The VIP-Booking european live entertainment Book

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VIP- News
premium ›› Vol. 103 ›› MAY 2008
McGowan’s Musings:
For the third year the international music
conference crowd came to visit me – well,
maybe not me particularly, actually they
came to Brighton for the third edition of
The Great Escape. This City Festival with
a conference/trade event attached has
established itself as the event to see the
breaking bands from the UK with an increasing number from the Nordic countries, the rest of Europe, US, Canada,
Australia, New Zealand and elsewhere. A
delegation and Friday morning presentation by Frank Takeshita and ‘Z’ Masayohi
Zaitsu, who signed two UK acts at last
year’s event, indicated that the ‘elsewhere’
will include Japan next year.
The festival staged in 32 venues around
the City (I didn’t know we had that many
and I’ve been here since 1968! – According to Radio 1 Legend, and friend of mine,
there are 73 clubs in Brighton!) sold out,
and of course even though many of the
headline acts played twice over the 3
days, getting in to see the likes of The Fratellis, The Ting Tings, Futureheads, Bon
Iver etc, etc if you didn’t have a badge
meant lengthy queues and/or disappointment. Punters complain as they do at
SXSW, but really there is no substitute for
getting there early and after all it’s meant
carat gold sprayed plastic trophy now sits
proudly on the kitchen table only partially
obscured by Sunday’s papers and a loaf of
bread.
Allan McGowan
to be a showcase event, there were over
200 acts to choose from and the raison
d’être of these events is supposed to be
the discovery of new talents – these are
the opportunities for new fans to tell their
friends – I saw them first!
Anyway, the big news is that your beloved
editor – yes me! – won an award at the
very first Yearly Music Conference Awards
(YMCA’s) – I can hear you all singing
now! I was nominated in the ‘Conference
Junkie’ category (OK – so I go to a lot of
these things – it’s my role in life!) and was
swept to victory by the fact that Ben Garcia of Spain’s Novasonik and Ana Hildur
from Export Music Iceland were in the
wrong room! Still, the highly attractive 28
Right before I let this fame go to my head
I thought I’d give a mention to women of
a certain age. I have to admit that I questioned the wisdom of Live Nation’s enormous pay out to Madonna – she had not
long finished a tour at the time of signing
and still owed Warner’s two albums. Also
I felt that she had seen her finest days,
but what do I know, her upcoming Sticky
& Sweet tour, which begins August 23 in
Cardiff, Wales, reported weekend sell-outs
in Paris (Sept. 20), Boston (Oct. 15) and
Chicago (Oct. 26), followed by sell-outs
at Madison Square Garden in New York
(Oct. 6-7), followed by a third show now
confirmed for October 11. Also it seems
that Tina Turner is to re-form – if you get
my meaning! – and is, according to something said on the Ophra Winfrey show, to
tour later this year. It just goes to show
that you can’t keep a good woman down
and that audiences still can’t get enough
of performers who know their stuff.
So – on with the show, or in this case – The
News.
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Royal Albert Hall Targets New Bands
Allan McGowan [email protected]
London’s prestigious Royal Albert Hall
which opened in 1871 now competes with
the huge capacities of the O2 and Wembley arenas, but the 5,500-seat venue, once
nicknamed ‘the nation’s village hall’, is undaunted and undergoing some considerable success. Having presented 359 performances last year, it looks as though this year
will match that figure and possibly rival the
record 365 shows in 2004,
for sound checks. The idea is to encourage
a new young audience feel comfortable attending gigs at what may appear to them
as a very grand and possibly intimidating
location.
In the 60’s the Hall championed new bands,
including The Beatles, The Stones and the
Yardbirds. Now the venue, although not
turning its back on classical music and relatively ‘intimate’ shows from big name artists
has launched an initiative called the Albert
Sessions to re-establish itself as a venue for
young, up and coming new bands.
Lucy Noble
Liverpool’s pop three-piece the Wombats,
two Liverpudlians and one Norwegian who
came together at the Liverpool Institute for
Performing Arts will this week become the
first act to take advantage of the scheme
whereby selected bands agree to cap ticket
prices in order to benefit from a 50% cut
in the normal rental fee for the hall. Ticket
prices would be pegged at between £14
and £17.50 apiece.
Colophon ››
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Bands will also take part in daylong sessions
with local children, allowing them to meet
and talk with the artists and to be present
Lucy Noble, head of programming for the
Royal Albert Hall.
Noble told VIP-News, “The Albert Hall is excited to be launching the Albert Sessions
this May with one of Liverpool’s hottest new
bands, The Wombats. We look forward to
supporting and working more closely with
young British and international talent this
year, through both the Albert Sessions and
other initiatives such as hush – our intimate
gigs taking place in the 200 capacity Elgar
Room.”
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
Lay-out:
Pekaye Graphics, Phuket – Thailand
[email protected]
Albert Hall
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The Great Escape in Numbers
Allan McGowan [email protected]
Over the 15th-17th May, the already busy
City of Brighton, hosting its annual arts
Festival welcomed even more arts and
music fans attending the third edition of
The Great Escape.
The organisers have now completed their
figures and tell VIP-News that the following numbers were well up on last year:
Festival: 10,800 punters bought wristbands for the festival; Including all the
official gigs at 32 venues, plus street gigs
and the Alternative Escape programme,
some 25,000 people attended the shows
which featured 300 bands and solo artists, including 135 international acts. 350
event staff looked after all of this.
