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McGowan’s Musings

On the way to the AIF reception at ’s­ much in need of a couple of beers, some son, are about to return to the fray. I keep Royal Festival Hall last week I was distracted ­ pleasant conversation, and the reassurance thinking, are there any bands left to reform, and then somewhat traumatised by the that some people do actually devote their and sure enough – there’s another one! World Press Photo Awards display in the time and efforts­ to putting together events foyer. After an excess of images of severed designed to provide other human beings A large part of the industry news in 2010, heads, bloated corpses, shootings and more with enjoyable­ and uplifting experiences - so was taken up with speculation as to whether death, disaster and mayhem, I was very thanks AIF! the powers that be would allow the creation of a live music behemoth as a result of the In fact I’ve spent the last week or so in the union of Live Nation and ­, and company of a lot of festival folk as the UK the effects­ this would have on the business. Festival Awards took place in London on It now looks as though we may see similar­ the day after the AIF bash. The Conference disquiet­ in the recording sector in 2012 took place at The Forum in Kentish Town, following on from Universal’s purchase of a venue I used to frequent when it was EMI. Many think that the newly engorged known as The Town & Country Club. This Company­ will be in a position to manipulate ­ was followed­ by the Awards and Dinner at the business in ways that will shoulder smaller­ the Roundhouse­, another venue which took players aside. US regulators don’t appear me back to my youth and seeing The Doors to have a problem with the situation, and COLOPHON > and other legendary ­bands, plus getting Universal­ has started to make ­ involved­ in certain things best glossed over, for regulatory approval, but trade bodies when the amazing UFO club was resident in such as Impala are obviously hoping that VIP-News is published by: VIP-Booking this former­ locomotive turning shed. A good their misgivings­ will be recognised­ and acted 145-157 St John Street London Ec1V 4PW time was had by all, apart perhaps from two upon by the European authorities. It should comedians­ who probably wished they’d be noted that Live Nation Entertainment­ Managing Director: Ronni Didriksen stayed at home watching TV, as opposed to and Universal recently entered into an artist­ [email protected] going down like the proverbial lead balloons! management­ joint venture, so let’s not General Manager: Peter Briggs assume­ that the live industry can watch from [email protected] A lot of discussion time at these festival the sidelines as this all plays out. Writer and editorial: events and elsewhere is devoted to new and Allan McGowan [email protected] up and coming talent – or more precisely, the Still, let’s face it even giants can be lack of. It seems ‘new’ headliners are actually vulnerable­, at a time when whole countries Writer: Manfred Tari old bands and that that reformations are still are desperately­ trying to sort themselves [email protected] providing aging artists with pension funds. out, perhaps the best thing is to stay alert For advertising enquiries please contact: The Stone Roses are to grace the festival and just get on with things, which is exactly Peter Briggs circuit next year, earning themselves a few what we’ll do… Ladies and Gentlemen – the [email protected] +44 870 755 0092 million, and apparently most of the original News! Van Halen line up with the addition of Eddie’s

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VIPNEWS > INDEPTH STORY > NOVEMBER 2011

London Venue News Allan McGowan [email protected]

London’s small and mid sized venues have experienced varying However there are some grounds for optimism; The Flowerpot started ­ fortunes­ in the last couple of years with economic and licensing up again at The Wheelbarrow on Camden High Street and two new problems­ making life very difficult for many. live music venues open this month: Clashbar a 100-capacity ­venue situated­ in the basement of one of London’s biggest backpacker The future of yet another long time fixture of the capital’s music pub hostels ­, Clink78 in King’s Cross, launches on November 24. Islington­ circuit is now in question with North London gig venue the Bull & Assembly Hall, was an important venue in London’s post-war years, Gate coming up for sale, if you’d like to ensure that it continues as it has recently been refurbished and the main hall will seat up to 170 an important gig you’ll have to find £2.7 million or so. The sale gives people cabaret-style or 230 people theatre-style, with additional­ another signal that things are difficult at the grass roots end of the seating ­ is available for another 200 people in the upper circle. It is live industry. North London has seen several previously long running now being run by AGMP, whose founder Adrian Gibson has promoted ­ venues disappear, Kentish Town lost the Tally Ho a few years ago and concerts in London since 1989. The Flowerpot more recently, and Kilburn’s Luminaire has now closed down.

The Flowerpot

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4 VIPNEWS > INDEPTH STORY > NOVEMBER 2011 Festival Feature UK Festival Awards 2011 Winners

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

Best new festival: Wilderness Best major festival: Glastonbury

Best metropolitan festival: Tramlines Fans’ favourite festival:

Best dance event: The lifetime achievement award: Steve Heap Best overseas festival: Outlook (Croatia) Mrs Casey Music/ Best family festival: Beautiful Days Towersey Village Festival

Best breakthrough artist: Ed Sheeran The grass roots festival award: Y-Not Festival

Line-up of the year: Sonisphere Concession of the year: The Beat Hotel

Headline performance The greener festival award: Shambala of the year: - Latitude Best toilets: Y-Not Festival Anthem of the summer: Chase and Status - Blind Faith Best sponsor activation: Capitalize - Bacardi Agent of the year: Steve Strange The extra-festival of the year: Secret Productions activity award: Bearded Kitten

Best small festival: End of the Road Outstanding contribution to festival production: The Event Safety Shop Best medium-sized festival: Secret Garden Party

James Drury, Managing Director­ of Festival Awards, Ltd, said, “The Festival Awards is all about recognizing­ the work everyone ­ in the industry puts in, and sharing the thanks and love from the public for those efforts. Everyone involved - not just the winners - should be rightly ­ proud of what they’ve achieved in a year that has been more challenging than others.”

