other cities in the region, including such international acts
as Pink, Aerosmith and Shakira. They have also built a profitable business booking acts for corporate clients in the region, recent bookings
included Diana Ross, Bryan Adams, Kenny Rogers, Sarah Connor and
the Gypsy Kings. On the date of the Live Nation announcement the
Company promoted a sold-out Santana show at Festival City in Dubai.
Live Nation’s takeover of Mirage Promotions should increase the likelihood of top-flight touring artists, such as the Rolling Stones, performing in the region.
Alan Ridgeway, Live Nation Chief Executive Officer of International Music, commented: “The launch of our Dubai office is another milestone in
our organisation’s expansion into international territories. Dubai and Abu
Dhabi have been growing rapidly over the last few years -- Dubai’s population alone is expected to reach 1.6 Million by 2010, with tourism to expand
to 15 Million by 2010 -- There is now a significant demand for live entertainment in the region and the world’s top artists are more and more interested
in playing there. We look forward to an exciting future.”
AEG – Thomas Ovesen
Apparently Live Nation/Mirage merger discussions commenced more
than four years ago. The finalising of the deal came about less than a
month after the departure from the company of, Thomas Ovesen, longterm Mirage GM. Whilst these negotiations were proceeding Mr Ovesen
was obviously considering his own future, deciding to take up an offer to
join AEG Live to oversee a Dubai based office for live promotions in the
Middle East.
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Whilst at Mirage Ovesen had built a reputation for building business in the region’s
live industry in the decade since arriving
there and settling in Dubai. Predicting
even more of a boom in the area AEG
have obviously decided not to allow Live
Nation to take the lead, and went for the
man they figured would take them ahead
in the region where Ovesen has worked
with Mariah Carey, Beyonce Knowles, Alicia Keys, Pink, Mary J Blige, Blue,Scorpions,
Tommy Lee and Aerosmith.. For clients
hosting events in Africa and North America, Thomas has been working with Nelly
Furtado, P Diddy, Rihanna, John Legend,
Bryan Adams and many others. He headed
up Mirage when they promoted the Mid-
dle East’s largest ever concert with Shakira
in Dubai.
Randy Phillips, President and CEO, AEG Live
said, “We enthusiastically welcome Thomas
into the AEG family. We have been targeting
the Middle East as a key emerging market for
some time. We can’t wait to get started there
with the region’s best promoter. Not only is
Thomas a brilliant businessman, he is very
artist friendly and some of the world’s greatest stars come to him time and time again.”
Ovesen told VIP-News, “Working with some
of the best talent buyers and venue programmers in the world and gaining access to
some great live entertainment content rele-
Thomas Ovesen - AEG Live
vant for our region is a great opportunity for
me personally, allowing me to build a strong
Middle East presence complementary to the
ever expanding AEG world wide operation - I
am very appreciative of Randy Phillip’s faith
in me, and thoroughly enjoy being part of
the fantastic AEG Live team!”
CSM – Dubai Desert Rock
Although the ‘big boys’ have now moved
in we’re sure that the established ‘girls’ of
Center Stage Management don’t intend to
let them have things all their own way! On
March 7th and 8th Jackie Wartanian (Managing Director) and Lara Teperdjian (Executive Vice-President) of Centre Stage Management, celebrated the fifth year of their
ever growing event at Dubai Festival City.
This year the event presented Korn, Machine Head, Killswitch Enage, As I Lay Dying, Nervecell and Slapshock on the first
day and Muse, Velvet Revolver, Marky Ra-
mone, Juliana Down and Spoon Feedas
on the second. The Shamal Battle talent
prizewinner, Galeej Gurus from Bangalore,
India played on both days. Other entertainment options for the audience included the
first suspended bar ever, an Infusion Dance
Tent, a Calvin Klein Fragrances VIP Lounge,
the Lee Cooper cable slide and numerous.
»Desert Rock is still a
baby festival compared to the
ones in Europe«
- Jackie Wartanian
Jackie Wartanian said, “Desert Rock is still a
baby festival compared to the ones in Europe
for instance. But we’re proud to have grown
from a three hour show to a two-day festival. When we started we had great vision for
the future with the aim to put Dubai Desert
Rock Festival on the world music festival map
and we have achieved that. Ticket sales were
delayed due tdo reasons beyond our control
and only started on March 5th at 5pm, which
engendered long queues in the official ticket
outlets. However 15,000 tickets were bought
by heavy metal fans for March 7th and 13,000
for March 8th.”
Urban Desert Festival
CSM are putting up together their very
first Urban Desert festival at Dubai Festival
City on April 18th 2008. It will showcase
Hip hop/Rap/R’n’B artists, headlined by
Grammy award nominee AKON, Fat Joe,
Black Violin. This one off date is being
preceded by a two date tour of South Africa (Cape Town and Johannesburg), also
organized by CSM. Sipho Dlamini, vicepresident of Operations who is originally
South African, explains “It has come time
for the Middle East fans to experience a true
Urban experience.. Urban Desert will do just
that and turn Dubai into a scene of expression for all ages, genders and colors, striving
to make the music reach new heights. This is
what Urban music is all about; it’s not about
what you own or don’t, it’s what you feel”.
Korn was amongs the headliners at Dubai Dessert Rock 2008
VIP-BOOKING.COM
German Concert Industry Presents
the Annual LEA Awards
Manfred Tari [email protected]
The LEA-Award winners for their achievements in 2007 presented at The Color Line
Arena are:
Hall-/Arena-Tour
mpe music pool europe for the Justin Timberlake tour “FutureSexLoveShow”
Concert of the Year
MLK – Smashing Pumpkins in the Columbiahalle, Berlin.
Festival of the year
ICS Festival Service – “Wacken Open Air”
Artist Agent of the Year
Buback Konzerte
Artist Manager of the Year
Benjamin Ebel (Tokio Hotel)
Talent Support of the Year
Stefan Raab
(“SSDS”, Bundesvision Song Contest)
Club-Tour of the Year
Tim Fischer Chansons – Tim Fischer
Location of the Year
Parkbühne Wuhlheide GmbH
– Kindl-Bühne Wuhlheide
Show of the Year
BB Promotion – Tim Mälzer,
“Ham`se noch Hack?”
The Jury Prize:
Peter Rieger & Peter Schwenkow:
Barbra Streisand auf der Waldbühne Berlin
Tour Promoter of the Year
Marek Lieberberg Konzertagentur
Life Time Achievement Award:
Karsten Jahnke
Local Promoter of the Year
Hannover Concerts
Club Artist of the Year
Madsen
Götz Alsmann
Due to the very particular German mentality Moderator Götz Alsmann and Carl
Leighton-Pope, who handed out the
award in the category ‘Tour Promoter of
the Year’, spontaneously decided after
the event, to investigate ways of stimulating audience participation and reactions
for the 2009 edition of The Awards.