The Great Escape
Conference/Trade Event: 2,500 delegates attended with access to 45 panels
and talks. 850 media representatives attended to cover the event.
Organiser Jon McIldowie told VIP-News,
“We are very pleased with the numbers and
with the way everything went. The stated
aim of The Great Escape is to assist in the
growth of both business and artists, so
the presence of professionals and artists
from all over the world cements what we
are trying to achieve. We will develop all
the areas that worked well for next year
and make improvements on anything that
needs work – we have already receive a lot
of valuable feedback from attendants and
we will incorporate all of this into our planning for Great Escape 2009”.
New Venues for Birmingham Regeneration
Allan McGowan [email protected]
The Midlands City of Birmingham in the
UK is undergoing determined regeneration underlined by the revitalising of venues as part of the city’s plans.
a full £4m refurbishment programme of
the 45,000sq foot purpose-built 1970’s
nightclub, which has been closed for many
years.
VIP-News recently reported the acquisition by The Mama Group of the lease of
Birmingham’s Sanctuary. After refurbishment this year the venue will revert to its
former name - The Institute, and will have
four different sized spaces with state of
the art facilities. Mama are also developing The Birmingham Barfly, the main Auditorium will eventually hold 1500 -1700
people and will fill a regional gap for medium scale venues.
In 2006, Birmingham City Council granted
planning consent to Martineau Galleries
for a £600m Eastside Parks development,
including the Priory Square Shopping
Centre and Dale End, incorporating the
existing location of Carling Academy Birmingham and surrounding area, work is
planned to start in 2009. The Academy will
continue to trade whilst development of
the new venue takes place.
Now the Academy Music Group (AMG) has
agreed terms with Portmanor Projects to
acquire the ‘Dome’ on Bristol Street, Birmingham, for development as a premier
live entertainment venue. AMG proposes
club ticks all our boxes, it’s a landmark
building in a City Centre location, it’s the
right size and space to develop our strategy of a multi-room format and we can
really push the boundaries to create Birmingham’s very best concert venue. Birmingham is very important to the Group
as it was first City I chose outside of London some eight years ago to expand our
Academy brand. From the off, it was a real
success and without a doubt, is our busiest
venue in the estate and it marked a true
footprint for the roll-out of Academy venues nationwide
John Northcote, Academy Music Group’s
Chief Executive Officer said, “We’ve known
of the proposed development at Dale End
for a number of years and have been actively looking for a new venue for some
time. The site of the former Dome nightAMG
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Go North 2008
Allan McGowan [email protected]
Scotland’s leading trade and showcase
event previously staged in Aberdeen
moved to Inverness last year as part of the
Highland 2007 year of Culture, This 2008
edition will take place in Dundee on 5/6
June, and will return to Inverness in 2009.
goNORTH was launched in 2001 so acts
from Northern Scotland and the Highlands
and Islands could showcase in front of music industry and media representatives attracting industry delegates from around
the UK, around Europe and as far afield as
Russian and the US, companies attending
range from majors to the smallest indie.
Iain Hamilton, Head of Creative Industries,
Highlands and Islands Enterprise (HIE) said,
“Although Dundee is outwith the Highlands
and Islands, we are delighted to still be a
partner in goNORTH. What is important is
that acts from the region are appearing in
front of a wider audience. Dundee is a great
location too, a real music city.
At the last goNORTH we launched the Scottish Music Futures Fund, aimed at helping
Scottish businesses develop. Dundee provides a great opportunity for us to show-
case the talent of the Highlands and Islands
to a wider audience and also to highlight
how successful some of the recipients of
the Futures Fund have been, with labels like
Soma and Chemikal Underground, studios
such as Watercolour Music in Lochaber, and
management and publishing such as No
Half Measures or P3 Music”.
» I think that we probably have
our best line up to date...«
- Sean Arnold
Sean Arnold of goEVENTS told VIP-News,
“Dundee has great talent and venues, so
we are delighted to be here for goNORTH.
Dundee rightly has a reputation for music,
but it also fits in with our ethos, it is not
Glasgow, so we are attracting industry to
places that they might not otherwise go.
It is also great that we will have a lot of the
individuals and organisations that we have
worked closely with over the years attending again such as Music Export Norway,
and some of our ‘sister’ events represented
such as goMOSCOW.
We have worked hard again this year to ensure that we have good quality acts, good
industry delegates and good audiences. I
think that we probably have our best line
up to date, and we expect this to be one of
our best events yet”.
The Go North Dundee showcase line-up
and workshop programme is now online
at www.gonorth.biz
We have extended the programme this year
with over 70 performances, and a much
larger programme of panels and workshops, and of course, the famous goNORTH
mystery tour. Last year cruising on Loch
Ness to the Rockness festival site was pretty
special, but Dundee won’t disappoint.
GoNorth 2008
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-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.
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The Mama Group - Be Rozzo
Allan McGowan [email protected]
Since its formation in 2002, MAMA Group
Plc, describing itself as a public company
focussed on music and media businesses,
has expanded rapidly and dramatically
and so far shows no signs of slowing
down. Each month appears to bring news
of some new acquisition or another.