5 VIPNEWS > INDEPTH STORY > NOVEMBER 2011 Conference: It’s an Ill Wind…

of the 2011 Festival season were of course the global festival industry this year, drought, Rudi Enos the reports of the fatal disasters caused floods, storms, will occur more often.” In a by extreme weather conditions, and not kenote interview Melvin Benn, MD of Festival­ surprisingly­ one of the main panels at the Republic, said, “Perhaps we should now Conference preceding the 2011 UK Festival make allowances for and instigate procedures Awards addressed the unpredictable and for much worse weather than previously horrific effects that the elements can have on anticipated­,” he told delegates. “Tents and the best planned events, called ‘Weather – stages can be better stabilized and supported­. Or Not’, The crucial fact that more equipment and time will be needed means the cost will rise The panel agreed with Rudi Enos (see but that’s a fraction of the festival takings.” below)­ that, “We can make all sorts of allowances­ for the stresses and strains The ‘Weather’ session was preceded by a very of structures, but what we can’t always pertinent speech from Rudi Enos, of Sheffield make allowances for is the weather.” It based Rudi Enos Design, one of the senior was also agreed that it was not only more designers of portable structures in the event weather that needed consideration,­ but industry. VIP News spoke to him at the event This year’s edition of the Conference the increasing­ number of events obvi- and he has since kindly sent us a transcript of included ­ panels on Social Commerce, on the ously upped the risks. The Ops Director­ of his speech and given us permission to include increasing­ number of hats festival promoters Julie’s Bicycle pointed out from the floor it in this edition of The News. have to wear, the competition for sponsorship that, “It’s what global warming causes that between­ sports and festivals in the year of the matters­, it is getting windier and the violent ­ Olympics. The outstanding news headlines and extreme weather events that affected A Changed World

Since the summer of 2011, with the disasters­ on the consequence of failure rather than operated. Not all the fault should be laid at of the Indiana State Fair, , 18th portability­ or cost. Perhaps­ we should now the feet of the designer, manufacturer or the August 2011, Ottawa Fest, July 18th make allowances for and instigate­ procedures­ installer. They have all worked in an industry­ 2011, Flaming Lips at Tulsa Oklahoma, for much worse weather­ than forecasted. For where, for example, temporary structures August­ 8th, 2011, and a concert by Ivete the purposes of this speech I assume that designed (and perfectly adequate for) Sangalo at Sao Paolo in Brazil on 21st August large stages are frame tents. more benign weather patterns in Southern 2011, the event industry has had its own Europe ­ are imported into northern countries Annus­ Horribilis. Tents and stages can be better anchored, and allowed­ to be used, partly due to pan stabilised­ and supported without a vast European­ desire for conformity. If only the To view this in a rational way, we must accept­ increase­ in effort. The simple fact that more weather could read the regulations. that historically, event industry temporary­ equipment and time will be needed means structures have generally had a very good that costs will rise, but that rise is a fraction­ Improved testing regimes must be safety record. But, based upon the summer’s­ of a percentage of festival takings. The implemented­. Design strategies that are tragic events, we have to accept­ that perhaps­ industry ­ is moving into a new era with the both tested and efficient must allow for it is time to move on and introduce ­higher introduction­ of CDM regulations, it is surely this and recognise that more severe testing standards of design, manufacture­, installation­ time to move on in other areas too. is required when the structure is capable and inspection. We need to establish ­a new of accommodating­ ever larger audiences. paradigm in temporary­ structure­ design and Organisers need to provide the correct budget­ Anyon­e who saw 20,000 people in the Radio­ installation inspection with an emphasis ­ and timetables to allow safe structures­ to be 1, NME tent at Reading this year will see a >

6 VIPNEWS > INDEPTH STORY > NOVEMBER 2011

Pukkelpop stage colapse

> future where festivals can be held which capacities undreamt of 15 years ago, but embody­ the outdoor nature of the event but structures which meet or exceed current give enhanced cover against bad weather. standards and guidelines. We need to set our This carries the attendant problem of higher own ever higher safety standards, we need to risk. approach new structure design with humility­ and a willingness to deliver a structure that if I have a personal investment in this process­; I installed correctly, simply cannot fail. MyMusicMailer.com do not want to be a designer whose structur­e enables artists to MAIL has caused a death. I do not want to hear a This speech should be taken as a clarion their music to more litany of second-guessing and 20:20 vision­ call for the whole industry. In the past we than 6.000 venues and after­ a disaster. The festival­ organiser­ and their have allowed­ commerciality to drive our agencies worldwide… team do not want to be put in the positio­n industry ­. We can do much better, we have of this summer’s unfortunate­ organisers­. We the knowledge­. We really do know how to should always remember the people who do this; to ignore the imperatives and the paid to enjoy a musical experience ­and did challenge­ will be our industry’s disgrace. not go home. There has been a call for better, more local weather forecasting. While this is possible or desirable, it will not solve the issue. Once a severe weather issue arises, the problem is still there and there may not be time to take appropriate action. We must make our response before the event not afterwards. There is always the solution of removing the public from danger by evacuation but that is not a good solution if the structure is lying on the floor. Severe weather instances can often be over quickly and the event restarted in safety, but not if the structure is unusable.

Only advanced design can give the client the comfort of ever larger, more attractive structures, which are not only able to handle­ 7 VIPNEWS > INDEPTH STORY > NOVEMBER 2011

Festival Stage Collapse Disasters Prompt 2012 Seminar

Examining Large Temporary Structures

As a project of the Special Structures Lab, techniques­, ground anchors, rigging, lift to do is let the knowledge ‘trickle down’ into Rudi Enos (see above) in collaboration motors and gearing, and the importance general use at the level of examining officer­s with Professor­ Aleksandar Pavic, the Head of erectio­n in varying wind and ground and event safety teams. The seminar will of the Vibration Engineering Section of conditions­. provide­ a good start to that process”. the University­ Of Sheffield and Managing Director­ of the Full Scale Dynamics Ltd and The seminar will highlight the failures that can Interested parties can register for the seminar Alan White, a leading structural engineer, occur when proper design is not complete­d, at www.specialstructures.com If you would have set up a seminar prompted by the or when field modifications to designs are like more information about this topic, or to disastrous­ stage collapses in 2011. introduced without a full understanding of speak with Rudi, Alan or Alex, call Rudi on their implications. This includes unlawful and 0114 257 7755 or email to The two-day event will take place at the reckless removal of side guys and structural [email protected] Royal Victoria Hotel in Sheffield on the bracing on tents and stages. 28th and 29th March 2012. The semi- For further information please check nar will concentrate­ on the essential ele- Rudi Enos comments, “The industry is already www.buma-rotterdam-beats.nl ments of design­, construction, and installa- highly regulated in the UK, and does not tion of temporary­ structures. In particular, requi ­re more. The necessary experience and the seminar­ will focus on manufacturing expertise is already in place. What we need Festival Insurance

