INDEX

PrimaveraPro 2016______2

Primavera Sound in numbers______4

Statistics______6

Participants______10

PrimaveraPro 2016 Programme______15

Reports______38

Showcases______46

Press Clippings______48

Collaborators______63

1 INNOVATE, THINK, CONNECT, ENGAGE, PLAY, BUILD, LAWYER UP, SCREEN - Centre of Contemporary Culture of Barcelona (CCCB) Museum of Contemporary Art of Barcelona (MACBA) Parc del Fòrum - From 1st to 5th June 2016

PrimaveraPro wrapped up its seventh edition having recorded an attendance of 3581 accredited professionals, from 54 diferent countries, who from 1st June to 5th June in Barcelona discussed the present and future of the music industry, built bridges between continents and enjoyed live music by some forty artists coming from diferent corners of the world on the new DayPro stage in the Pati de les Dones of the Centre de Cultura Contemporània de Barcelona (CCCB), an integral part of the Primavera al Raval programme.

The opportunities presented by the digital environment for the music sector captured everyone’s attention at PrimaveraPro 2016, be it the marketing tools that make it possible to have an in-depth knowledge of the interests and necessities of the audience, or the on-going streaming war that continues to be surrounded by uncertainty or the future of musical press that is now completely adapted to the digital world but faces new challenges everyday. Not to mention, of course, the new world that is opening up with the expansion of virtual reality, immersive experiences and 360º videos, which were dealt with as part of the PrimaveraPro On-Screen programme, one of the most outstanding novelties of this year’s edition that was attended by professionals from the prestigious Academy Films, Genero TV and Vice Media, and also discovered the work of three young directors who upload their low cost videos online.

And, of course, technology also played an important role with the third edition of PrimaveraPro Startups, which awarded its prize to the Dutch innovative business initiative Whitestone, that ofers interactive musical experiences thanks to virtual and augmented reality. The tool for making videos easily and on a low budget Rotor Videos won the audience prize, voted for on social media in the last few weeks.

But the future not only concerns the digital tools sector but also the social and human side of music which continues to be essential and needs to be actively defended. A brilliant interview of the cult producer Flood by 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 experiences), whilst the panel led by Henrik Rasmussen (director of the Roskilde Festival) went over the legacy of this reference festival awarded the Primavera Award 2016 for its capacity to combine a commendable career, a creditable line-up year after year and a marked social vocation. Similarly, there were also discussions about the role of festivals with a political vocation, and about whether music can still change the world (with the participation of the activists Simona Levi and Ruth Daniel), as well as a public interview by the British band Lush, who made a comeback last year and are qualifed to make comparisons through frst- hand experience between the situation of sector of twenty fve years ago and that of today.

2 Latin America has also played a crucial role at this seventh edition, being the focus of the talks on promotion, festivals and on the necessity to set up an entity to bring the sector together, and with bands from Chile, Brazil and Peru, countries that were well-represented, PrimaveraPro consolidated itself as a bridge between Europe and Latin America, the territory that holds a great part of the future of music.

The new area of receptions and networking, in the Pati de les Dones of the CCCB with privileged views of the DayPro stage, was a resounding success, gathering hundreds of professionals in a laid back atmosphere with activities such as the inaugural Meet Catalan Music by Creative Catalonia (with concerts by CARLA, Bearoid and Esperit!) and the now traditional The Aussie BBQ by Sounds Australia, that once again drew the crowds thanks to the talent of the Australian artists present at PrimaveraPro. The rest of the delegations were completed by South Africa (IMEXSA), Italy (A Buzz Supreme / Modernista), Brazil (A Construtora Música e Cultura / Balaclava), South Korea (Korean Cultural Center / KAMS), Poland (Don't Panic! We're From Poland), Israel (Sounds From Israel), Luxembourg (Music:LX), Chile (IMI Chile), Peru (IMIP) and Valencia (Sounds From Valencia).