In the last few issues of VIP-News we have
reported purchases including an interest in The Nettwerk Music Group, a North
American, privately owned record label,
artist management and publishing company, venues in Edinburgh and Birmingham, and most recently The Angel Music
Group. AMG is the owner of some of the
world’s leading dance music festival and
nightclub brands, together with LNGaiety Holdings Limited it owns the rights
to the award winning UK festival Global
Gathering and the leading Welsh dance
music festival Escape into the Park. It is
also the owner of several dance music club
brands, including one of the market leading brands, Godskitchen, which operates
from the AMG Group owned Air nightclub
in Birmingham. This acquisition will make
Mama a majority shareholder in one of
the UK’s leading music festival operators
and expand its music festival portfolio
which currently includes investments in
the Lovebox Weekender and Surfstock
festivals, based in London and Cornwall
respectively and The Great Escape, the annual three day festival/conference event
based in Brighton. The AMG Group produces Godskitchen events across the U.K.
on a weekly basis and, in addition, routinely produces Godskitchen and Global
Gathering events throughout the world,
including Europe, the Far East and the U.S.
The Mama Group is comprised of three
divisions: Artist Services; which includes
extensive artist and producer management, music publishing, merchandising
and investments in recording businesses;
Consumer; which includes The Fly one of
the UK’s widest distributed music magazines, and Campus Group, a collection
of specialist media and marketing agencies working for clients interested in the
student and wider youth audiences and
a ticketing business, and of course, Live
Music; Mama now claim to be the UK’s
largest promoter of live music and currently own 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, and also holds interests in live music events including the
Lovebox festival;
VIP-News spoke to Be Rozzo, Managing
Director of Promotions, MAMA Live Division about his career and his work with
the Group:
VIP-News: How did you get started in the
business?
Be Rozzo: I’ve spent 28 of my forty-four
years in the business. I started off as
a singer; I had a few record deals with
bands in London. Unfortunately, through
a combination of general brashness and
a lack of business knowledge we were
as successful at derailing these deals as
we were at securing them. Eventually I
moved to the States and spent the next
seven years performing club dates, college tours and doing session work before
I finally threw in the towel.
VIP-News: Do you still sing, and what
brought you back to the UK and made
you decide to make the move from artist
to businessman?
Be Rozzo
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Rozzo: I still sing in the bath! I think I
probably gained too much industry
knowledge, enough to prevent me from
enjoying it as much as I had done previously, it killed off a lot of my creativity
and certainly crushed the majority of my
desire. I continued working on film music
projects for a while but I saw a lot of similarities between the two businesses. Reviewing my situation I decided to return
to the UK, this was around ’95-’96, there
was a great energy at grass roots live level
and I decided that this was the place to
be. I got involved with the Splash Club in
Kings Cross (London), I caught the promotions bug and when the Splash came
to an end we corralled the fallout and
started the Barfly.
VIP-News: Where did the name come
from?
Rozzo: We used to produce a fanzine that
had a column called ‘Diary of a Barfly’ we
poached it from there. Shortly after the
birth of Barfly we launched the Fly Magazine as a promotional aid to the venue;
Steve Zapp now an agent at ITB was the
first editor. The Fly soon proved to be
as time consuming as the club itself, so
things needed a bit of a re-think. This was
the time when Adam Driscoll (now joint
CEO of Mama Group) who came from a
print-publishing background got involved
in ’99 and took the magazine nationally
through a distribution network of music
venues and record shops across the UK.
VIP-News: Over the next five years you
opened more Barfly venues around the
country, apart from your own expertise do
you think you were helped by the time and
the conditions being right to support this
expansion, and as seems to be the general
assumption are things still good for live?
Rozzo: The live industry is buoyant, but the
competition is far greater. For every small
venue in existence ten years ago there are
five now. Since the relaxation of licensing
laws many venue operators have been left
locked in to devalued leases. Live and late
licences were previously far harder to obtain and lease agreements reflected this.
The brutal thing about the commercial
leases is that the terms for rent reviews are
generally set to only go way…. Upwards!
The buoyancy is also being pushed to the
limit with the saturation of the festival
market and the turf battle between the
larger national promoters, this is driving
artist prices beyond their ticket selling capacity.
In some ways the Barfly was born at the
toughest time, a non-buoyant time. We
started at the tail end of Britpop during a
spate of label cutbacks and mergers. The
cull led to many bands getting dropped
and a gang of A&R men losing their jobs,
many never made it back.. You’d have an
artist booked to play and the label would
call to cancel their ticket order for press,
TV and radio. Shortly after you’d get a call
from the agent informing you the show
had been cancelled because the artist had
been dropped.
VIP-News: How do you deal with these
situations?
Rozzo: Short term, there’s not a great deal
you can do, you cut your loses and get on
with it. It’s also important not to get swept
along with passing fads or trends or you
can easily find yourself on the end of more
of these situations than you’d like.
The same applies to our festivals the
Great Escape and Lovebox. We work hard
Adam Driscoll
VIP-BOOKING.COM
to achieve diverse and unique line-ups
packed with plenty of emerging talent, if
you get a late cancellation you hustle to
find the best replacement you can.
VIP-News: Are there particular problem
areas that you feel need watching in
terms of maintaining your future growth?
What are your dealings like with record
companies these days for instance?
»As long as there’s talent out
there we’ll keep chasing it,
booking it and shouting
about it…«
- Be Rozzo
Rozzo: The problem area is one that’s always existed. This industry like many is
cyclical and at some point there will inevitably be a downturn. We’ve recently
begun a process of refurbishment across
our venue estate to ensure we can offer strong options during what’s sure
to be a highly competitive period. This
process began some months ago with
the Kentish Town Forum and will continue across our venues over the coming
months. Our most recent purchase in Edinburgh is currently under the knife. The
1500 capacity venue formally known as
The Gig, or the Cally Picture House once
hosted shows by great artists such as
Bowie, Mott the Hoople and Thin Lizzy.