Being responsible for open-air events that in have run ERPAM, specializing in the Keeping in mind that some festivals and some cases bring together more people than entertainment­­­­ sector. Since 1989 the events for 2012 have already been covered, make up the population of small towns is a company ­ with its 25 employees has advised up to now there are no observable trends in serious business and as recent incidents have promoters in ­ and in other European­ the market that require reconsideration of shown, all sorts of unexpected things can countries. As a broker ERPAM has the facility­ our assumption. happen. How do festival promoters go about to select from more than 50 insurance covering themselves and their charges, the companies­ in order to optimally insure the Have you had to deal with an increase­ in festival goers, artists, crew, equipment etc., worldwide risks of its clients by also utilizing insurance claims from your clients over in increasingly unpredictable conditions? global partners located in London and New the past year, and if so, what kind of York. incidents­ have resulted in these claims? VIP News spoke to Christian Raith, Managing ­ – In terms of claims the year 2011 was a Director and owner of insurance brokers­, What changes, if any, do you expect­ in somewhat special year. On the one hand, Eberhard, Raith & Partner GmbH www. insurance fees for promoters in 2012? there was an increase in notification of claims erpam.com who has been working in the – We assume no major changes in the due to a higher number of event cancellations­ insurance industry for more than 20 years. insurance premiums for the next year. or abandonment compared to previous Since 2000 he and Bernhard Eberhard years; on the other hand, a comparatively ­ >

8 VIPNEWS > INDEPTH STORY > NOVEMBER 2011

> higher individual­ extent of damage. The years, thus asking themselves if the outlay main reasons­ behind that might be the bad for contingency event cancellation insurance­ weather during the summer months, as well is worth the money. However, immediately as the increased number of outdoor events. following ­ the case of an uninsured loss Actually, we notice a year-to-year increase in you get the answer; if the worst comes to the number of festivals or open air events. the worst a cancelled event can mean the financial ­ end for the event organizer. Even What are the differences between worse is the fact that not only the promoter insurances­ offered in the UK for the live will suffer from an uninsured loss, but also entertainment­ industry and those in other suppliers involved in the event because Europe­? they will never see any compensation. – The main differences between insurance­ offers in the UK and Europe become ­ So, what is an efficient insurance for an obvious­ when looking at the small print, open-air event in order to protect promoters?­ i.e. the conditions.­ Unfortunately, these Nothing­ is easier; you might need a particular points make it very difficult for contingency­ event cancellation insurance the promoters to compare the different including­ appropriate weather insurance offers, and usually, the differential effect coverage, which should be individualized to becomes­ clear only in the case of a concert the promoter in order to ensure coverage cancellation­ or another claim. Let’s give an of special risks such as flooding or obscured example: the premium of an English cover visibility­. Also make sure that the build days for a festival­ contract seemed to be a good before the first act steps onto the stage deal, at least at first glance. However, taking are included. Moreover, a comprehensive a closer look at the policy we discovered a coverage­ for other involved trades, such clause that commits the festival organizer to as stage building, electronics, tents, etc., is provide a replacement­ event. How should necessary­, and finally never forget to obtain that be technically­ possible­? Therefore, we liability insurance coverage. recommend­ paying close attention to the fine print and also thorough­ discussion of What are the latest trends in terms of the the different conditions together with your coverage of damages due to bad weather­ insurance­ partner. This might help you to incidents and what kinds of damages ­are avoid unpleasant surprises. no longer covered?

Many promoters noticed that – Until now, the coverage is still unchanged­. Pukkelpop’s­ insurance didn’t cover the Of course, there is a natural link between damages­ caused by the bad weather ­ catastrophes like storms and a subsequent incident­. In these days what kind of increase in interest for insurance ­products insurance­ is needed ­to protect promoters following such catastrophes. However­, this is more efficiently­? only of short-term character. In a lot of cases­ – Cases involving other festivals prove it’s often too late to purchase insurance­, that adequate­ insurance coverage can be especially­ covering contingency event obtained­ without any difficulties and also cancellation­ resulting from damages due to holds true in the case of a cancellation weather issues as many insurers require­ a or another­ claim. You might be aware of lead time of between 2 to 4 weeks. some of these positive ­examples. However, some promoters often display a kind of Did the tragedy at the Love Parade ­in gameplaying­ behaviour, similar to russian Duisburg in 2010 impact on the kind roulette, when considering their insurance of insurance coverage you have since requirements. This is especially ­the case if recommended­ to your clients­? Christian Raith they have not experienced any problems for – Generally speaking there are always > 9 VIPNEWS > INDEPTH STORY > NOVEMBER 2011

> customers­ who only have obtained insurance ­ only the costs based on the promise of an amount, where does it start and where does coverage because of this tragedy. We insurance company. So unfortunately, it is still it end? Neither are there any laws or useful noticed­ that there is a lot of uncertainty, the price that plays the most important role, recommendations­ on this issue. In the case of especially­ from administrative authorities not the coverage, a bad thing because the the Love Parade, the negotiations are still in and promoters­ with regards to the necessary­ liability is unlimited by law. process. Therefore, no judgement has been amount insured. For us, we can tell that there given so far that determines the commit- was no need for change of our products­ The insurance coverage of the Love ment of the promoters. From our point of as we have always had a comprehensive Parade­ in particular has been intensively ­ view, the expected number of visitors as well insurance­ coverage as well as sufficient discussed in the German media. It has as the type of the event, indoor or outdoor amounts insured. been reported many times that an venue, heavy metal festival or classic event, insurance­ coverage­ of 7.5 million Euro should definitely influence the sum insured. As far as we know the broker of the Love wasn’t sufficient,­ what is your point of However, it lies in the hands of the promoters Parade ­ cannot be held responsible as in the view on this? not only to consider the perfect coverage but end it’s the promoter who decides on the – As stated, the promoter decided the also to be prepared to buy it. sum insured although he may have been amount insured, and this raises the given different advice, taking into account important­ question, what is the right Association of Independent Festivals 2011 Report