In parallel to PrimaveraPro’s central programme there were the second editions of the International Congress of Concert Venues and International Congress of Independent Labels, in close collaboration with their respective associations. The concert venues congress revisited the everyday more popular idea of having Night Mayors and analysed the musical experience of cities such as Paris, Berlin and Glasgow. There were also discussions about the relationship between concert venues and politics and sustainability in an efort to shed some light on the role and working conditions of amateur musicians in the current environment.

The meeting of labels held the 15th anniversary of the European association IMPALA one of its high points, that awarded the local label CANADA with its prize in recognition of the work of the youngest independent record labels in Europe as part of it #FIVEUNDERFIFTEEN programme.

Both congresses shared an activity for the frst time, in order to take an in-depth look at the European Commission’s recent European music sector support programme, Creative Europe. The visit of Alessandro Senesi, co-director of the Creative Europe programme of the European Commission, served to generate a debate during which the demands of the sector were recorded, with the world of cinema as a reference to emulate when possible.

In summary, PrimaveraPro 2016 ofered 218 activities, including 82 showcases over fve days and that also reached the Parc del Fòrum with Primavera Sound 2016. Its most successful and celebrated edition closed looking to the future with optimism and more live music than ever.

3 Primavera Sound 2016 in numbers

Public: 207,435 Wednesday, 1st June – Parc del Fòrum – 21,000 Thursday, 2nd June – Parc del Fòrum – 55,000 Friday, 3rd June – Parc del Fòrum – 55,000 Saturday, 4th June – Parc del Fòrum – 55,000 Other activities: Primavera als Clubs, Primavera a la Ciutat – 21,435

Primavera Sound live shows: 349

Artists in Primavera Sound: 274

PrimaveraPro

Professionals accredited at PrimaveraPro: 3,581

Activities for professionals: (conferences, presentations, networking sessions, etc.): 136

PrimaveraPro Showcases: 82

4 Line up Primavera Sound 2016

5 Professionals accredited at PrimaveraPro 2016 by type of company

6 7 Professionals accredited at PrimaveraPro 2016 by Country

8 Journalists accredited at Primavera Sound 2016 by Country

9 Participants

A Buzz Supreme / Modernista

The Italian team at PrimaveraPro 2016 were A Buzz Supreme and Modernista, two young companies with years of experience on the Italian music scene.

A Buzz Supreme is a promotion, publishing and management company that works with artists, labels, distributors and international publishers, promoting some of the most interesting and original Italian artists both in Italy and abroad. The company guides self-produced musicians into the music business and also helps them choose all the necessary partners. A Buzz Supreme also ofers editorial consulting for cinema and television synch.

Modernista is a new booking and management agency, dealing with live music, with booking, with art direction and with events. Shaping new and original music forms, eclectic and non-standardized, with local and universal languages. Modernista works and has worked both with Italian and foreign artists. Modernista is always ready for innovation and research into artistic and musical felds, as well as with into the use of methods and instruments that can speed up contacts with promoters, whilst improving the quality of our service.

The Italian press ofce is run by A Buzz Supreme and Modernista.

Showcases: Altre di B, Matilde Davoli, Sycamore Age

A Construtora música e cultura

A Construtora Música é Cultura was created in 2011 sustained by two main forces: music and culture. Its objective is to give visibility to the dynamic indie scene, whether in Goiânia and internationally. A Construtora is a company that deals with arts and artists working with them directly; doing booking, career management, and production.

In 2016 they have holded the 19th edition of the Festival BANANADA, one of the most tradicional and at the same time innovative music festival in Latin America. And in the framework of the festival they holded another edition of UnConvention Brazil / Factory. Also they will hold the second ofcial edition of Sub Pop Festival Brasil.

Their roster is formed by the following artists: Boogarins, Aldo The Band, Bonde do Rolê, Hellbenders, Jaloo, Black Drawing Chalks, Camarones Orquestra Guitarrística, Bruna Mendez, The Legendary Tigerman, Carne Doce y Bike.