Over the years it’s been neglected and
allowed to fall in to disrepair. We’ve begun a significant refurbishment process
that will see the site ready for this years
Edinburgh festival. We’re really looking
forward to the venue’s revival and seeing it once again becoming part of the
touring circuit.
Our dealings with labels remains close
as ever although I think their fascination
with potential revenues associated with
the live market could test the patience of
some of the larger agents and promoters
in the future. Other than the reduction in
tour support for some of the newer touring artists it’s yet to affect us.
As long as there’s talent out there we’ll
keep chasing it, booking it and shouting
about it… You’re only as good as your last
gig in this game so best make sure it’s a
good one!
VIP- News - M a y 2 0 0 8
iTunes-Festival in Berlin
Manfred Tari [email protected]
The German branch of download portal iTunes promoted its first festival
in Berlin. For the Apple subsidiary this was the second attempt to expand
its iTunes brand into the live entertainment market. The first event of this
type took place in London in July 2007.
Apple obviously prefers to develop proprietary solutions for their products, so it was no surprise that Apple created the settings for its iTunesFestival in the way it did.
The event took place in the quite snobby Radialsystem venue located directly on the river Spree from April 26 to May 10. The series of 15 concerts
featured mainly popular music artists plus one Jazz and one Classical music event. Only two acts performed at each concert, the bill included Katie
Melua, Patrice, Clueso, Ich + Ich, Hot Chip and Morcheeba and others.
The venue capacity, according to media reports, was only 500. iTunes
collaborated with various media partners such as Intro, Berliner Morgenpost, Radio Fritz, Uncle Sally and LastFM to promote the festival. Nevertheless only a small number of tickets went on sale via Ticketmaster
Germany who auctioned the tickets, with the income being donated to
charity projects. The majority of tickets were distributed via the involved
media partners who organised competitions.
However, in the current issue of his monthly upcoming tours and concerts newsletter concert agent Bertold Seliger raised the point that
iTunes didn’t pay any fees for artists appearing at the Festival. According
to his information it was mainly record companies and also the artists
themselves who covered the expenses. Perhaps there is some arrangement to recoup this investment through another business model as the
live recordings of the concerts were converted into commercial downloads and are now available on iTunes.
Seliger finally concludes that record companies who are the greatest
complainants about consumers illegally downloading and copying music, in this case appear to support a policy that is based on the devaluation of music. None of the bands represented by Seliger played at the
iTunes festival. The agent furthermore declared that he would not support such “scandalous practises” by the corporate company Apple.
Katie Melua played the Itunes festival in Berlin
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It’s Reporting Season!
Manfred Tari [email protected]
Depending on the rules of the various stock markets and the type of company now is the time for the first quarter results. CTS
Eventim, Deutsche Entertainment (DEAG) and Live Nation opened the seasonal business figures show down. But also MAMA
Group moved swiftly with the figures striptease and reported the interim results for the half year results ended at January 31.
CTS Eventim sets new targets
Almost surprisingly CTS Eventim sets new
revenue targets. In the past CTS Eventim
used to be more or less reluctant when it
came to the prediction of revenue forecasts, but this seems different this time.
On May 15 CTS Eventim released its business report for the first quarter (Q1) of
2008. In the first three months of the year
CTS gained a turnover of 81.0 million Euros, in Q1-2007 the company made 73.5
million. The company declared that the
revenue growth was mainly driven by the
ticketing business of the company. In the
company segment Live-Entertainment
CTS had to accept a little drop in terms of
previous profit results.
The Earnings Before Taxes, Interests, Depreciation and Amortisation (EBITDA) for
CTS was 10.9 million Euro (Q1-2007 11.7 million Euro), the Earnings before Taxes and
Interests (EBIT) 9.1 million Euro (10.5 million
Euro). As group result (net result) CTS declared 4.9 million Euro (4.8 million Euro).
For the CTS ticketing division online
ticket sales are the main driving force for
higher profit and turnover. According to
the company CTS already sold 2 million
tickets in Q1 2008 compared to 1.5 million
in the same period the year before. The
EBIT within this part of the company went
up from 5.1 to 5.9 million Euro, while the
EBITDA was 7.3 million Euro (Q1-2007 6.1
million Euro). However, CTS declared that
the profit results are reduced due to initial
investments linked with global roll out for
its ticketing partnership with Live Nation.
In the company division Live-Entertainment the turnover raised from 56.7 (Q12007) up to 57.7 million Euros. The EBIT
went down from 5.4 to 3.2 million Euro,
the EBITDA from 5.6 to 3.6 million Euro. As
reasons for the profit decline CTS declared
start up expenses for new to be launched
event formats such as a Tutankhamun exhibition in Zurich/Switzerland.
Shortly before, on April 28 at a press conference in Munich, CTS Eventim declared
that the company was aiming for a turnover target of about 500 million Euro. In
2007, which was another record-breaking
year for CTS, the company gained revenue
of 384.4 million Euros, 342.9 million the
year before. Even when the profit results
did not climb as high as the better turnover figures may have indicated, CTS-CEO
Klaus Peter Schulenberg suggested paying a dividend of about 0.49 Euro per share
(EPS). The EBIT for the business year 2007
was 46.8 million Euro (45.7), the EBITDA
53.9 (52 million Euro). In 2006 CTS paid exactly the same dividend of 0.49 Euro.