drink and entertainment), they contributed ­ 65% in 2010. In response to the issue Indie Festivals a staggering £222 million to the of rising­ ticket prices through secondary Contribute £222m ticketing­ sites and touts AIF launched The UK economy and £17m to local businesses. Ticket Trust, an ethical ticket exchange site, to UK Economy With over 400 festivals having taken place on the 11th July this year. The Ticket Trust has in the UK this summer, the total amount of enjoyed a successful first season trading 365 • Audience Research Shows Festival Goers revenue generated across the whole festival tickets to Bestival, , Undeterred by Recession landscape is projected to hugely exceed that Creamfield, Belladrum • AIF Festivals generate £222m for UK and Secret Garden Party amounting to £55, economy In fact the £461 average spend per capita is 770 worth of tickets being resold with no • The Ticket Trust enjoyed successful first part of an overall trend of increased spending­ mark up fees. season exchanging £55,770 of tickets as festivals weather the recessional storm with Social media has officially overtaken word • Social Media drastically increased as a a durability that other entertainment forms of mouth as a major source of festival festival information source. can only envy. Compared with the overall au- information­ and climbed dramatically since dience spend of £408 in 2008 or £438.24 last 2008. 57.7% claim social media to be a The huge value and contribution of UK year, the festival market looks to grow whilst major ­ source from 34% in 2008 although festivals­ to the British economy has been other sectors such as nightclubs contract. In still not beating out the festival’s official quantified in an overreaching survey of over a direct comparison of festival vs other enter- website­ whom the majority of 68.7% claim is 2,400 festivalgoers. tainment spending, festivals have only been a source of information. 52.9% currently use The 31 AIF member festivals alone, moderately hit by the downturn as 54.9% word of mouth and 43.7% of those surveyed which include­ Bestival, Womad and End claimed to have their festival spend hit by the use communal festival websites. of the Road Festival, attracted around recession as opposed to 71.9% who reduced 480,000 people this summer. Spending ­ spending on other forms of entertainment. Claire O’Neill, co-founder of A Greener an average £461 per person ­on festival Interest in ethical ticket exchange has Festival and AIF general manager said “In costs (travel, accommodation­, food and increased­ since last year up to 68% from the face of what has been a challenging > 10 VIPNEWS > NOVEMBER 2011

> few years for many, we are very happy to With 31 members ranging from Bromley’s variety­ of areas such as security, the environ- see these positive trends for the continued Leefest to the 55,000 capacity Bestival in the ment and beyond, providing a knowledge steady growth of the Independent Festival Isle of Wight, AIF enables the promot- base for festival promoters, as well as cre- market. Year on year from our audience ers of some of the UK & Ireland’s most ating collective­ purchasing and marketing surveys the impact to the UK economy innovative­ and successful festivals to speak opportunities­ for its members.AIF operates and cultural significance of these events is with one voice when addressing the wider as an autonomous division of the Association confirmed­. Delivering­ a successful festival is music­ business­ and government. AIF aims of Independent Music. by no means an easy task, and the amazing to establish­ best practice for festivals in a accomplishments of our members and their teams is outstanding.” Bestival member of the AIF

About AIF The Association of Independent Festivals is a not for profit body set up in 2008 to represent­ independent music festivals in the UK and Ireland.Conceived by Bestival promoter­ Rob da Bank and Graphite’s Ben Turner, the association’s­ founder members­ included Bestival­, Cornbury Festival, Creamfields­, Evolution­ Festival, /Underage, Secret Garden Party, Summer Sundae Weekender and WOMAD.

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11 VIPNEWS > NOVEMBER 2011 Intellitix Opens UK Office and Announces Key Appointments Allan McGowan [email protected]

The implementation of Radio Frequency Intellitix boss Serge Grimaux says: “We gained Parmley will also be working from the UK ID (RFID) technology by festivals has seen an impressive list of festival clients in North office. A veteran journalist and consultant substantial­ growth over the 2011 season­, America this year, and we are now adding on the international live music industry, this and looks set to increase dramatically over an equally impressive list of respected­ figures­ summer he set a new Guinness World Record the 2012 European festival season. In in the entertainment world to our team. My for ‘Most festivals visited in 30 days’. Parmley­ response­ to this growing demand Intellitix­, partner Martin Enault and I will continue to also retains his role as Director of Content the global market leader in RFID access grow the Intellitix platform­ globally­ to answer­ and Media for the International Live Music control­ and cashless payment systems, has the needs of the festival­ communities­, Conference (ILMC). announced two key appointments and a new enchance­ the patrons’ experience ­and be a UK office to focus on the European festival generator of new sources of income.” VIP News spoke to Greg Parmley about his market in 2012. new role: Prior to joining Intellitix, Jenner helped grow Steve Jenner, founder of Virtual Festivals­ the digital footprint of the ­ This move from journalism to information ­ who most recently worked as Digital brand, amassing more than half a million officer marks quite a move for you, you Director­ at UK promoter Kilimanjaro Live, is Facebook fans worldwide and over 6 million­ must be quite convinced that this is a confirmed­ as Also joining Intellitix is Greg visitors to its website. A self-confessed product you are prepared to believe in. Parmley, until­ recently editor of live ­ nut, Jenner also established both UK When did you first become aware of industry title IQ Magazine, who will oversee and European Festival Awards and founded the RFID technology and how did you global communications ­in his role as Chief Virtual Festivals. become­ involved with Intellitix? Information­ Officer. – I’ve been writing about cashless payment Jenner says: “RFID technology will systems and ticketing technology for some The appointments come after Intellitix revolutionise­ the way music festivals are time now, but it’s only recently that I became­ activated­ over 1 million Radio Frequency ID experienced­, produced and shared online aware of how powerful integrating RFID (RFID) wristbands at festivals in North America­ over the next few years. What Serge, Martin­ access­ control, cashless payment and social this summer. Sites included Coachella­, and their team have accomplished in the US media could be. Individually these are all Bonnaroo­, , Outside­ Lands, in such a short time frame is phenomenal powerful tools for an event promoter, but Austin­ City Limits, Electric Zoo, Moogfest and and underlines the power of their product looking ahead to when they’re all on the Le Festival d’été de Québec. Reports indicate­ and their strength of vision. To have the same wristband or entry device, it becomes that the company’s RFID access­ control­ opportunity­ to build on this success and game changing. systems­ securely sealed the festival sites, allow­ music festival organisers and fans in radically ­ reduced queues, eradicated fraud, the UK and Europe to share in the benefits of You famously entered the Guinness and withstood all types of weather. this incredible technological shift is thrilling. Book of Records by visiting 26 European ­ We want everyone to be part of it.” Festivals­ by motorbike this summer. 12 VIPNEWS > NOVEMBER 2011

business develops. We’re absolutely ­talking ­ Steve Jenner to various companies about partnerships­ as joins Intellitix well. Intellitix is a platform – we work with any ticket seller, concessionaire,­ or any other stakeholder involved­ in the event – so we’re very open to discussing possibilities­ that could be beneficial­ for all involved.