Showcases: Aldo The Band, Inky, O Terno, Water Rats

10 Balaclava Records

Balaclava Records is an independent record label and agency based in São Paulo, Brazil. The company was founded in 2012 by Fernando Dotta and Rafael Farah, both producers and musicians, who wanted to reunite bands they really believed in and promote their music to as many people as possible. The company has licensed and released more than 16 albums, and is responsible also for organizing tours and booking concerts, promotion, licensing, press relations, executive production and career management. They have booked and promoted international tours around Brazil, bringing acclaimed artists for the frst time in South America, such as Mac DeMarco (Canada), Sebadoh (USA), Bufalo Moon (USA) and Real Estate (USA).

This year, Balaclava joined the PrimaveraPro 2016 program as an ofcial collaborator, bringing to Barcelona three of its best brazilian bands: Mahmed, Nuven and Quarto Negro. The acts had really powerful live performances and were certainly one of the highlights at PrimaveraPro stage at the festival and Balaclava Showcase at the conferences area. Without a doubt, it was an amazing opportunity to present great artists not only to the exciting catalunian audience, but also to festival goers from all around the globe. It was a special chance to connect to people who are passionate about good music and appreciate the hard work behind building an authentic and efcient record label.

Showcases: Mahmed, Nuven, Quarto Negro

Creative Catalonia

Creative Catalonia is the framework program hosted by the Catalan Institute for Cultural Companies to foster the Catalan cultural and creative companies worldwide.

The Catalan Institute for Cultural Companies (ICEC) is a public institution attached to the Catalan Ministry of Culture that aims to support, promote and foster the development of the Catalan cultural and creative industry: books, music, audiovisual and video games, performing and visual arts.

ICEC’s Market Development Department facilitates the access of Catalan cultural and creative companies to national and international markets. Via its network of ofces around Europe (Barcelona, Berlin, Brussels, London and Paris) it works on a variety of lines of action funding, connecting, mentoring, advocating, promoting and supporting creative companies in their international activity.

Under the brand of Creative Catalonia, it strengthens the Catalan cultural and creative companies’ presence at international fairs and key events. It also coordinates and supports the strategic marketplaces and professional events taking place in Catalonia.

Creative Catalonia’s online platform ofers all kind of useful material and resources to both Catalan professionals seeking to develop their projects internationally and professionals from other countries looking for artistic productions and to establish contact with their creators and promoters.

Showcases: Bearoid, CARLA, Esperit!

11 Don't Panic! We're from Poland

The "Don't Panic! We're from Poland" project was initiated in 2008 by the Adam Mickiewicz Institute. Since its creation, the phrase "Don't Panic! We're from Poland" has become synonymous with new, high quality music from Poland – a country whose booming music industry remains unexplored abroad.

A need to create a showcase of contemporary Polish musicians triggered the project. Its primary goal was to attract industry professionals from outside of Poland. Within the last couple of years, Polish artists had the opportunity to perform at festivals around the world.

So far, the "Don't Panic! We're from Poland" project is responsible for over 40 events in 14 countries. The Adam Mickiewicz Institute started to be perceived as the Polish music export ofce which, under the fagship brand Culture.pl, promotes artists worldwide. In many countries, Polish music was previously unknown. Now, it can be heard and explored.

Showcases: Merkabah, RSS Boys

IMEXSA

Independent Music Exporters South Africa (IMEXSA) is a non-proft organisation dedicated to developing South African music around the world. It provides assistance, creates opportunities for emerging music companies to be internationally successful and promotes professional exchange between South Africa and other countries, while contributing signifcantly to the growth of their economy.

IMEXSA's focus is to develop the number of music exporters in South Africa by identifying trade opportunities and assisting companies to take advantage of them.

This year they participated showcasing 3 bands, bringing South African music professionals to PrimaveraPro.

Showcases: Anam, Jay Cubed, Moonchild Sanelly

IMI Chile

Industria Musical Independiente de Chile (IMI CHILE) is the frst organisation that unites the independent sector of music from Chile. The members include record labels, promoters and distributors, who together represent the wide-ranging repertoire of the Chilean independent music scene.