Having asked an analyst about CTS Eventim setting higher targets after recordbreaking years, he commented that CTS
aspired to improve its current share price
level. After the business report was released the share price went up slightly to
26.03 Euro. On January 11 it peaked at a
level of 30.66 Euro, on April 23 it dipped
down below the 22 Euro border.
But according to Schulenberg CTS is on
its way to becoming a global player in the
ticketing business. From 2009 onwards
Live Nation will use the CTS ticketing software exclusively for a period of 10 years in
the US and other markets. Live Nation will
use the software of CTS in the main European markets and England as well as others including Canada, Mexico, Japan and
South Africa. CTS expect to gain revenue
of 100 to 120 million per year as a result of
this deal.
Live Nation - Between Higher Turnover and Less Losses
The business reports seem to indicate a
suffering Live Nation, the company had
again to declare a loss. For Q1 2008 the
net loss is $35.4 million, the year before it
was $45 million. The turnover in the first
three months rose from $520.3 million
(Q1-2007) up to $ 636.5 million. But when
it comes to the stock market it is not doing so badly
Bearing in mind that Live Nation undertook several acquisitions such as House
Of Blues, AMG in Sheffield and the management company that operates the
Heineken Music Hall in Amsterdam, and
signed some long term deals with acts
11
VIP-BOOKING.COM
such as Madonna and U2, the company
at least reduced its long term debts and
liabilities from $878 million to $837 million. Live Nation furthermore completed
the sell of their North American theatres
for about $ 90 million.
For Michael Rapino, President and CEO of
Live Nation the situation looks promising:
“The first quarter represented a solid start to
VIP- News - M a y 2 0 0 8
what we believe will be a very healthy year
for concerts globally. He added: “Our ticket
sales to date remain strong despite the
slowdown in the economy. Our priorities for
2008 continue to be focused on improving
the profitability of our core concert distribution platform, building our ticketing divi-
sion for our 2009 launch and continuing to
divest non-core assets to reduce debt.”
But as in the record business the digital
business of Live Nation is still far off being a cash cow. Within the division Global
Digital it gained a turnover of just $5.7
million ($1.3 million). Shortly after when
the business report for the first quarter
results was released on May 8 the stock
market more or less failed to react. The
share went down the day after from $14.11
to $13.50. Since then the share price rose
to $15.50.
DEAG - On the Rally for Revenue
Compared to CTS and Live Nation the business figures revenue of DEAG is a bit more
presentable. In Q1 2008 DEAG increased
its revenue results from 11,8 million Euros
in the same period 2007 up to 14,6 million.
In an interim report the company furthermore declared an EBIT of 0,7 million Euro.
According to the company the profit the
strengthened Classical Music Division and
higher sponsoring fees had mainly driven
results. Results of the recent acquired classical music company Raymond Gubbay
Limited will be included from the second
quarter onwards.
lier in January the share started the new
year at 1.63 Euro, the share price meanwhile is at 1.45 Euro.
In a three months review the business report had almost no significant impact on
the share price of the company. While ear-
The Edge sustain its D-Share Offer
The Venture Capital Trust Edge Performance extended its offer for the so called
D-Shares. The Edge wanted to open another fund and aimed to raise another £25
million on the financial market. In a short
notice the Edge has now announced move
ofthe deadline for the offer from May 23
to June 27.
Half Year Results by Mama Group
The London Stock Exchange listed Mama
Group has reported its interim figures for
their business half year until January 31.
The company declared revenue of £12.72
million. Last year within the 6 months until January 31 2007 the company gained £
5,475 million and within 12 months until
July 31 £12.24 million. Mama declared a
profit of £1.095 million as its EBITD-result.
The profit before taxation is £152,000, the
net profit £125,000. As loss per share the
company declared 0.03 Pence.
The management of the company undertook several investments recently, the latest being the purchase of 70% of the Angel
Music Group Limited for about £2,625,000.
The festivals Global Gathering & Escape to
the Park and the event brand God’s Kitchen belong to AMG.
Mama said it tripled its live music division
and also refers to its investment of the
Nettwerk Music Group. In the business report Adam Driscoll and Dean James as the
Co-Chief Executives of Mama were quoted
as saying: “We have transformed the prospects for the Group over the last 12 calendar
months and now believed that we are the
best strategically positioned UK music company. We have significant operations in live
music, artist management and publishing
– all are music industry growth areas. The
stake in Nettwerk gives us an important
bridge in to North American markets and
we expect further exciting developments
(together with growth in revenues and profits) over the coming months.”
The company has now three divisions: Live
Music, Artist Services and Consumer. Currently Mama has a market capitalisation of
about £33,77 million. On April 9 the share
price was 5.5 Pence on May16 it was 5.13.
London Stock Exchange
12
VIP-BOOKING.COM
VIP- News - M a y 2 0 0 8
Ticketing – Part 2
The Secondary Ticketing dispute still rages, following our review of the present state of play on this practice
and the division it has caused in the industry we continue the main theme with the following two items.
Manfred Tari’s interview with Arndt Scheffler responsible for ticket distribution for the German market leader CTS and we are also happy to pass on the press release from Tixdaq which contains news on the future
working of the Resale Rights Society (RRS), the new organisation launched in December by the Music Managers Forum (MMF) who were involved in the discussions reported in our last issue.