Can you see a time when all events will operate the systems, or are there still sceptics to be dealt with, and will it be part of your job to convert them? – Technology is undoubtedly going to change the way that fans experience live music, and I firmly believe that we’re one of the companies­ at the forefront of this. The biggest­ task at Greg Parmley joins Intelltix the moment is to communicate ­just how it can improve the experience. Many live event organisers are going to be naturally sceptical Were any of the events that you visited of ways that the technology will develop, about it, and rightly so – when you’re talking on your ‘marathon’, using the system - or particularly­ once NFC phones become more about access control and payment systems at at least considering future use? commonplace. NFC and RFID is basically the a festival, there’s no option for things to fall – This summer we rolled out Intellitix systems­ same technology, so once the chip becomes over. So the main focus for us right now is in North America. Having just opened a part of your mobile, it unlocks enormous to communicate what we’re doing, and let European­ HQ this month, we’re actively potential. The basic premise of what we’re organisers know that we have something looking to partner with some key European doing is making connections, between fans, that is completely robust and that can pay events for summer 2012. artists, promoters, brands and more – and for itself from year one. the more ways there are to connect, the more Apart from providing a ‘cashless’ facility­, advantageous it is for everyone involved­ in For more information go to: the data collection aspect is obviously the festival, tour or event. www.intellitix.com an application that interests all involved in the promotion and presentation of Will Intellitix be setting up regional events - do you think that there are offices­ of your own, or perhaps licensing future­ possibilities for the technology the technology? that are still to be considered or applied? – We have offices in Montreal and London­ al- – There are going to be a huge number ready, and we’ll look to open new offices ­as the

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13 VIPNEWS > NOVEMBER 2011

SONIC VISIONS 2011 Allan McGowan [email protected]

This year’s third edition of Luxembourg’s You can’t make use of every possibility that the important markets­ of Germany, France showcase­ and conference event, Sonic seems to be attractive and promising, you and Belgium. Agreeing­ that networking is Visions­, will ask the question whether we need to have a precise idea of what you really­ essential­ in this industry­, Sonic Visions offers should maybe­ make a short break to take a want and how you can get there. It’s true, the opportunity­ to meet with peers from all deep breath before we continue ­running­ after no one can provide a master plan, but Sonic over the world and make new contacts at the the latest technology driven­ opportunities.­ As Visions­ wants to ask the crucial­ questions. two day conference on Friday and Saturday­ an artist you need to be in full control of your 25th/26th of November. project and you need to know the mechanisms­ Luxembourg is located in the heart of Europe­, of the music­ industry. Today’s land of plenty is easily accessible and features a variety of VIP News will attend and report back in the seems to become more and more a labyrinth: cultural influences, directly neighbouring next issue.

MIDEM ’12 Jules Frutos Partners with Alias Allan McGowan [email protected] Bruno Crolot, Director Midem Director Bruno Crolot,

The 46th edition of midem will be held from professionals and the general ­public and will city of Cannes. Our commitment­ to delivering­ January 28 to 31 at Palais des Festivals­­ in include three major concerts ­to be held in a a premium concert experience is underlined ­by Cannes. dedicated­ auditorium­. The line-up for these our partnership with Alias, which has a proven live shows will include international­ headliners­ track record of producing superb ­events and Indicating the increasing importance of the as well as up-and-coming talent. which shares our artistic aspirations­ for the live sector to this longest established industry “At a time when the music industry is speak- midem­ festival.” trade event, which previously focused primar- ing with one voice, it is important­ to trans- Alongside the midem festival, a series of ily on the publishing and recording sectors will form words into deeds. Live and recorded­ smaller concerts, entitled ‘midem off,’ will be the first midem festival. music must move forward together­ using take place throughout Cannes. A dozen ven- new models,” said Jules Frutos­, Co-Director ues around town will showcase new talent This innovation will be staged in partnership­ of Alias. that will complete the programme of midem with French concert producer Alias. “The creation of the midem festival, as a key festival live performances. French music festivals Les inRocKs Black XS part of midem 2012’s live music programme,­ and Musilac are among Alias’ key annual­ is a major event for both our clients and the More information: www.midem.com events and the company also puts on concerts­ general public,” added Bruno Crolot, Direc- for top international artists such as Adele, torbarley of Music Markets at Reed MIDEM. Gossip, Jamiroquai and Muse. “It fits perfectly­ with the new midem that we The midem festival concerts, which will be are putting­ together for 2012 and we are very produced by Alias, are open to both industry­ lucky to have the enthusiastic support of the