Its objective is to develop the independent music industry through teamwork and cooperation in order to boost the production, the commercialization and the exportation of the recording productions.

It also aims to promote the importance of the recording industry both as a tangible and as an immaterial cultural patrimony, identifying and promoting the social and cultural diversity of the country through music.

This year IMI CHILE was at PrimaveraPro with 3 bands (Chicago Toys, Planeta No, Tunacola), with a stand at the festival’s fair, an open meeting with Chilean wine tasting and a panel discussion about the situation of the music industry in Chile.

Showcases: Chicago Toys, Planeta No, Tunacola

12 IMIP

The IMIP (Peruvian Independent Music Industry) is an independent association of companies and agents that work in the musical industry in Peru. It is formed by management companies, booking agencies and labels with artistic representation based in Peru and its goal is the organization and development of strategic actions for the internationalisation, commercialization and promotion of Peruvian music, as well as encouraging the organised expansion of the internal independent market.

Showcases: Gala Brie, Kanaku Y El Tigre, Los Outsaiders, Wolves As Friends

Centro Cultural Coreano / Korea Arts Management Service

At PrimaveraPro 2016, the KCC (Korean Cultural Centre) and the KAMS (Korea Arts Management Service) presented three Korean bands that represent the best of the young, energetic and fun spirit of this Asian country: DTSQ, Dead Buttons and Wedance. Their presence was also spread to the PrimaveraPro 2016 site, where the Korean stand provided information about Korean musicians and labels and where it was also possible to check musical collaborations with Korea. There was also a conference with the director of Zandari Festa, the only indie music fair in Seoul.

The Korean Cultural Centre is an institution that is established and regulated by the Government of the Republic of Korea, which aims to boost and strengthen links between the Republic of Korea and Spain in the area of culture.

KAMS (Korea Arts Management Service is a non proft public foundation that is responsible for promoting and developing performance arts in Korea. KAMS ofers performing arts companies in Korea the possibility to broaden their horizons and to increase their presence on national and international markets.

Showcases: Dead Buttons, DTSQ, Wedance

Music: LX - Luxembourg Export Office

Music:LX is a non-proft organization and network created in 2009 with the aim of promoting all kinds of music made in Luxembourg and professional exchange with other territories. There are four essential services ofered by Music:LX: supporting national bands, providing information about the markets and industry, engaging in networking and developing music from Luxembourg worldwide. Its purpose is to encourage these bands and their music and giving them the opportunity to play in front of a large audience and other sector music professionals. Music:LX was there to meet these professionals, connect them to the bands and help them develop professional relationships. Showcases: Sun Glitters

13 Sounds Australia

SOUNDS AUSTRALIA —the Australia’s export music market development initiative— participated at PrimaveraPro for the second time. This year attendees were able to meet again with some of the Australian music industry’s most infuential players, as well as see six Australian showcase acts.

SOUNDS AUSTRALIA presented the iconic “THE AUSSIE BBQ”. The world’s biggest showcase of Australian music came to Barcelona, in a special lunch-time performance on the DayPro Showcase Stage. For more details on the artists and industry executives that took part in PrimaveraPro and on all the Australian acts that played during the week, download the SOUNDS AUSTRALIA APP for free, available on Android and iOS.

Showcases: Jack Carty, Gang Of Youths, Methyl Ethel, Money For Rope, Oh Pep!, The Meanies

Sounds from Israel

The Israeli Embassy in Spain’s Department of Culture aims to back artists and organisations that promote Israeli culture and science outside its frontiers. Its objective is to promote the latest innovations in the felds of culture and science in which Israel, in its short history as a nation, is internationally recognised. On this occasion it is backing the best of the music scene in Israel by promoting a small selection of bands that were chosen from 200 candidates.

Showcases: Cut Out Club, Noga Erez, Tiny Fingers

Sounds from Valencia

Sounds From Valencia is a platform that supports newcomer bands from province that participate in the Valencia County Council Competition, “Sona la Dipu Pop- Rock”.

One of the objectives of this platform is to boost the promotion and communication of emerging bands from Valencia and to position them on the national and international panorama.