Arndt Scheffler
Arndt Scheffler on Ticketing
Manfred Tari [email protected]
Continuing the theme of the resale of tickets extensively covered in our last issue on
we spoke to Arndt Scheffler who works for
a company that knows both worlds very
well, being responsible for ticket distribution for the German market leader CTS.
Heavy weight concert businesses such
as Peter Rieger, FKP Scorpio and Semmel
Concerts are owned by CTS Eventim, but
also through their deal with Live Nation
will sooner or later take on the role of Germany’s first global player in the international ticketing business.
VIP-News: Currently several promoters and
concert agencies are still expressing grave
concerns regarding the resale of tickets on
the Internet. What arguments are there for
the existence and use of resale platforms?
»Consumers expect
CTS Eventim as the market
leader to offer a reliable and
secure auctioning and resale
platform for them«
- Arndt Scheffler
Arndt Scheffler: In the case of fansale.de
it’s simply security. When a seller submits
a ticket issued by Eventim for sale he has to
enter a barcode printed on the ticket. This
code will automatically be checked via the
eventim.ticketcheck. For purchasers this is
the certificate for Eventim-tickets and for
all approved tickets the buyers receive a
money back warranty. Furthermore buyers
have to lodge valid credit card numbers so
that a non-payment of tickets is avoided.
Due to the administrative payment handling by us the buyer is protected against
misuse and fraud. Also the logistic pro-
cess is controlled by us: our logistic partner DHL picks up the tickets at the vendor
and delivers the tickets directly door to
door to the purchaser.
VIP-News: Wasn’t one of the reasons for
the launch of fansale.de to offer a serious
alternative to many other resale platforms
primarily focussed on forcing up prices?
Scheffler: fansale.de positioned itself as
an auctioning portal offering a safe and
comfortable resale opportunity for tickets
on the internet. Due to our background
and experience we believed that is was
quite obvious that such a service should
be set up. We recognized that there was an
ongoing development in the market and
that we wouldn’t be able to prevent it, as it
is just a phenomenon typical of our times.
But consumers expect CTS Eventim as the
market leader to offer a reliable and secure
auctioning and resale platform for them.
VIP-News: Promoters and agents argue
that auctioning of tickets removes purchase power from the concert market. In
Germany CTS Eventim is the market leader
in both market segments. Do you have any
evidence that this contention is justified?
Scheffler: Without any doubt it is right that
you can only spend one Euro once. The
concert market is in heavy competition
with many other industries, all are trying to
attract the audience’s favour. At the end of
the day purchase decisions are made individually and autonomously, which makes
this question difficult to answer. Until now
figures and statistics indicate that we have
an intact primary market. However, you
13
VIP-BOOKING.COM
also should bear in mind, that the system
of dynamic pricing also offers the opportunity to sell tickets below face value.
VIP-News: There are a lot of rumours in the
market that it isn’t primarily the fans that
are offering tickets on many reselling platforms on these sites. Instead it is proposed
that it is the case that the site operators
are offering ticket contingents themselves.
According to those who have concerns the
operators are the ones who are conducting
a business almost without any economic
risk as they just sell the tickets for the highest bid. Are these accusations correct?
Scheffler: CTS Eventim runs a very successful business in the primary market and
created an additional offer to enable fans
to resale tickets in a simple, safe and comfortable way. And the name fansale does
not come out of the nowhere. Our business model is not based on the assumption you mentioned.
VIP-News: How can artists, promoters and
agencies benefit from additional returns
accruing via the auctioning of their tickets
at fansale.de?
Scheffler: This is a current discussion that
will certainly be continued. In terms of
tickets for sport events we have already
been able to successfully realize such participation models. For instance together
with the football club HSV (Hamburger
Sportverein) we developed an offer entitled as the “HSV-Ticketbörse powered
and developed by fansale.de”. We have to
serve market demands and we do this together with our business partners.
VIP- News - M a y 2 0 0 8
Tixdaq Launches ‘Ethical’ Price Checker for Online Ticket Market
21 May 2008: Ticketing consultancy Tixdaq (www.tixdaq.com) has launched an
ethical price checker for online ticket
sites which aims to help music fans save
money while paying some of the profits
to artists.
Tixdaq technology provides 24/7 monitoring of the price and availability of
over 125,000 tickets from the UK’s leading primary and secondary ticket agents,
enabling fans to get the best available
deal. The company is pledging to share
50% of the proceeds of any commissions
it earns on ticket resales over face value
with the artists performing the concerts
concerned.
Tixdaq says its new service goes some
way towards resolving the controversy
over secondary ticketing sites which have
faced calls that they should be banned
for exploiting music fans, offering a poor
service and robbing artists of potential
revenues.
Tixdaq founder Will Muirhead said, “Secondary ticketing platforms which match
buyers and sellers are great in theory, but
fans can easily end up paying over the odds
if they don’t have information about what’s
going on in the market as a whole. The Tixdaq price checker is a market solution to the
problem.”
Tixdaq research indicates music fans can
pay many times more than they need to
for near-identical concert tickets on secondary ticketing websites. Muirhead cites
a Dolly Parton gig at London’s O2 Arena in
July for which near-identical Block A tickets currently range from £103 to £595.
“A diehard Dolly fan will obviously pay
whatever it takes to see her, but would you
really want to pay £492 more than you need
to? The British public spend over £900m
every year on concert tickets. By increasing transparency in the market we believe
we can save the public millions of pounds a
year.” said Muirhead.
Identical Seats Available at Dramatically Different Prices
1.
2.
3.
4.
5.
6.
7.
8.
