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4A244eja1ei256pa977n 157495 INDEX PrimaveraPro 2016__________________________________________________________________________________________ 2 Primavera Sound in numbers______________________________________________________________________ 4 Statistics______________________________________________________________________________________________________________ 6 Participants________________________________________________________________________________________________________ 10 PrimaveraPro 2016 Programme________________________________________________________________ 15 Reports________________________________________________________________________________________________________________ ! Showcases__________________________________________________________________________________________________________ 46 Press Clippings_________________________________________________________________________________________________ 4! Collaborators_____________________________________________________________________________________________________ 63 1 #$$%&'()* T+#$,* CONNEC(* ENG'-)* P.'/* B1#.2* LAW/ER UP* SCR))$ 4 Centre o5 Contemporar6 Culture o5 Barcelona (CCC08 9useum o5 Contemporar6 Art o5 Barcelona (9AC0'8 Parc del F;rum 4 :rom 1st to 5th June 2016 PrimaveraPro wrapped up its seventh edition having recorded an attendance o5 3581 accredited pro5essionals* from 54 di=erent countries* who from 1st June to 5th June in Barcelona discussed the present and future o5 the music industr6* built bridges between continents and en>o6ed live music b6 some fort6 artists coming from di=erent corners o5 the world on the new DayPro stage in the Pati de les 2ones o5 the Centre de Cultura Contemporània de Barcelona (CCC08* an integral part o5 the Primavera al Raval programme@ (he opportunities presented b6 the digital environment for the music sector captured ever6oneAs attention at PrimaveraPro 2016* be it the marketing tools that make it possible to have an in4depth Bnowledge o5 the interests and necessities o5 the audience* or the on4going streaming war that continues to be surrounded b6 uncertaint6 or the future o5 musical press that is now completel6 adapted to the digital world but faces new challenges ever6day@ Not to mention* o5 course* the new world that is opening up with the eCpansion o5 virtual realit6* immersive eCperiences and 360º videos* which were dealt with as part o5 the PrimaveraPro On4Screen programme* one o5 the most outstanding novelties o5 this yearAs edition that was attended b6 pro5essionals from the prestigious Academ6 Films* -enero TV and Vice Media, and also discovered the work o5 three young directors who upload their low cost videos online@ And* o5 course* technolog6 also played an important role with the third edition o5 PrimaveraPro Startups* which awarded its priEe to the Dutch innovative business initiative Whitestone* that o=ers interactive musical eCperiences thanks to virtual and augmented realit6@ The tool for making videos easil6 and on a low budget Rotor Videos won the audience priEe* voted for on social media in the last 5ew weeks@ 0ut the future not onl6 concerns the digital tools sector but also the social and human side o5 music which continues to be essential and needs to be activel6 de5ended@ A brilliant interview o5 the cult producer Flood b6 the artist Ed Harcourt made it clear that producers play an essential role in the musical process (as well as several interesting anecdotes about his multiple eCperiences8* whilst the panel led b6 Henrik Rasmussen (director o5 the RosBilde Festival8 went over the legac6 o5 this re5erence 5estival awarded the Primavera Award 2016 for its capacit6 to combine a commendable career* a creditable line4up year after year and a marked social vocation@ Similarl6* there were also discussions about the role o5 festivals with a political vocation* and about whether music can still change the world 7with the participation o5 the activists Simona Levi and Ruth Daniel8* as well as a public interview b6 the 0ritish band Lush* who made a comebacB last year and are qualiGed to make comparisons through frst4 hand eCperience between the situation o5 sector o5 twent6 fve years ago and that o5 toda6@ 2 .atin America has also played a crucial role at this seventh edition* being the focus o5 the talks on promotion* festivals and on the necessit6 to set up an entit6 to bring the sector together* and with bands from Chile* Brazil and Peru* countries that were well4represented* PrimaveraPro consolidated itsel5 as a bridge between Europe and Latin America, the territor6 that holds a great part o5 the future o5 music@ (he new area o5 receptions and networking* in the Pati de les Dones o5 the CCC0 with privileged views o5 the DayPro stage* was a resounding success* gathering hundreds o5 pro5essionals in a laid back atmosphere with activities such as the inaugural Meet Catalan Music b6 Creative Catalonia (with concerts b6 CAR.'