Showcases: Badlands, Odd Cherry Pie

14 Programa PrimaveraPro 2016

CONFERENCES

AIE: THE MANAGEMENT OF ARTISTS’ RIGHTS New technologies have brought about a huge change in the music industry, consumer habits are very diferent to the traditional forms and new business models are evolving rapidly. Paradoxically, in this panorama, artists who gain importance in the production and promotion of their work at the same see the remuneration that they receive decrease, as they are not part of the sharing arrangements agreed by the intermediaries. A solid legislation is a fundamental starting point to maintain the balance in the chain of creative value, but an efcient management mechanism is essential to ensure the protection and remuneration of the artists. In this panel they analysed the rights and protection measures that belong to the artists and the administration that their rights management entity AIE carry out. It looked at this company’s procedures for ensuring that royalties get to their legitimate recipients worldwide, for boosting the initiatives and programmes for promotion and training and for providing assistance to its members.

Speakers: Luis Mendo (AIE), Nacho García Vega (AIE), Álvaro Hernández Pinzón (AIE)

IMI CHILE PRESENTS: THE LATIN AMERICAN MUSIC BUSINESS IN 2016 - A NEED FOR UNITY? Driven by young entrepreneurs and independent record labels, Latin America has been the fastest growing global music market since 2010. Clearly in a region comprising more than 626 million people, there will be signifcant diferences between the music markets, but what are the issues that unite the Latin American music industry? Does LATAM need to create a regionalised music body to better represents its interests? This panel, which featured representatives from across the region, examinated these questions and more.

Speakers: Fabrício Nobre (A Construtora Musica e Cultura - Brasil), Abraham López (Technicolor Fabrics - México), Roberto Montero (Epicentro - Costa Rica), José Velásquez (Veltrac Music / IMIP - Perú), Noemí Planas (UFI / IMPALA – España) Moderator: Oliver Knust (IMI Chile)

15 ACQUISITIONS, FREEBIES AND CELEBRATIONS: THE MUSIC PRESS IN UPHEAVAL The past 12 months have been a time of intense change for the music press: Pitchfork has been sold to publishing giant Condé Nast; NME has gone free; in Germany Intro is looking forward to its 25th birthday and paid circulation everywhere continues to be a struggle. PrimaveraPro assembled a panel of representatives of some of the most important music media in the world to discuss the future of the music press in these fascinating times.

Speaker: Martin Lippert (Intro), Chris DeVille (Stereogum), Amy Philips (Pitchfork) Moderator: Judy Cantor-Navas (Billboard)

LANGUAGE AS THE LAST OBSTACLE FOR WORLD MUSIC EXCHANGE An analysis of the music consumption in the main international markets reveals the same pattern: consumers want music in their own language and music in English. The market share of each varies considerably according to the territory but the one constant is the impossibility for a third language to have more than a one of hit. The traditional way in which the music industry has dealt with this problem has been through the adaptation of the lyrics and the reinterpretation by the original artist. The audiovisual industry on the other hand has been more efective and has found a solution via the creation of a spin-of industry that has provided translation and dubbing services. At this conference we tackled the problem of the linguistic barrier focusing on solutions via existing innovative technology that is starting to defne a new paradigm: any song in any language will be able to reach a world audience.

Speakers: David Loscos (IMB School), Jordi Janer (Voctrolabs), José Monleón (Wuaki.tv)

THE FUTURE OF MUSIC IN THE AGE OF IMMERSIVE MEDIA For thousands of years human beings have lost themselves in music. In 2016, however, this feeling of musical immersion is set to become ever more enveloping thanks to the advance of technology such as Virtual Reality, 360º video, 3D and 4D audio, binaural recording and more, which could change the very way we experience music. José Luis de Vicente, curator of Sónar+D, Sónar Festival’s congress for creative technologies and digital culture, explained why this new technology is vitally important for the music industry, from Universal’s deal with HeartMedia to create VR music experiences to the lure of immersive live experiences.