9.
Artist/Event
Date
Venue
Ticket type
Min. Max.
Difference
Bruce Springsteen
31/05/2008
Emirates
General Admission
£47.50
£151.00
£103.50
Boyzone
30/05/2008
O2 Arena
Block A Seating
£76.00
£300.00
£224.00
Kylie Minogue
11/06/2008
MEN Arena
Block A Seating
£90.00
£329.00
£239.00
Madonna
11/09/2008
Wembley Stadium
Level 1 Seating
£275.00
£658.00
£383.00
Kaiser Chiefs
24/05/2008
Elland Road
General Admission
£35.00
£165.00
£130.00
Bon Jovi
28/06/2008
Twickenham Stadium
Gold Circle
£79.00
£225.00
£146.00
Foo Fighters
07/06/2008
Wembley Stadium
General Admission
£40.00
£195.00
£155.00
Neil Diamond
19/06/2008
Millenium Stadium
Block A Seating
£110.00
£329.00
£219.00
Avril Lavigne
04/06/2008
O2 Arena
General Admission
£12.28
£120.00
£107.72
10. Dolly Parton
06/07/2008
O2 Arena
Block A Seating
£103.00
£595.00
£492.00
Source: Tixdaq. Research collated 17:00 19 May 2008.
Chart lists Top 10 current most popular tickets in the UK secondary market.
While a price differential is inevitable between front row and back row tickets, Tixdaq research shows that there is often a
wide discrepancy in pricing on secondary
ticketing sites for identical tickets. In the
case of Avril Lavigne – playing the O2 on
June 4 – general admission tickets range
from £12.28 to £120.
“When it became clear the Government
wasn’t going to regulate secondary ticketing, we set out to find a market-based so-
14
VIP-BOOKING.COM
lution to benefit the two most important
parties in the equation – the music fan and
the artist” said Muirhead. “The Tixdaq price
checker will help music fans protect themselves from being ripped off while at the
same time benefiting artists.”
VIP- News - M a y 2 0 0 8
Marc Marot
Artists to share in secondary ticket
revenue
Users of the Tixdaq price checker can click straight through
to buy the ticket of their choice. Said Muirhead, “We aim to
be the first port of call for tickets. Tixdaq is pledging to share
50% of the proceeds of any commissions it earns on ticket resale over face value with the artists performing the concerts
concerned. Where profits are being made, we feel strongly
that artists ought to share in the benefits of the secondary
ticketing market, and we’re prepared to put our money where
our mouth is.”
Tixdaq will pay the money to the Resale Rights Society (RRS),
a new organisation launched in December by the Music
Managers Forum (MMF) to raise standards of consumer protection in secondary ticketing and to ensure a proportion of
the proceeds goes back to the artists.
RRS chairman-designate Marc Marot said, “Artists want to
ensure that fans don’t overpay for tickets and so we welcome
the Tixdaq pricechecker service. As managers we obviously
want our artists to get paid too, so we wholeheartedly welcome Tixdaq’s innovative approach. We hope that Tixdaq’s
lead in looking out for artists’ interests is ultimately followed
by the whole industry.”
The Tixdaq 100 best selling tickets on secondary ticketing platforms increased in value by 117% over the past
three months – compared with a 6% increase for the FTSE
100 over the same period. Muirhead said the Tixdaq pricechecker will help bring down prices on the secondary
market, “If you’d bought 4 tickets for each event in the Tixdaq
100 at face value on 10th February, your £20,000 odd investment would now be worth £43,400. The kinds of increases we
have seen in recent months are not sustainable. Reality is now
catching up with the speculators. The Tixdaq price checker
will work against the cowboys and increase the pressure to
share the proceeds with the artists whose work makes the
events possible in the first place.”
For more information, contact Steve Redmond at:
[email protected] or 07770 924720
15
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VIP- News - M a y 2 0 0 8
artist avails ››
Carlene Carter & Band
Territory: Europe
Period: Late June & July 2008
Agency: Denis Vaughan
Agent: Denis Vaughan
Phone: +44 20 7486 5353
E-mail: [email protected]
Homepage: www.yeproc.com
Cuba All Stars
Territory:
World Wide
Period: September, October, November,
December
Agency: DÈcima Colina lda.
Agent: Antonio Lobo
Phone: +35 121 321 9000
E-mail: [email protected]
Homepage: www.decimacolina.pt
Dan Janisch
Territory: Europe
Period: September / october
Agency: Rockpartner
Agent: Birgit Osnes
Phone: +47 91744647
E-mail: [email protected]
Homepage: www.danjaisch.com
Gentleman & The Far East Band
Territory: Worldwide
Period: May - Sep 08
Agency: Bushhouse Booking GmbH
Agent: Rolf Radny
Phone: +49 221 7887 1880
E-mail: [email protected]
Homepage: www.bushhousemusic.com
Mandinga
Territory: Period: Agency: Agent: Phone: E-mail: Homepage: Europe
May 30 - September 30, 2008
Star Management
Anca Lupes
+40 722 396 640
[email protected]
www.mandinga.ro
ZORRO - Ice Theatre Budapest
- performed by 24 amazing skate dancers
Territory: Worldwide
Period: Summer/Autumn 2008,
Winter/Spring 2009
Agency: Multimedia Agency Hungary
Agent: Laszlo Hegedus
Phone: +36 1801 1021 - Skype: laszloh
E-mail: [email protected]
Homepage: www.mmconcerts.hu
More Artist avails on:
www.vip-booking.com
Post your Artist avails on:
www.vip-booking.com
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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].