“This comes from a place of gratitude - for my career and my loyal fans.”
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Twilight
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Twilight
A Tale of Three City Venues
Another main theme of ILMC 20 was of
course new talent – if the business is to
continue to grow then this is the lifeblood. The main question is where to find
and develop new artists – the answer of
course is on stage – in venues, so an adequate supply of places to play is an essential.
In his recent interview/keynote at Billboard’s Music & Money Symposium in
New York, Ticketmaster CEO Sean Moriarty emphasized that the concert business
is healthy, but warned that maintenance
and development were vital. “The concert
business is solid and strong and the rise of
the festival has reinforced the communal
nature of the lives experience,” he said. But,
in the long term he says there is concern
that the talent will not be available to fill
the big arenas, and that the opportunities lie with the mid-size halls, and consequently “We need to develop acts as a way
to sustain business.
So to develop acts, we need to develop and
be careful not to lose good venues. Here we
lament losing one with a great past, but
look to the future for three others.”
Sean Moriarty
London Astoria has to Make Tracks
For the past 18 years or so plans have been
in discussion to construct a new rail link allowing trains to travel across London, the
Crossrail project. Obviously many buildings
will have to be demolished to facilitate the
laying of the new tracks, these properties
have been under suspended sentence as it
were waiting for the authorities to finally determine dates for the work, which of them
would definitely go, and the necessary demolition to begin. One of these properties
is the historic Astoria. Over the years this
one-time pickle factory has staged shows
by some of the world’s most influential acts
including U2, the Rolling Stones, Prince,
Nirvana, Arctic Monkeys, David Bowie and
Radiohead.
will close at the end of the year. 35,000 people have already signed an online petition,
‘Save The Astoria’, supported by acts such
as Kaiser Chiefs, Franz Ferdinand, Maximo
Park, Jamie T, the Cribs and Feargal Sharkey,
the former Undertones singer, has already
attracted signatures. A spokesperson for
Live Nation, which manages the Astoria,
said: “We believe it should be preserved for
future generations.” Jade Dickinson, one
of two students behind the campaign,
said: “It’s literally eroding London’s cultural
heritage.” However the venue’s popularity and all the sentiment in London will it
seems have no effect. “The construction of
Crossrail means that the Astoria can’t be
saved,” the mayor said.
Now Ken Livingstone, the Mayor of London, has confirmed that the 2,000 capacity
former theatre will be knocked down and
Melvin Benn, MD of the latest operators,
Mean Fiddler and now MD of Festival Republic had hoped that there would still be
some delay before the axe fell and that the
venue may have continue to operate till
2010 or 2011, even though the cramped, uncomfortable and probably unhygienic conditions seemingly not particularly minded
by punters and artists would remain. He
told BBC Radio 4 that the lack of the security of a long lease had prevented Mean
Fiddler carrying out a necessary but very
expensive refurbishment. Property developers Derwent Valley bought the freehold
on the Astoria in 2006 for an estimated £24
million (Euros 31.7 million).
A very recent report commissioned by
the London Development Agency found
Feargal Sharkey
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The Astoria - London
that the UK capital was the most culturally
vibrant city in the world, with more music venues and music performances per
year than New York and Paris combined.
The argument that there is a shortage of
mid-size venues of this size in the capital,
especially after recent closures of Hammersmith Palais and The Spitz, was countered by Livingstone saying that a new,
plusher concert venue would be included
in the new development in Tottenham
Court Road. Feargal Sharkey, CEO of British
Music Rights and former chair on the U.K.
government’s Live Music Forum, said the
closure would be ‘a blow’, but was “heartened” by Livingstone’s commitment to
the erection of a larger, alternative venue
nearby. He added, “We await with interest his proposals for a live music strategy.”
Watch this space!
Mama Group Develop and Add to Venues
The Mama Group now claim to be the UK’s
largest promoter of live music. MAMA
currently owns a total of 20 venues with
capacities of 150 through to over 5000,
including the network of 10 Barfly venues
as well as the Hammersmith Apollo, Jazz
Café, The Forum, G-A-Y, G-A-Y Late, The
Borderline and the soon to be renovated
Garage, all in London. Mama are adding to
their portfolio and growing fast!:
The Forum Refurbished
MAMA acquired The Forum in 2007 and has
now completed the much needed refurbishment at the legendary Kentish Town (I
saw The Cult there a couple of weeks ago
and it took me back to the heyday of seeing
good rock bands in good mid sized venues
in the 70’s – ED.) A fully seated format offering approximately 1200 seats has been
introduced and the capacity increased to
2350 for mixed seated/standing gigs. All
customer and artist facilities have been
completely refurbished. With the loss of
the Astoria the facility is in line to become
London’s premier 2000+ capacity venue.
The key appointment in this is that of Paul
Buxton, previously at both Shepherds
Bush Empire and The Astoria, as General
Manager.
Birmingham - Digbeth Institute (The Sanctuary)
The acquisition of the lease of Birmingham’s Sanctuary will see the venue revert
to its former name - The Institute –under
MAMA’s ownership. The refurbished Institute which will be fully refitted during
the course of 2008 will have four different
sized spaces with state of the art facilities.
The Institute will become a musical hub
for the city and a flagship venue at the
heart of the city’s regeneration plans.
Advantage West Midlands and the MAMA
Group plc.
The aims are to:
Create a major world class music venue for
the West Midland’s region.
Raise the profile of the region’s music in-
dustry both nationally and internationally.
Create opportunities for local musicians
to create, produce and promote their own
music.
The Institute will open in September
2008.
The Birmingham Barfly has been operating
successfully in the Digbeth venue as a 400
capacity facility since July 2004. As part of
the refurbishment plans this capacity will
increase to an expected 600. Additionally,
entry-level rooms of 150 and 300 capacity
will be developed. The main Auditorium
will hold 1500 -1700 people and will fill a
regional gap for medium scale venues.
This development will ensure that Birmingham can now accommodate touring
artists who have traditionally bypassed
the city because of lack of suitable 1500
capacity space. The range of room capacities with additional rehearsal space and
fully integrated digital facilities within the
building is intended to help and encourage local talent to grow and develop on
home turf.
The reinstatement of the venue results
from unique public and private sector
partnership between the City Council,
The Institute - Birmingham
10
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Edinburgh – The Gig / The Venue
The most recent Mama move is a acquisition is a conditional agreement to purchase, through Mean Fiddler Holdings
Limited (“MFH”), a wholly owned subsidiary of the Company, the freehold title to
The Gig (“The Gig” or the “The Venue”), a
live music and entertainment venue located in Edinburgh’s city centre, from Luminar Liquid Limited, a subsidiary of Luminar
Group Holdings plc.