14 VIPNEWS > NOVEMBER 2011 BDV To Launch Own Collection Society Manfred Tari [email protected]

While Prodiss, the French promoter association Yet it is the case already that eligible continues to lobby the French Government for promoters­ can submit royalty requests legislation in the issue of a promoter’s share to GVL. With this in mind, what is the of certain ancillary rights, it appears that in benefit­ of the new collection society to be Germany­ a law already exists. founded­ by BDV? – GVL is a collection society run by record Paragraph 81 of the German copyright law companies­ and performing artists, and the defines­ that promoters are eligible to obtain owners and members of GVL would be the royalties for a show that has been recorded licensees of the promoters. To avoid a conflict and afterwards sold as a download or on of interest, GVL will not represent the rights sound and other data carriers or which has of promoters against record companies and been broadcast on TV/Radio or streamed on broadcasters, so we need a separate collection Johannes Ulbricht websites. It is one of the very few opportunities­ society for this. for promoters to augment their business model­ which is primarily only based on ticket Are there already any payment schemes similar reactions from record companies or sales and one off income streams related to discussed indicating how much promoters­ artists? live events. should receive in royalties for live – No, actually we have the impression that recordings­? many record companies understand that it is In its annual meeting in November in Ber- – No, we’ll have to negotiate this with the helpful for the whole industry if there is an lin, the German promoters association, Licensees­ and their professional organisations. incentive for the promoter to invest into the Bundesverband­ Veranstaltungswirtschaft long-term success of new acts. There were (BDV) has agreed to launch a collection society­ Who will decide on the levels of those always conflicts between the different rights of its own. VIP News spoke with Johannes payment­ schemes? holders regarding distribution of income in Ulbricht­ who is in charge of legal affairs at BDV – In case the parties can’t work out a deal the past but the music industry as a whole about this initiative. themselves, there would be a mediation prospered for many years because there were procedure­ at the patent and trademark office, incentives to invest in new talent. Any rights Do you know the amount of royalties GVL which is supervising collection societies. If the holder who only thinks about defending his (the German equivalent of the UK’s PPL, mediation procedure fails, the case would go share in the present environment but not or Stena Performers in the Netherlands) is to the high court. about improving the environment in general is paying to promoters for the usage of live focused on the past not the future. recordings? In an opinion survey by the German trade – As GVL is only representing the promoters­ publication Musikwoche regarding the For further information please check regarding­ a very small scope of rights news of the BDV collection society, more http://www.bdv-online.com/ (copyright­ fees on copying and storage devices than 37 percent of the readers were of and hardware like PCs), GVL is not paying any the opinion that promoters should not sum worth mentioning yet. benefit from neighbouring rights on live recordings. Have you already experienced

15 VIPNEWS > NOVEMBER 2011 Reeperbahn Résumé

“The Reeperbahn Festival has developed as the impressed­ by the place and the feel (red light, No. 1 event of the music industry in Germany.” prostitutes, bars - but without the feel of being (Bernd Dopp, , DE) endangered in any way) c) the audience - the response of the audience “It’s very close to the perfect club festival. It’s to the concerts was extraordinary. Never saw something that puts Hamburg easily to the the people so enthusiastic as this year. top of the current fight for attention and international­ reputation within the German And how about Reeperbahn Campus?

music scene.” (Jörg Augsburg, Der Freitag, DE) – Concerning the Campus I was happy to see that the Networking opportunities “Hamburg can become the Austin of Europe.­ worked quite well and every session and The Reeperbahn Festival has enormous matchmaking­ was well attended. This was and potential­.” (Austin Powell, Austin Chronicle, is an important­ step for us. The same with the US) showcases, this was the first time we offered these opportunities­. Finally we had nine - and Detlef Schwarte, director Detlef Schwarte, director Reeperbahn Campus Reeperbahn “I think you’ve made the Reeperbahn Campus most of them worked well. But this is a thing the most relevant new music event in Germany­ that definitely can be improved and extended. This year’s Reeperhan Festival and Reeperbahn which is a hell of an achievement.” (Steve These things prove that there is more and more Campus events took place in Hamburg from Mayall, Music Ally, UK) business being done and the professionals use September 21-24. These dates somewhat­ the Campus as an occasion to make contacts clashed with the September VIP News going­ So, many people have positive things to say and do business. This was very different two on-line, and there was so much News in about Reeperbahn ’11, but are the organiser’s­ years ago. October­, we decided to leave it till now to look happy? It is not advisable to rest on your laurels­ back on the results of the events, starting off as European Conference events, although One quote I received some days ago from with comments from some of the attendant sometimes collaborative, are now in a very Graham­ Stairs, President, Shadow Cabinet professionals: competitive market with economic pressures Music ­ Group Ltd., in Ontario, Canada, might having a greater impact on the pockets of stress this point of view: “Reeperbahn Festival is a great way for the professionals­ and ‘punters’ alike. We spoke music­ business to catch up at the end of to Detlef Schwarte, director of Reeperbahn It’s taken awhile to sort things out after summer.­” (Rob Challice, CODA Music Agency, Campus­. Reeperbahn­, but, now that the smoke has UK) cleared, I wanted to thank you and your I know you have visited a lot of the other colleagues­ for putting together such a great “In fact a couple of my acts probably wouldn’t trade events, looking back on Reeperbahn festival. The shows that the Wilderness of be touring mainland Europe this autumn if they ’11 how do you think you measured up? Manitoba­ played were very well received and hadn’t been able to play Reeperbahn Festival – Yes, I’ve experienced a lot of other industry have produced results. Ramona Schmidt of which highlights it’s growing importance in events, Spot, Eusosonic, SXSW, Great Escape, Wizard ­ Promotions has agreed to be their the European touring calendar for developing ILMC, CMW, Vienna Waves and some others,­ booking­ agent for Germany, Austria and acts.” (Steve Zapp, ITB, UK) and this time it was apparent to me that Switzerland; Jacco van Lanen of DoubleVee Reeperbahn­ Festival’s strength is: Concerts­ has agreed to be their booking “The atmosphere of Reeperbahn sets a perfect­ agent for the Netherlands and a German label scene for living and enjoying the rock ‘n’ roll a) Its really unique setting. Most other events has made us an offer for licensing the dream. The Reeperbahn Festival manages to pretend that everything is next door, but often for Germany, Austria and Switzerland. I am exploit this, making it an event to be reckoned it isn´t expecting ­ other commitments for booking with by fans and industry alike.” (Thomas b) its atmosphere - quite a few international agents in other territories. So, you made a Rhode­, Music Export Denmark, DK) guests who attended the first time were good first impression on me and I will definitely 16 VIPNEWS > NOVEMBER 2011

be telling others that Reeperbahn is an event items than 2010 and only two instead of Have you had time to consider particular­ where you can do business. three rooms. And we will have to rethink the plans for the future? conference­ format from year to year. – We will try to develop more formats that This is what Reeperbahn wants to be - the present­ music to professionals and consumers­ gateway to the German market. Any particular highlights? and to establish more media channels for – Well, it might be boring but I still very artists to present their music. We will extend Any other thoughts on the Conference? much enjoy Ray’s Reeperbahn Revues when networking­ and showcase opportunities, and – It is still very difficult to distinguish from other professionals­, consumers and artists come try to offer an even better setting of Lounge, conferences. And the interest in panels etc. together­ to have an hour of fun. I think this is a Conference rooms and Hotel to the delegates. seems to be generally low. So I am fine with symbol for what makes Reeperbahn so special. the decision we made to have less programme