* Bearoid and EsperitH8 and the now traditional The Aussie B0Q b6 Sounds Australia, that once again drew the crowds thanks to the talent o5 the Australian artists present at PrimaveraPro@ (he rest o5 the delegations were completed b6 South Africa (#9)JSA)* Ital6 (A BuEE Supreme / 9odernista)* Brazil (A Construtora MLsica e Cultura / Balaclava)* South Korea (Korean Cultural Center / ,'9S)* Poland (2onMt PanicH WeMre From Poland8* Israel (Sounds From Israel8* LuCembourg (9usicN.J8* Chile (#9# Chile8* Peru (#9#P8 and Valencia (Sounds From Valencia)@ #n parallel to PrimaveraProAs central programme there were the second editions o5 the International Congress o5 Concert Venues and International Congress o5 Independent Labels* in close collaboration with their respective associations@ The concert venues congress revisited the ever6da6 more popular idea o5 having Night Mayors and anal6sed the musical eCperience o5 cities such as Paris* Berlin and -lasgow@ There were also discussions about the relationship between concert venues and politics and sustainabilit6 in an e=ort to shed some light on the role and working conditions o5 amateur musicians in the current environment@ (he meeting o5 labels held the 15th anniversar6 o5 the European association I9PALA one o5 its high points* that awarded the local label C'$'2A with its priEe in recognition o5 the work o5 the youngest independent record labels in Europe as part o5 it #F#&)1$2ER:#:(EEN programme@ 0oth congresses shared an activit6 for the frst time* in order to take an in4depth look at the European CommissionAs recent European music sector support programme* Creative Europe@ The visit o5 Alessandro Senesi* co4director o5 the Creative Europe programme o5 the European Commission* served to generate a debate during which the demands o5 the sector were recorded* with the world o5 cinema as a re5erence to emulate when possible@ #n summar6* PrimaveraPro 2016 o=ered 218 activities* including 82 showcases over fve days and that also reached the Parc del F;rum with Primavera Sound 2016@ Its most success5ul and celebrated edition closed looking to the future with optimism and more live music than ever@ Primavera Sound 2016 in numbers Public: 20P*4 5 3ednesday* 1st June – Parc del F;rum – 21*000 (hursday* 2nd June – Parc del F;rum – 55*000 :riday* 3rd June – Parc del F;rum – 55*000 Saturday* 4th June – Parc del F;rum – 55*000 Other activitiesN Primavera als Clubs* Primavera a la Ciutat – 21*4 5 Primavera Sound live shows: 34" Artists in Primavera Sound: 2P4 PrimaveraPro Professionals accredited at PrimaveraPro: 3*581 Activities for professionals: (con5erences* presentations* networBing sessions* etc@8N 1 6 PrimaveraPro Showcases: 82 4 Line up Primavera Sound 2016 5 Professionals accredited at PrimaveraPro 2016 by type of company 6 P Professionals accredited at PrimaveraPro 2016 by Country ! Journalists accredited at Primavera Sound 2016 by Country " Participants A Buzz Supreme / odernista (he Italian team at PrimaveraPro 2016 were A BuEE Supreme and Modernista, two 6oung companies with years o5 eCperience on the Italian music scene@ A BuEE Supreme is a promotion* publishing and management compan6 that works with artists* labels* distributors and international publishers* promoting some o5 the most interesting and original Italian artists both in Ital6 and abroad@ The compan6 guides sel54produced musicians into the music business and also helps them choose all the necessar6 partners@ A BuEE Supreme also o=ers editorial consulting for cinema and television s6nch@ 9odernista is a new booBing and management agenc6* dealing with live music* with booking* with art direction and with events@ Shaping new and original music forms* eclectic and non4standardiEed* with local and universal languages@ Modernista works and has worked both with Italian and foreign artists@ Modernista is always read6 for innovation and research into artistic and musical felds* as well as with into the use o5 methods and instruments that can speed up contacts with promoters* whilst improving the qualit6 o5 our service@ (he Italian press oRce is run b6 A BuEE Supreme and Modernista. Showcases! Altre di B* Matilde Davoli* Sycamore Age A Construtora m"sica e cultura A Construtora MLsica é Cultura was created in 2011 sustained b6 two main forcesN music and culture@ Its ob>ective is to give visibilit6 to the d6namic indie scene* whether in Goiânia and internationall6@ A Construtora is a compan6 that deals with arts and artists working with them directl6U doing booking* career management* and production@ #n 2016 the6 have holded the 1"th edition o5 the Festival B'$'$'2'* one o5 the most tradicional
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