The purchase consideration for The Venue
is £3,550,000 which the Company intends
to finance with a mixture of new debt facilities and cash. The Venue has been nontrading since January 2007 and there are
no trading figures for the current financial
year. However, based on an independent
valuation obtained by the Company, The
Venue has a vacant possession valuation
(i.e. assuming no trade or licenses) of at
least £2,200,000.
The Gig, with a capacity of approximately
1,500, is currently the only medium sized
live music venue in the centre of Edinburgh . The directors believe, following a
proposed refurbishment, that following
refurbishment, which is expected to be in
the second half of 2008.The Venue will become one of Scotland ‘s most prestigious
live music venues. Completion of the acquisition is conditional on the transfer
of The Venue’s premises licence to MFH
which is expected to be granted within a
month of the date of agreement.
sic venues in the important Edinburgh and
Birmingham markets. Our venue portfolio
is now 20 strong and there remains exciting
potential for further development.”
»The Gig has been synonymous
with entertainment in Edinburgh
for over 80 years and is positioned
in a unique location«
- Adam Driscoll & Dean James
Adam Driscoll and Dean James , Co-Chief
Executive Officers of MAMA commented:
“We are delighted to have enhanced our mid
sized live music venue portfolio with the acquisition of this landmark venue. The Gig has
been synonymous with entertainment in Edinburgh for over 80 years and is positioned
in a unique location; ideal for live music and
live entertainment. This announcement follows closely behind details of our acquisition of a similar sized venue in Birmingham.
These two properties represent significant
additions to our growing network of live muAdam Driscoll - MAMA Group
Having the right tools for the job is often the key to success. Through our ongoing communication with key Live
Entertainment Industry Professionals, we have developed a range of services to meet the demands of agents, promoters, talent buyers, venue bookers etc. It’s no coincidence that we are now considered to be the No. 1 information
provider for this thriving industry.
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VIP-Booking.com
VIP-Booking.com is now the most widely used online
information service for the European Live Entertainment
Industry with subscribers in over 25 countries. Using the latest
technology and state of the art tools, the service provides indepth information streamlining the day-to-day operations of
industry professionals, saving both time and money.
VIP-BOOKING.COM
The VIP-Book
The ultimate print directory for the European Entertainment Industry, packed
with contacts and easy to use. An essential reference book for every office
providing basic contact information
and a solid overview.
THE VIP-BOOK
11
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VIP-News
Written by our highly merited journalists, Allan McGowan and Manfred Tari, with over 50
years of experience between them in the Entertainment Industr y, VIP-News brings the latest news and views directly to your computer
keeping you up to date at all times.
VIP-NEWS
2009
EUROSONIC
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CTS Eventim Announce Preliminary
Results for 2007
According to the figures CTS Eventim
again surpassed itself. The revenue in
2007 rose from 342.9 million Euro in 2006
to 384.4 million The company reported
also a gain for all other key figures. The
Earnings before Interests and Taxes (EBIT)
increased from 45.7 million Euro the previous year to 46.8 million Euro, the Earnings before Interest, Taxes, Depreciation
and Amortisation (EBITDA) went up from
52 to 53.9 million Euro.
million Euro, the EBIT was 26.3 million
Euro while the EBITDA for 2007 in this
segment was 32 million Euro. These figures exclude the results from ticket sales
gained through the ticketing of the Football World Cup in 2006.
Nevertheless, the analysts of SES Research again recommended selling CTS
shares. In the latest report the analysts
refer to a possible acquisition of a 49%
stake in AEG Live trough a joint venture
In the Live Entertainment business unit
of the Company the revenue leapt from
247.2 to 301.3 million Euro. CTS Eventim
declared the EBIT-result to be 20.5 million
Euro, and the EBITDA result is 21.8 million
Euro.
CTS Eventim identifies itself strongly with
its ticketing business. So no big surprise
that CTS also again reports improved
results for this part of the company: The
revenue for the ticketing unit was 87.5
Live Nation Business Results for 2007
With a reported revenue of $ 4.2 billion
Live Nation shows that it means to be the
market leader in the global concert industry. Nevertheless the company had to declare a net loss of about $ 11.9 million. The
analysts of JP Morgan downgraded the
share of Live Nation to a sell recommendation the day after the business report was
announced on February 28, while several
other analysts currently have Live Nation
still under review.
It also is not surprising considering the
current situation of the financial markets
that the share price of Live Nation is still
under pressure. Within one month the
share went down from $ 11.17 to $ 9.83
(March 17, 2008).
13
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between Ticketmaster and Cablevision.
However, analysts of Sal. Oppenheim
and West LB maintain their buy recommendations.
The current shape of the financial market
did not reward these figures. In the current mood of scepticism the share of CTS
Eventim suffered just a bit less than most
shares are doing these days. Within one
month the share went down from 26.40
to 24.58 Euro (March 17, 2008).
ILMC 20 – The Coming of Age of an Industry
ILMC 20 took itself back to the times of
Peace, Love & Happiness, at least in terms of
the theme of this 20th Anniversary edition
of The International Live Music Conference.
However, the agenda of the ILMC remained
completely up to date, mirroring current issues that concern the concert industry.
First of all it has to be noted that the ILMC
is bigger than in previous years. As such it
becomes almost impossible to cover everything things that goes on in and around
this industry gathering.
Apart from the closed meetings of industry
organisations such CPA, IJFO and Yourope,
the ILMC program formally kicked off with
the New Delegates Orientation hosted
by Producer Alia Dann and Greg Parmley,
Editor in Chief of IQ-Magazine, the ILMC
journal that covers events during the rest
of the year.
Over the years ILMC have created their
very own conference stars such as Carl
Leighton-Pope, Ed Bicknell and even
Harvey Goldsmith. Leighton-Pope for instance is a fixture presenting one of the
conference evergreens The Talking Shop.
In this almost two hour one man show, he
addresses and pinpoints the issues that
form the basis of the weekend’s ongoing
conference agenda.
In The Talking Shop Leighton-Pope comes
across as something between a lion tam-
ILMC 2008
er and a classical music conductor. In his
first synopsis he referred to the ongoing
reforming trend with acts such as Genesis and The Police and looked forward
to the comeback of Ike & Tina Turner. He
welcomed deals such as the proposed
deal between AEG and Ticketmaster and
thanked Girl Groups and Boy Bands for
being there as they have been the ones
that opened up new target groups in the
nineties.