Rheinkultur Is History Manfred Tari [email protected]

The organizers of free open air event continue with the event. The City Council of at such a free event also contributed to their Rheinkultur have decided to abandon the Bonn appears to prefer to invest in classical decision to stop the event. Binge drinking by event. In a quite comprehensive press release ­ music events such as the Beethoven Festival young punters caused more trouble and led the 8 stakeholders of the RhEINKULTUR or other so called serious arts. In comparison to higher­ risks and significant extra security GmbH, declared that the event, which would the organizers of Rheinkultur only received outlay in efforts to run the event smoothly have celebrated its 30th anniversary in 2012, a subsidy of €80.000 per year while the and safely. would not be continued. Beethoven Festival is given 1.6 million Euro. VIP News will follow up on this news in order The organizers felt that neither the City Besides the lack of support by local to find out if this is definitely the final curtain ­ Council of Bonn nor local sponsors provided politicians­ and authorities, the promoter also for Rheinkultur or if local politicians will enough financial and political backing to mentioned­ that current audience behaviour undertake­ a last attempt to save the event.

Rheinkultur

17 VIPNEWS > BUSINESS > NOVEMBER 2011

Live Nation – More Shows But Less Revenue in Q3

also goes for the nine months visitors results which was 35.765.000 in 2010 and this year until the end of September 35.558.000. The ancillary net revenue per attendee rose in Q3 from $16.44 to $17.54.

The financial community loves growth stories ­ But contrasting with Rapino’s bullish Other company segments were, in contrast, and Michael Rapino, CEO of Live Nation statements­, the current figures reveal, at least able to increase their results: the Q3 revenue ­ knows well how to cheer the investment­ in terms of revenue results and an increased for the ticketing division of Live Nation went chaps when saying: “We believe the number of events a slightly different picture up 9.9 percent from $261.2 to $287.1 stabilization­ of consumer demand for live for the 3Q, which is nevertheless backed by million­, the division Artist Nation reported a events will continue into 2012 and, looking nine months results for 2011. revenue increase of 9.4 percent from $111.0 ahead, we are increasingly optimistic about to $121.4 million, eCommerce went up an our opportunities.” In Q3-2011 the overall revenue dropped from impressive 41.9 percent from $25.8 to $36.6 $1.83 to $1.79bn. The reported revenue­ for million. Also sponsoring revenues went up Rapino also knows how to increase the Live Nation’s concert division in Q3 went down from $69.5 to $72.7 million. For the first excitement­ when he added: “Given the 7.3 percent, from $1.38 to $1.28bn. Rapino’s nine months the overall revenue of Live continued ­ fan demand for concerts and a optimism probably refers to the nine-month Nation­ went up 9.7 percent from $3.825.9 growing supply of artists hitting the road, results, where the figures for the concert divi- to $4.198.3bn. we are optimistic about the future growth of sion reveal a growth of 6.2 percent from $2.6 On September 1st the Live Nation share the global concert industry. Based on this, we to $2.8bn. The number­ of promoted events stood at $9.13, on November 18 at $9.06. believe­ we are well positioned to generate­ in Q3 went up from 4.929 to 5.271 while the improved returns from our business and number of total­ estimated attendances went deliver ­ shareholder value.” down from 16.489.000 to 15.561.000. That

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» RESERVE YOUR AD NOW ON WWW.VIP-BOOKING.COM 18 VIPNEWS > BUSINESS > NOVEMBER 2011 MUSIC IN SHARES CTS Eventim – Below Expectations

After the acquisitions of Tickercorner in top artists­. The revenue for this part of the Switzerland­ and the See Tickets Germany company­ shrunk 21.6 percent from 253.8 division ­ Ticket Online came in to full effect, down to 198.9 million Euros. This also led to the ticketing revenue rose 22 percent from significant lower earnings results: the EBITDA 123.9 to 151.1 million Euro. The Earnings went down 29.6 percent, from 20.8 to 14.7 before­ Interests, Taxes, Depreciation and million Euros, the EBIT 31.7 percent from Amortisation (EBITDA) increased from 34.7 19.4 to 13.2 million Euros. As usual the European market leader for to 41.0 million Euros, the Earnings before ticketing­ obtained reasonable results within Interests, Taxes (EBIT) only rose 2.5 percent Nevertheless the management of CTS its ticketing division but the live entertainment ­ from 25.1 to 25.8 million Euros. The result Eventim­ expects better earning results than section of the corporate company ­faced a in the ticketing division of CTS Eventim is af- last year for the ongoing business year and significant revenue decline. fected by costs for additional legal expenses refers to the seasonally strong 4th quarter. in relation with the Live Nation-CTS Eventim On September 1st the CTS Eventim share In the third quarter (Q3) 2011 CTS Eventim case and additional expenses due to staff stood at 23.50 Euro, on November 18 at gained revenue of 82.1 million Euros, the restructuring­ measures going along with the 20.51. combined revenue for the first nine months purchase of Ticket Online. with a publisher in the US on a full time basis ­ this year is 345.9 million Euros, in comparison but whilst still a Writer/Publisher Relations the company gained 372.4 million Euros in the The live entertainment division is clearly representative­ with performing ­rights society ­ same period last year. In particular the ticketing affected­ by the deconsolidation of FKP SESAC he and SESAC UK Representative business appeared to be the biggest driving Scorpio­ within the revenue results and John Sweeney explained­ how acts can secure force for the earnings results of the company. lower numbers of concerts and shows with US performance­ fees:

19 VIPNEWS > MISC > NOVEMBERVIP 2011NEWS > MISC > SEPTEMBER 2011 MEMBER PRESENTATION

Barley Arts Promotion

The story of Barley Arts Promotion, leader for the organisation and production of entertainment and music shows, revolves around the figure of Claudio Trotta (b.1957 in Milan)