Last Chance For Early Bird Delegate Offer at London
Calling 2008!
LONDON CALLING 2008 (19-20 June, Earls Court, London) is the UK’s largest music industry trade exhibition and conference, in association with AIM, WIN and Impala. London Calling brings together 3,500 senior buyers and influencers from the music, mobile and digital
industries, including major labels, operators, digital distributors, independent labels, artists, publishers, management, manufacturers, promoters, live agents and more. More UK music companies attend London Calling than any other global music trade event.
Book your delegate places now at the early bird rate until 23 May at www.londoncalling2008.com
There are only three days to go to book at this reduced rate!!
•
•
•
•
UK Industry will be there – no other event anywhere in the world delivers as many UK based music businesses as London Calling.
Internationals will be there – 40+ countries represented by hundreds of execs, with country pavilions from Brazil, Canada, China, The Caribbean, France, Ireland, India, Italy, The Netherlands, Nigeria, Russia, USA.
Associations will be there – we work with everyone that matters – MEF, AIM, WIN, Impala, MCPS-PRS, British Council, ERA, MMF, MPA, Music Week, FRUKT, Music Ally, Audience, IQ and MEF.
Media will be there – Music Week, FRUKT, Five Eight, IQ Magazine, Mobile Music Now, Stream, Useryourears.com., Songlink, Audience, Musique Info, Musik Woche, Tillate, Music Network Australia, Musicians Atlas, Impact, Xfm and Filter.
AIM (The UK Association of Independent Music) will once again host its AGM at London Calling, and bring 300+ of its members: the UK
independent record labels to the event for A2IM members to network and do business with.
Conference Speakers include:
Geoff Taylor - Chief Executive: BPI • Feargal Sharkey, Chief Executive and CEO, British Music Rights • Fran Nevrkla: Chairman & CEO, PPL •
Patrick Parodi: Chair, MEF • Stuart Galbraith, Kilimanjaro • Nick Godwin, 19 Management • Tim Parry, Big Life Management • Pete Jenner,
Sincere Management, • Sanjay Wadhwani, Ingenious Media • Tom Bywater, Power Amp Music • Shelley Taylor, All Dig Down • Tim Grimsditch, Nokia Music • Luke Magnuson, T-Mobile International • Jim Griffin, Warner Music • Dave Williams, Nokia • Anthony Ackenhoff: MD &
Founder, FRUKT • Kim Bayley: Director General, ERA • Paul Resnikoff: Founder/Editor, Digital Music News • Ray Anderson: CEO & Founder,
Bango • Andrew Fisher: CEO, Shazam • Paul Hitchman: Co-Founder & CEO, Playlouder MSP • Rich Bengloff: President, A2IM • Cliff Fluet:
Partner, Lewis Silkin • Paul Gilbert: Managing Director, ESP3 • Martin Blomkvist: Head of Content Acquisition & Management, Sony Ericsson
• Richard Wheeler: Head of Music, Orange • Angel Gambino: Global VP, Music & Content, Bebo • Ric Salmon: Managing Director, Harvest •
Jon Webster: CEO, MMF • Pim Betist: Founder, Sellaband • Will Muirhead: Founder, Tixdaq • Andrew Blachman: Chief Executive, Getmein •
Peter Quicke: Managing Director, Ninja Tune • Ronnie Traynor: COO, TuneTribe • Andrew Allen: MD, Backstreet Merchandising • Jack Horner:
Creative Director, FRUKT • Sarah Tinsley: Global Marketing Manager, Bacardi • Dylan Williams: Creative Director, Mother
Artists:
Courtney Pine, Akala, New Rhodes, Fight Like Apes, Kav, Foy Vance, Babel, The Sugars, Frank Turner, Captain Black, Make Model, Fortune
Drive, Hey Molly, Medallist, Dan Torres, Levelload, more to be confirmed shortly...
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.
For more information visit www.londoncalling2008.com
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VIP-BOOKING.COM
VIP- News - M a y 2 0 0 8
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]
Festival Rock Oz’Arènes
Since fifteen years, a constantly growing audience appreciates
concerts of a large variety of musical styles such as Rock, Pop,
Trip-Hop, World Music, Chanson and Reggae... always arranged
on a “Theme-night” base. The roman amphitheatre of Avenches
harbours the festival and provides incomparable identity by offering: • a capacity of 7000 places • the possibility to enjoy the concerts while seated (4000 places) • a panoramic view on the main
stage • the particular acoustics of the site • the intimacy of the limited space... and an ideal geographic situation just between the
German and the French speaking part of Switzerland. Many world
wide recognized artists have thrown themselves in the lion’s pit
since the beginning of the festival: Radiohead, The Cure, Marilyn
Manson, Jamiroquai, Franz Ferdinand, Texas, Massive Attack, Joe
Cocker, Faithless, The Prodigy, Iggy Pop, Morcheeba, Incubus,
Muse, Green Day, Patti Smith, Patricia Kaas, Placebo, PJ Harvey ,
K’s Choice, Heather Nova, Eagle Eye Cherry, Johnny Clegg, NTM,
Toure Kunda, Manau, Korn, The Wailers, Neneh Cherry, Jimmy
Cliff, The Young Gods, Melanie C, Ice-T, Alpha Blondy, Jimmy Eat
World, Stereo MC’s, Asian Dub Foundation...
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]
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VIP-BOOKING.COM