As for his overall description of the economic shape of the live music business he
used just two words: “F…ing Great”. And
almost marginally he mentioned the two
‘buzzphrases’ of the ILMC 2008, ‘The 360
Degrees business model’ and ‘The Secondary Ticketing Market’.
Nevertheless, when his speech was coming to the end, he again dipped into the
topic of the currently ongoing transition
and conversion of the Live Music Business. In an encouraging conclusion he
declared that the members of the live
music industry should be well prepared
for almost any amendments due to the
nature of the live music business, which
constantly reinvents itself.
The talking shop with Carl Leighton-pope drew a lot attention like always (photo by James Looker)
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Ticketing: ‘An Honest Admission’
This typically punning ILMC title saw one of
the best-attended conference sessions. The
ticketing debate has been growing for quite
while at ILMC. But this year the room was
packed. Chaired by Stuart Galbraith, who
previously worked for Live Nation and has
now set up his new company Kilimanjaro
with the backing of AEG, this panel showed
best what the ILMC conference is all about.
A passionate discussion, revealing bits and
pieces of information about subjects that
some of the speakers normally do not like to
talk about in the public.
Of course, when it come to kick back commissions, how much it cost to sell a ticket or
“The concept of Risk” almost no concrete
information was given. Nevertheless this
panel revealed a few issues that indicate
the kind of changes this industry is currently
undergoing. Quite a remarkable conclusion
was made by Leon Ramakers of Live Nation
Netherlands. He referred to the power of
artists and that this power will become bigger in the future. Dave Chumbley of Primary
Talent then wanted desperately to know
what it costs to sell tickets, but unfortunately didn’t get this question answered, and
then had the tables turned on him slightly
when explaining Primary Talent’s ticketing proposals. Galbraith rhetorically asked
about the lack of trust in ticket agents,
adding that in the past agents complained
Leon Ramakers - Live Nation
about the lack of trust in promoters whilst in
these days agents blame ticketing services
for a lack of trust.
But this panel reveals two interesting points:
Secondary ticketing stepped up since the
appearance of auctioning platform such
as Ebay, it become obvious that as with the
record industry the concert industry didn’t
manage to keep pace with a new development brought about by the internet. They
left this market to business types, who in
the past had nothing to do with the music
industry. Secondly the British concert industry is already in talks with their government,
which is currently not the case in most other
European concert markets. The Commons
hearings involving industry representatives
and official authorities about ticketing issues show the difficulties involved in the
regulation of a business model. So far the
UK Government has stepped back from legislation and have urged the industry to ‘put
its own house in order’.
Vito Iaia - Dave Chumbley and Stuart Gailbraith in panel discussion (photo by Stew Ruffles)
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Short on Attendance, High in Importance
Also quite typical for ILMC is that certain
conference agenda topics unfortunately
do not attract as many visitors as they
deserve. ‘The Media Lounge: Indecent
Exposure’ hosted by Emmanuel Legrand,
Editor in Chief of Impact Magazine and
‘The Green Room: ‘Footprints and Footfalls’ chaired by Peter Tudor of Wembley
Arena were not as well attended as they
should have been.
The omnipresent ticketing issue also
appeared in the Media panel, elaborating on which media is selling tickets for
what genre. An aspect that hadn’t been
touched in the ticketing panel but will
for sure pop up in the future. Legrand
expressed his concerns that promoters
often seems to be bypassed by the many
different partners such as record companies, sponsors and media partners that
are today involved in shows at a certain
level.
But as with the Conference history of the
ticketing theme, the subjects of some
of the panels that took place during the
ILMC simply seem to take time to gain the
awareness of the ILMC visitors. A conclusion that also could go for the panel ‘The
Engine Room – A question of Responsibility’ chaired by Chrissy Uerlings of Peter
Rieger Concert Agency, which focussed
on production issues.
Dick Molenaar (All Arts Tax Advisors) and
Harald Grams (Grams & Partner) probably
had to face the toughest competition
over the entire weekend. Their panel ‘The
Tax Office: Ringing up the changes’ took
place on Sunday morning at the same
time as Ed Bicknell interviewed industry
legends Ron Delsener, Marcel Avram and
Harvey Goldsmith as one of his now famous ‘The Breakfast Meeting’ sessions.
New Boss
The New Boss-Panel chaired by Juha Kyyrö
(Fullsteam) and Jon McIldowie (Mama
Group) was structured in three parts: ‘The
Current State’, ‘How was it in the Old Days’
and ‘The Prospects for the Industry’.
company people Nevertheless he quite
honestly admitted that BMG for the last
ten year “hardly made money” and that
he has concerns about what is going on
at EMI.
Veteran US Agent Wayne Forte pointed
out that 30 years ago there were many so
called 360° deals. But probably one of the
unexpected surprises of this panel was
the appearance of Maarten Steinkamp of
Sony BMG. The record company executive
received a bit of flak as typical ILMC goers
are not always the best friends of record
Steinkamp also said that Sony-BMG do not
intend to become another Live Nation type
of company. The Company take on the live
music business is rather that it is “another
tool to communicate with the consumer”.
He added that in the past record companies hired radio pluggers while today they
are hiring live music promoters.
Nevertheless Steinkamp had to defend
the strategy of record companies regarding developing new acts when he was
asked why record companies drop so
many acts these days. He even earned
some laughs when he claimed that SonyBMG is a company that from his point of
view is “developing artists”.
Another assumption of Steinkamp was
that he believes that 80% of the tours
operated by Live Nation are not profitable, while the remaining 20% “feed the
rest”.
Festival Forum
At the Festival Forum on Saturday with Bojan Bošković (Exit Festival), Henrik Bondo
Nielsen (Roskilde Festival) and Dan Panaitescu of Sziget Festival, some interesting
topics turned up:
There is the fact that costs of for production, maintenance and service and foremost the fees are increasing for so called
‘super gigs’ by high profile artists. Each
festival seems to handle its budget situa-
tion quite differently. Depending on the
history of each event and its current situation, there seem to be a variety of appropriate solutions applicable according to
the chairmen of this panel:
1) Close the gate, 2) Go to the sponsor, 3) Go
to the government, 4) Argue with agents, 5)
Increase the number of tickets, 6) Diminish
the costs.
In Denmark the number of local councils
that put money into shows to lure popular acts to their towns causes some headaches for those festival promoters who do
not receive subsidies. At Exit-Festival ticket prices can’t be increased due to the economic situation in South Eastern Europe.