Following his college years passion for the link between “high” and 1) Promotion of international artists in Italy. E.g. STING, PEARL JAM, pop culture, he starts his career with Radio Montestella, then in 1975 BRUCE SPRINGSTEEN, TOM WAITS, SHAGGY, AEROSMITH, THE he’s at Canale 96, the very first news radio, organising the first live CURE, LENNY KRAVITZ, AC-DC, PHIL COLLINS, SLIPKNOT, ­, shows of his life. In 1979 he graduates at the Civica Scuola di Arte STEVIE­ WONDER, RAY CHARLES, BARRY WHITE, EARTH, WIND & FIRE, Drammatica as music operator, spending a training period at the VAN MORRISON, B.B. KING, PAGE & PLANT, KISS, IRON MAIDEN, YES, Teatro­ alla Scala. The same year he founds BARLEY ARTS PROMOTION ­ CHEMICAL BROTHERS, DREAM THEATER, PRODIGY, LOREENA MC (first tour: JOHN MARTYN) whose name is a homage Trotta pays KENNITT, , DEFTONES, PAUL WELLER, to one of his early passions, Anglo-Saxon country and folk. Going LIMP BIZKIT, DEEP PURPLE, DAVID SYLVIAN, HOOVERPHONIC­, DAVID through some TV experience (TeleRadioMilano 2), he’s involved by BOWIE, SANTANA, FRANK ZAPPA, LORD OF THE DANCE, SHAOLIN Lucio Salvini (chairman at Ricordi by that time) in his Country e Folk MONKS and more. Label project and becomes the Italian promoter for the artists in the roster. Later on, Salvini will entrust him with Artistic and Marketing 2) Promotion and production of Italian artists in Italy (NEFFA, Direction of the Blues & Rock Project series at Carosello. As one of his SOTTOTONO­, LITFIBA...) latest personal side projects, Trotta edited The Milan Music Dictionary (1995), together with Paolo Zenoni. He’s one of the Founders of the 3) Production and co-production and Promotion of Festivals: following Associations: MONSTERS­ OF ROCK, SONORIA, MILANO BLUES FESTIVAL, IRLANDA­ IN FESTA, LAGHI LOMBARDI IN FESTIVAL, FLEADH, BALKANIKA, · ASSOMUSICA MONZA , PISTOIA BLUES FESTIVAL, COCA COLA Italian Association of Producers and Organisers of Live Music DANCE FESTIVAL… Entertainment­ (founded 1996): Board Director from the beginning. · YOUROPE 4) Organisation, production and promotion of Italian artist’s concerts The European Festival Association (founded 1998): Board Director and tours abroad (e.g. first international shows of Vasco Rossi, Eros 1998-2001. Ramazzotti, Sabrina Salerno...) The company, which has been doing more than 3500 live shows, festivals­ and special events since 1979, operates on many levels, e.g.:

AboutMyMusicMailer.com Our Company enables artists to MAIL their music to more than 6.000 venues and agencies worldwide… VIP-Booking’s core product is the Internet’s oldest and Today VIP-Booking offers a range of tools for the largest database for the European Live Entertainment industry­ – including VIP-News, VIP-Booking, VIP-Book Industry www.vip-booking.com developed as a tool for and VIP-Contract. industry professionals. Since it’s launch in the year 2000, Please visit vip-booking.com for further information. we have consistentlyMail offered ouryour subscribers themusic very to best in database services and now boast subscribers in Your comments and suggestions are always appreciated. over 30 countries.the Live Music Industry… ®

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20 MONTHLY FEATURED ARTIST POWERED BY ARTIST AVAILS

ORBITAL Territory: WORLD Period: APRIL 2012 ONWARDS Agency: VALUE ADDED TALENT Agent: DAN SILVER Phone: +44 207 704 9720 E-mail: [email protected] Ashton Lane Homepage: www.vathq.co.uk Skid Row Territory: Europe Period: July/August 2012 Agency: ARM Entertainment Agent: Dana Strutz Phone: 1-651-483-8754 E-mail: [email protected] Homepage: www.skidrow.com

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

Firehouse Territory: Europe Period: 1/5/2012-31/5/2012 Agency: ARM Entertainment Agent: Dana Strutz Phone: 1-651-483-8754 E-mail: [email protected] In late 2010, Esther O’Connor and her band Ashton Lane made their first visit Homepage: www.firehousemusic.com to Nashville after being stateside gigging and getting the gears in motion for THE DOORS ALIVE the release of their debut album. Prior to this, the band was buried away deep - BEST DOORS TRIBUTE ACT IN WORLD in the recording studio for a few months writing and recording ‘Other Side’. Territory: WORLD Period: JANUARY 2012 ONWARDS Agency: VALUE ADDED TALENT Agent: DAN SILVER Ashton Lane are: Esther O’Connor (lead vocals), Tim O’Connor (guitar­, backing Phone: +44 207 704 9720 E-mail: [email protected] vocals) and James Duffin (lead guitar, backing vocals). Homepage: www.vathq.co.uk

Esther O’Connor is the lead singer of her 3-piece band that includes ­her Wayne Henderson Territory: Europe/UK husband­ and brother. They write all their own songs, and sometimes ­even Period: January 2012 Agency: Universal Attractions co-write­ with Dad! (Graeme Duffin from legendary 80’s/90’s band ‘Wet Wet Agent: Nicholas Szatmari Wet’). Graeme and James also produced this new album “Other Side” Phone: +1.212.582.7575 E-mail: [email protected]

Ashton Lane is an internet phenomena, receiving a million. MORE ARTIST AVAILS ON: WWW.VIP-BOOKING.COM You Tube views of their ‘Tuesday Live Sessions’ in just over a month and growing­ POST YOUR ARTIST AVAILS ON: fast. Last month they also achieved the spot of 18th most viewed musician in WWW.VIP-BOOKING.COM the UK and 44th most viewed musician on youtube.

She has already received support on BBC Radio 2 and on regional radio Skid Row nationwide­ despite being unsigned. Tom Morton of Radio describing ­ one of their tracks as “Neil Young meets Beyonce round at Joni Mitchell’s house”, recognising the retro flare that runs through their music and the bands love of a sassy pop hook. Journalists and fans alike recognise that Ashton Lane are trailblazers for new country-pop forging the way ahead in this new musical landscape. Esther’s previous solo also received 4 and 5 star reviews in the national and Scottish newspapers.

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