Exit Festival
16
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Autopsy
There were many more things going on
at ILMC 20 but as ever it would become
a never ending story to report on all the
issues and subjects that appear during
this conference. Probably one of the
best bit of news is that Martin Hopewell,
overall chairman and founder of the
ILMC announced in the traditional “Autopsy” at the end of this year’s conference that there was the possibility to
raise the number of registrations up
from 950 to 1.000 delegates for ILMC 21
in 2009.
furthermore added: “If a platform like the
ILMC can’t change things, who else can?”
This is probably something Hopewell
didn’t necessarily want to hear or to take
on, but it also underlines how important
ILMC has become within just 20 years.
ILMC 2008 is history, but it looks like that
many opportunities and challenges which
the inventor of this industry gathering
probably never envisaged are waiting for
Hopewell and the ILMC-Team.
Another topic the ILMC delegates push
a little higher on the agenda each year
of this conference is the demand that
ILMC should take a lead in more common
live music industry matters. It was Peter
Smidt from Buma Cultuur at the ‘Sunday
Supplement’-Panel hosted by Allan McGowan who said that the ILMC “is a platform” instead of just only a conference. He
Martin Hopewell
Arthur Awards
As part of the ILMC, the annual Arthur
Awards were presented on March 8.
The service sector award - ‘Services Above
and Beyond’: Rock-It Cargo
The winners were:
The best tour award - ‘Least Painful Tour’:
The Police
The venue award - ‘First Venue to Come
Into Your Head’: The 02, London
The promoter award - ‘The Promoters’
Promoter’: Andre Bechir, Good News Productions, Switzerland
The festival award - ‘Liggers Favourite
Festival’: Rock Werchter, Belgium
The booking agent award - ‘Second Least
Offensive Agent’: Emma Banks, Creative
Artist Agency, London
The production award - ‘Plumber of The
Year’: Andy Franks
The young professional award - ‘Tomorrow’s New Boss’: Lucy Dickins, International Talent Booking, London
The ILMC Bottle Award for outstanding
contribution to live music: Michael Chugg,
Chugg Entertainment, Australia
The 02
17
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First Timers Interviewed at ILMC 20
Steven Thomassen, Toutpartout Agency
- Belgium.
VIP-News: What’s your impression of your
first ILMC?
Steven Thomassen: It is a social thing and
it is all business. There are not really gigs
going on. Everybody is talking about music
but only in a business-way, especially when
compared to other meetings like SXSW,
Popkomm or Eurosonic which feature the
whole live aspect. So for me ILMC is really
business and maybe even more social.
VIP-News: So you enjoyed the first night at
the ILMC bar in the Royal Garden Hotel?
Thomassen: It is a bar full of people who
are all working in this industry with a lot of
politics going on. You feel that some people like you and others don’t but we are all
colleagues. It also depends on the alcohol
how open everybody gets!
I always do my own thing. I come from the
‘indie’ world and for me this feels more like
a ‘major’ world. Also: the conference sessions I went to were all about the huge venues and the big acts, so everything is about
big business. I know that there are some
people here who are working with ‘indie’ or
smaller bands, but I don’t have a big ‘indie’feeling here.
VIP-News: Do you really think that there is
a, let’s say, alternative world and a corporate world?
Thomassen: Yes, absolutely. There is a big
difference between these two worlds and
sometimes they connect.
I believe that at the moment there are a lot
of interesting bands coming up and they
are all from the ‘alternative’ scene. That’s an
interesting tendency. All the tension in the
music-business is good for music in the end
because it stimulates the creativity. The lyrics are good and it is a good time to make
music.
A lot of new interesting bands coming up
don’t reach a big audience immediately but
they have a strong base and have time to
grow. My mission in this business is to find
interesting and good artists and help them
find an audience for their music. Of course
some of those bands are getting bigger and
commercial, but that’s part of the business.
VIP-News: Do you feel abused by alternative artists who come out of the alternative
circle and then switch to the corporate business side?
Thomassen: No, I don’t feel abused. A band,
even a new band that has the ambition to
go to a bigger company knows this from
the start. And the people around them,
their managers, their agents and their label
know their business plan too. If these bands
want to go too quickly, then they don´t fit
in my roster.
But that’s also part of the whole ‘alternative’ or ‘indie’-scene. We really are fans of
our bands. Sometimes it could happen that
one of these bands is getting bigger and
that there are other players that are getting interested. In that case I have to trust
in the loyalty of the band or the agent. A lot
of times the band stay loyal because they
feel that we really support them, but sometimes I lose a band. In that case I just have to
let them go, I don´t have another choice.
VIP-News: Did you meet new people at the
ILMC?
Thomassen: Not really, but I didn’t come
here with the intention to meet new people
or create new networks. I did meet a couple
of people that I have worked with before
but never saw personally. I met them and
we had a drink together, so that’s what has
happened.
VIP-News: What do you think about the
conference themes?
Thomassen: I think they are good. My motto is: You can talk a lot but you need to work
and I am a doer. I´m not a big talker, I try to
use my instinct or my brain or even my subconscious and I just do what I need to do.
Sometimes it is good to discuss some topics,
but today they’re all having big discussions
and tomorrow everybody is back in his own
world again and little has changed.
18
VIP-BOOKING.COM
VIP-News: Did you pick up any new ideas
or inspiration that may help you in terms of
developing your business?
Thomassen: Yes, I just heard and saw what
a big business board is doing which is interesting for me. For example: I know that
there is a black market for tickets but I was
not aware that the whole secondary ticketing they talk about here is such a big business. That’s something I would probably
never encounter directly but it is interesting to know.
I have my own theory about who are going
to be ‘the new bosses’ in the business and
what could be different. I can see things
from different sides: I had a record store, I
had a label, I worked for a distribution company, I worked for television and now I have
an agency.
You need to be creative to do what you
need to do. The whole music industry
and how music is getting to people has
changed so you have to be creative and
think and act differently. It is interesting for
me to see the big players and observe how
they try to handle things.
I have been a promoter for years and that
gives me a very wide perspective of what is
going on and what the so-called problems
are nowadays. But I don´t feel that there really is a problem because it all comes down
to creativity. The really creative people will
survive.
VIP-News: Are you going to come back to
the ILMC?
Thomassen: Well, probably, we will see.
Maybe I will go back to SXSW again next
year. It depends on how busy I will be or if
I will be on tour with a band. But never say
never, it is not a bad experience.
Christopher Brosch at ILMC
VIP-News: Please tell me something about
the idea of Citadel Music in Berlin.
Christopher Brosch: The name comes from
the name of the venue, Zitadelle. It is a
genuine, fifteenth century renaissance fortress, which has huge walls, built in the river Havel. The building creates a unique atmosphere for shows and events. The main
stage is set up in the yard of this fortress. It
is a seasonal event normally opened at the
end of May and it continues to the end of
August or end of September depending
on what is on offer at the beginning of September. It is a permanent installation and
it is open to all sorts of music. It might be
Rage Against The Machine or it might be
an opera performance by a touring Mozart
opera. It is a festival that basically features
music in the Citadel. That is context of the
name and the concept.
VIP-News: How are the venue and the
trademark Citadel Music promoted?
Brosch: 2008 is the fourth year if you count
2004 as the beginning although that year
there was only one show with Ritchie Blackmore. That is where it all started and it has
grown since then. The festival featured
10 shows in 2006 and about 28 shows
last summer. In 2006 we also had a public
viewing for the world soccer tournament
– which is not exactly part of the music,
but with all these shows, we had well over
100.000 visitors on the site. The idea is basically to establish an event, which is known
as a regular, seasonal event in Germany’s
capital. That adds to the vibe that is presently connected to the image of Berlin,
being a trendy, considerably ‘in’ type of
city. The trend spot-o-meter lists Shanghai,
Dubai and close behind Berlin doesn’t it?
Besides that we have the great advantage
that we can play every day of the week – so
it makes a perfect stopover for the festival
traffic that usually just has destinations
with weekends on its itinerary.
good for the Chemical Brothers isn’t necessarily good for say John Fogerty. But
the majority of our shows are presented
by Radio 1 – also a public station and to
my opinion one of the rare radio stations
in Germany that has a profile beyond the
usual ‘chart orientated’ radios.
VIP-News: Who is behind Citadel Music?
Brosch: The Citadel Music Festival is run by
one of the biggest local promoting companies in Berlin. They have the exclusive use
of the site for the season, invented a completely new infrastructure and developed
a scenario that intends to create a branding name for the event which separates it
from all the politics around the everyday
business. CMF has its own sponsorship
deals, media sponsorship arrangements
and we have created its own corporate
identity – a new trademark, logo and its
own promotion scheme.
VIP-News: Tell us something about the
promotion scheme? What ideas do you
have in mind to expand the awareness of
the brand?
Brosch: There is special advertising and
there is special leafleting featuring these
shows. We have developed a type of colour code and a new logo for the event so
that it is recognizable in each publication
that is made for the Citadel music festival.
We have media sponsorship deals with
‘Zitty’, which is one of the two big city
magazines in Berlin. The Tagesspiegel,
which is a daily newspaper, and RBB TV,
which is a local TV channel run by public
TV. We have to make individual arrangements with radio stations, as radio that’s
There are CMF leaflets and adverts that are
specially designed in the CMF colour code,
and we try to make more use of the site so
that it is a unique experience for the visitors, and there are so many more things
that we can do in there – we could actually have Open Air cinema performances,
we will have more public viewing for the
European soccer tournament this summer,
and one can create events, that use more
of the vast amount of cellars, catacombs
and haunted spaces that are part of such
an old building.
VIP-News: Tell us something more about
the venue itself.
Brosch: When inside this environment
takes you into a different world in a way.
The old fortress has a very huge yard inside with a very professional lighting and
sound system set up. The yard will hold
10000 people but 3000 people will make
it look comfortable because of the setting
with are trees, buildings, towers – its just
nicer than an empty field that would hold
this capacity, as there you’d feel lost if only
a third of the area is filled. We can also turn
it into a completely seated area. And then,
there are the so-called bastions on each
corner, which we need to turn into special
event areas – we haven’t yet developed
the full potential of the venue. We will try
an electronic festival this summer, featur-
The Citadel Music Festival
19
VIP-BOOKING.COM
ing DJ’s and live acts for an all night event,
when we will use the catacombs for the
first time. Also, one should keep in mind,
the site is permanently used by local artists who have their workshops and studios
within the buildings, there is a museum
and galleries – we are particularly proud
that, for example, we will have a great exhibition by R.Giger, this summer. It is very
multi-cultural.
VIP-News: What is on the agenda for the
festival in 2008?
»We will be creating some events,
that have a bigger scheme than
just one headliner-events«
- Christopher Brosch
Brosch: The opening show this summer
is Mary J Blige – there will be performances by Jethro Tull, Chemical Brothers,
Rage Against The Machine, Neville Brothers, Juanes, John Fogerty, Chicago, Roger
Hodgson, Ich und Ich, Loreena Mc’Kennit
– and as mentioned, we will be creating
some events, that have a bigger scheme
than “just one headliner-events”.
that you have a steady community around
this thing.
VIP-News: And what about the security
issue?
Brosch: Some people have brought this
up. The Citadel has just one main entrance
– that’s the nature of a fortress, isn’t it?
Rightly people have asked what are you
going to do in case of an emergency? I
have had an on-site meeting in this respect – and before official documentation
and paperwork is available – emergency
plans are not based on this entrance. We
can have people leaving there, but the
venue should be evacuated by using the
four bastions as evacuation points. If there
is a problem in the main yard, people will
be evacuated to these bastions, which are
all outside of the building-ring that makes
the inner yard. One can easily assemble even more people on these bastions
– and keep in mind, the venue is not only
used for the CMF. There are huge activities over Easter and around Christmas that
would draw many more people on site
than our capacity. However, we are liasing with the local authorities to provide
these security regulations for anyone who
is interested in looking at them. Presentations at the ILMC last weekend have been
a good inspiration to take things forward
to provide a near - perfect site, event and
experience.
Contacts:
CMF, Thomas Spindler, Johanna Ohrt
Gleditschstr. 79, 10823 Berlin
Tel.: +49 (0) 30 7809980
Booking Consultant:
Brosch-Tours, Christopher Brosch
Horstweg 6, 14059 Berlin
Tel.: +49 (0) 30 75634216
Email: [email protected]
VIP-News: When I look at it, it reminds me
a bit of the Stadtpark settings in Hamburg
operated by Karsten Jahnke. Would you
say this is a fair description?
Brosch: Absolutely. The Stadtpark is slightly smaller, but I think the idea is quite similar: having a show outdoor in a cosy atmosphere surrounded by trees. Ok, we are not
exactly surrounded by trees, but by massive walls, towers and last but not least, by
water, but it is a very similar concept.
VIP-News: Do you have any particular
plans in terms of the quality of catering
and hospitality service for consumers?
Brosch: I can only say yes. We are improving on all sectors – it doesn’t make sense
to spend money on a great illumination
and save money by just serving bratwursts
to the punters. The whole idea is to turn
this site into a space where you would like
to spend some time, not just when there
are the big shows. That’s where all these
ideas about outdoor bars, movie screenings etc come in place. You need to adapt
a certain standard if you intend to achieve
Mary J. Blige
20
VIP-BOOKING.COM
Wayne Forte (Entourage Talent – New York) at ILMC
VIP-News: What are your impressions of
ILMC 2008?
Wayne Forte: Still as good as it was in the
beginning. A good place to meet people
that you have done some business with
but you don´t know personally, and an opportunity to have discussions on a more
personal level. Also the chance to meet
people you haven’t met before and talk
to them about business and personal life
if you want to.
I have gone to several sessions. They are
good and informative. Many of the people
have been in the business for a long while,
but also I would say that this is a good
experience especially for people that are
new in the business.
I’ve been coming here for 17, 18 or even
20 years and I find it always a good experience and always a good opportunity to
actually sit down and have some good and
creative business discussions. Although it
is getting a lot larger it is still an intimate
sort of environment. You have the opportunity to have dinner with a number of
people or have a lunch meeting or coffee
and exchange ideas.
VIP-News: Do you also go to other conventions?
Forte: I go to few other conventions, CIC
in Los Angeles, the Pollstar event in New
York, Music Week in Canada and SXSW.
They all have a little bit of a different personality if you like. They have different
environments. The reason to go each of
them is that there are different people.
The CIC in Los Angeles is quite big and it
is hard to see all the people you want to
see. There are three or four times as many
people than here, so I find this a bit more
intimate, a bit more personal.
»You can find communality
with people that you didn’t
know before or with people
that you knew before but you
hadn’t realized that you have
similar views«
- Wayne Forte
When you look at the deals that you have
done at a convention many more things
get completed later. So it is about the
relationships that you build, it is a good
exchange of ideas and an exchange of
interest. You can find communality with
people that you didn’t know before or
with people that you knew before but you
hadn’t realized that you have similar views
because you only have contact on the
telephone or email. The business has become very much electronic. On the phone
you don´t have the opportunity to talk for
half an hour about something when you
are busy. Here you sit and have a drink or
sit in the lobby or sit at lunch or at dinner.
Here you have more of an opportunity to
get to know people.
VIP-News: Do you consider ILMC as rather
more of a European event or as a global
event? As you mentioned you went to
SXSW, Canadian Music Week, CIC and so
on so forth. These are obviously North
American conventions. What is your point
of view on ILMC as an American when you
come here?
Forte: ILMC is definitely more a European
event for me. You don´t come here to see
and to talk to people from North America.
Of course I see them and have discussions
with them but that’s not the point of coming here. I come here to see the Europeans
and the South Americans, which come here,
too. But I see them all at CIC, too. It seems
to me that in the past more people from
Australia and New Zealand came here. But
Wayne Forte
21
VIP-BOOKING.COM
it is international. It is probably more
international than some of the others
conventions I mentioned. But at the
same time it is heavily weighted with
Europeans and people from the UK.
But it is good for business.
sonally and I’m quite happy to deal
with them. They do a good job.
VIP-News: Is there a difference between European and North American conventions?
Forte: Well it has become much bigger. When I came here originally it
was much, much smaller. So it got
much bigger which can be negative
in a little bit of a way because some of
those people we talked about don´t
come because it is just too many people. But at the same time it is good
because this means new people, new
territories coming and peoples from
countries you haven’t done business
with yet. This means new businesses,
new organisations and young people
coming into the business. So it has
grown and hopefully some of those
people will make the contacts we
have discussed. It has remained personalized. I still have the feeling that
it is personalized and that it is not run
as a corporate event.
Forte: I find the North American are
more business orientated, this one
seems to be a bit more personal.
VIP-News: I spoke to a ‘newbie’ at
ILMC and one of his impressions
was that at ILMC you really could
feel the difference between the top
range agencies or entrepreneurs
and the medium sized companies.
Is that also something you would
agree with?
»You just have to meet
people. That’s the point«
- Wayne Forte
Forte: Yeah, it does but it varies.
Sometimes somebody new comes
and doesn’t know everybody. There
are lots of people that aren’t here
and that are missing at the top end
or maybe in the middle or even at
the top top end. Maybe they don´t
come or they come for a day or an
afternoon when they have business
do be done here. You know it is hard
to be here all the time. There is a
conference in New York and it is hard
for me to be there for two or three
days all day long because I have to
do work in the office. That’s the difference when I come over here. I
phone at night or do emails. So I’m
around all day and do business. Definitely there are people missing but
even so there are other people you
do business with. You just have to
meet people. That’s the point. You
have to meet people that you don´t
know and you didn’t think to meet.
I met two or three promoters over
here with whom I do business on a
regular basis that I never knew per-
VIP-News: What do you think has
changed at ILMC, what is your personal experience?
VIP-News: What is your advice for
the newbie at ILMC to get the most
out of ILMC?
Forte: To bring a lot of business
cards and to meet people. They have
to say hello and give them a card,
even if they don´t have time to talk
to you. Just introduce yourself, say
who you are and give them a card.
Just introduce yourself. This time
around I had a dozen people who introduced themselves to me to who I
actually had spoken on the phone. I
had no idea who they were and you
can’t read the badges. So the people came to me to say hello, that is
fantastic. I don´t know these people
now, but I have met them at least, I
will do business with two of them.
You just have to introduce yourself.
VIP-News: So there is no question hat
you will be at ILMC 2009?
Forte: If there are no reasons why I
can´t be I plan to be here, yes.
22
VIP-BOOKING.COM
artist avails ››
Kylie Minouge
Territory: Europe
Period: June - July 2008
Agency: Primary Talent International
Agent: Dave Chumbley
E-mail: [email protected]
Homepage: www.kylie.com
The Black Seeds
Territory: GAS
Period: June / July / August
Agency: Brand Booking GmbH
Agent: Martin Agosti
Phone: +49 30 695976 12
Homepage: www.brandbooking.com
Travis
Territory: Europe
Period: June - August 2008
Agency: Helter Skelter
Agent: Peter Nash
Phone: +44 207 376 8501
Tinariwen
Territory: Scandinavia & Eastern Europe
Period: June
Agency: SASA Music
Agent: David Flower
Homepage: www.tinariwen.com
John Watts
Territory: Period: Agency: Agent: Phone: E-mail: Homepage: Europe
October/November
Paperclip Agency
Hilde Spille
+31 24 323 9322
[email protected]
www.paperclip-agency.com
Ace Of Base
Territory: Period: Agency: Agent: Phone: E-mail: Homepage: Eastern Europe, CIS, Asia and Africa
2008
UrbaniaGroup
Orlando John
+46 860 90015
[email protected]
www.urbaniagroup.com
More Artist avails on:
www.vip-booking.com
Post your Artist avails on:
www.vip-booking.com
VIP- News
VIPNews
- A u-g M
u s ta2r0c0h
5 2008
notice board ››
Speak
out
- participate
the
debate. and
The redesigned
VIP-News Reader’s-page
is open
for letterswhich
and contributions
from
readers.
Another
new
service in in
the
improved
VIP-News is the
Notice-board,
is available for
all readers.
Consider
the
VIP-News
Reader’s-page,
as
your
“speaker’s
corner”
towards
professionals
in
the
entertainment
industry
all
Reader’s messages will be posted on the Notice-board as a free service, passing on announcements, job postings, buyover
Europe.
The
purpose
of the Reader’s-page
is to encourage
more
and to allow our readers to voice their
ing and
selling
notices,
inquiries
or alike. Announcements
should
be interaction
emailed to [email protected]
opinions about the many aspects of our industry. Contributions should be emailed to [email protected].
Vampire Weekend, Pete & The Pirates, Saul Williams
and many more announced to perform at this year’s
Great Escape...
Bringing the best new music from across
the world to Brighton on: 15th, 16th and
17th May 2008.
The countdown to the 2008 Great Escape
Festival has started. With just 11 weeks to
go, the cream of new music from the UK
and around the world, is being added to
an already mouth-watering line-up.
The latest batch of confirmed bands are:
Vampire Weekend, Pete And The Pirates,
Saul Williams, Bombay Bicycle Club, Cage
The Elephant, Jay Jay Pistolet, The Black
Angels, Kelly Stoltz, Thomas Tantrum, Satin Peaches, Yelps, The Whip, Lovvers, Jeremy Warmsley, Hatcham Social, The Pack
A.D. We Are Wolves, Soko, 4 or 5 Magicians,
Royworld, The Boat People, The Boxer Rebellion, The Bad Robots, The Dykeenies,
XX Teens, Operator Please, Ox.Eagle.Lion.
Man, Johnny Flynn, LadyHawk, Cut Off
Your Hands, Elle S’appelle, We Smoke Fags
and Lucero.
Already confirmed are:
Young Knives, Joe Lean and the Jing
Jang Jong, Yeasayer, Black Mountain, No
Age, Tunng, Lightspeed Champion, Wild
Beasts, Fujiya & Miyagi, Peter Von Poehl
and School Of Language. The Wombats,
The Hold Steady, The Subways, Black Lips,
White Lies, Monobright, Iron and Wine,
Public Service Announcers, Born Ruffians,
Broken Mirrors, Ipso Facto, Beat Union,
Mother Mother, This City, One Night Only,
Teenagers, Crystal Castles, Canterbury,
Johnny Foreigner, Ida Maria, Team Waterpolo, Ebony Bones, The Black Angels, Volcanoless In Canada, Wintersleep, Plants
And Animals, Torngat and Kreif’s Broken
Mirrors.
The Great Escape is a rapidly growing festival with an increased capacity of 6,500
tickets for sale. An increase of 1,500 on
last years sold out event. Industry and
media professionals travel from all over
the world to attend The Great Escape
boosting the numbers by a further 2,000
people. Many more bands are still to be
announced and an extra 5 venues have
now been added bringing the total number up to 30.
The Great Escape has a unique texting
service providing the latest announcements to all festival goers, including festival updates, impromptu street shows,
outdoor events and last minute line up
changes. This service was a great success
VIP-Booking ApS cannot be held responsible for loss or damages
incurred as a result of transactions with individuals or companies
through the notice board. We recommend all to make the necessary
enquiries before entering into any agreements.
VIP-Booking ApS may not, for reason of space, be able to post all
announcements received. Announcements should be emailed to
[email protected], including name and email address.
Please shorten your message to the extent possible, to make room for
as many notices as possible.
23
VIP-BOOKING.COM
last year and plans for the 2008 service are
even bigger and better.
The Early bird ticket offer will expire on 7th
March so festival goers should book now
whilst they are still available.
Early Bird Festival Tickets are £35 (plus booking fee) through www.escapegreat.com,
the ticket line 0870 907 0999 and through
cash box offices Rounder, Resident and The
Dome box office (Brighton) and Stargreen
(Oxford Circus).
“Red Stripe is proud to support this tremendous event and confirms our commitment
to supporting good honest music”
For further information contact:
Jayne Houghton
([email protected]),
for National press enquiries contact:
Fiona Clarke (078 5555 1876)
[email protected]),
or for Regional Press contact:
Jack Thunder
([email protected])
Member presentation ››
In
In this
this section
section we
we offer
offer members
members of
of VIP-Booking.com
VIP-Booking.com some
some space
space to
to present
present their
their company
company to
to VIP-News
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]
Big Star Promotion Ltd.
Nick (Loris) Loridas established DIDI Music in 1984 as a record
label. In 1987, with the cooperation of NANA TRANDOU, Big Star
Promotion was created as a department of DIDI Music, specializing in concert promotion. Gradually, the record release department of the
company has been surpassed by the
growing agency sector. DIDI MUSIC
/ BIG STAR PROMOTION has made
the breakthrough in the local
market, organising events and
hosting artists of international
importance. The company is
also the exclusive booking
agent for two of our nation’s
best selling pop/rock bands
arranging for both bands
to tour abroad, something
that local groups rarely have
a chance to do. Since 1997, we
successfully organise the ROCKWAVE Festival attracting thousands
of people, featuring great acts and a
plethora of other activities. Our festival
has always been devoted to promoting social
awareness, having stands on site giving out brochures and information leaflets concerning AIDS and the HIV virus, Greenpeace and Amnesty International. ROCKWAVE Festival,
no doubt, contributed in the last few years to change our country’s image, making it an equal member of the global music entertainment scene. BIG STAR PROMOTION is a member of
YOUROPE, the most important union of European festival promoters. Ms Nana Trandou, our
managing director, has been elected in
the Board of Directors of YOUROPE,
as well as, leader of the workgroup
on the Performance Royalties
Society (PRS). We are also represented in ILMC, the International Live Music Conference.
DIDI MUSIC is established in
the Greek market as the provider of high quality services
that guarantee safety and top
the most demanding performing requirements, through our
efforts, commitment and high
investments in exclusive technical and stage equipment. We are
currently developing our company image to strengthen our identity as the leading service providers in Greece for organising
outdoor and indoor events. Meanwhile, we have expanded in the ticket distribution market through TICKET HOUSE, a
national network of ticket outlets with growing dynamics.
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 | 26 York Street | UK - London W1U 6pZ | Phone +44 870 755 0092 | Fax +44 870 622 1953 | e-mail: [email protected]
24
VIP-BOOKING.COM

The VIP-Booking european live entertainment Book

Transcription

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