Speaker: José Luis de Vicente (Sónar+D)

DEFINING THE MARKET: BRAZIL AND PUBLIC POLICIES ON MUSIC In most western countries, the market is largely responsible for the difusion of musical production, be it mainstream or indie. In Brazil, public cultural policies have played a fundamental role in the production and distribution of music. The Cultural Ministry data on the funds raised through the cultural tax incentive mechanism (Rouanet Law) shows just how important these public policies are for the music sector. At this conference the pros and cons of this public policy instrument and its current situation were discussed. How these current policies have been built, how the mobilisation of musicians and civil society are important for this construction and what the most important models are today were also discussed. The aim was to introduce the participants to this experience, encouraging them to look for alternatives to overcome the difculties imposed on the independent scene by the mainstream market.

Speaker: Daniela Ribas Ghezzi (CPF-SESC SP, Setorial Música CNPC) Moderator: Fabrício Nobre (A Construtora Musica e Cultura)

ARE THE STREAMING WARS GOOD NEWS FOR THE MUSIC INDUSTRY? Competition, we are always told, is good for business, helping it to evolve and cast of tired old practices. But is the intense competition between the various music streaming services that we are seeing in 2016 really healthy for the music industry? Or does it encourage vast exclusive deals, which beneft only the very biggest artists? Will consumers get confused? Could this even help piracy? And what is the role of independent artists in all this?

Speakers: Luis Aguiar (Instituto de Prospectiva Tecnológica), Albert Torres (The Orchard), Óscar García (EfeEme / Mediaset) Moderator: Adam Kivel (Consequence of Sound)

16 BRAZILIAN EXPERIENCES WITH MUSIC INCUBATORS This conference presented the experience of 3 projects of musical incubators in Brazil and discussed the need to create a network of band and artist incubators in Brazil (and why not worldwide?). With the identifcation of the regional characteristics and existing difculties, the speakers discussed the importance of artistic training and of bands’ business career management; the exchange of experiences, knowledge and production techniques; and projects of fnancing public and private incubators for musicians.

Speakers: Daniel Domingues (Nós de Rede), Fabio Pedroza (Agencia Circula), Anderson Foca (Incubadora DoSol) Moderator: Fabrício Nobre (A Construtora Musica e Cultura)

DIY BUSINESS MODELS: HOW TO EARN MONEY IN THE MUSIC INDUSTRY? The demand to work in the global music industry is greater than the ability to supply jobs: not everyone can claim to be an A&R, an artist manager, or otherwise an industry professional and make a sustainable business out of it, let alone a living wage. So a lot of people aspiring to work in music in the last 10 years have found themselves having to go into a sector of music that they don't particularly want to, or they go it alone. What are the challenges to setting up one’s own record label? How expensive is it to become a successful artist manager? How does one carve out a job for themselves in a music position in a non-music company? In a time when the industry has an aging population in terms of the key decision makers and where there are fewer sustainable career paths at the entry level than ever before, we examined whether it is indeed possible to develop one's own position and indeed business within an increasingly competitive marketplace by speaking with three individuals who in the last few years have created music-specifc positions within larger infrastructures and/or sustainable businesses around them to determine what is actually required to make a living out of working in music as an industry professional.

Speakers: Emily Scoggins (Freelance), Ally McCrae (Two Up) Moderator: Achal Dhillon (Killing Moon)

PRIMAVERA AWARD INTERVIEW: ROSKILDE FESTIVAL Roskilde is not just one of Europe’s biggest festivals, with annual attendances of 100,000 plus, it is one of the most respected, a reference point for festival goers and bands alike thanks to line ups that combine musical legends such as the Rolling Stones, Paul McCartney and Prince with the cream of new talent. Roskilde is also a leading example of how festivals can contribute to the greater good: since 1972 it has been run as a non-proft organisation, supporting humanitarian and cultural work. That makes the festival a very worthy winner of the 2016 Primavera Award. In this panel we interviewed Henrik Rasmussen from Roskilde, to talk about the festival’s past, present and future.

Speaker: Henrik Rasmussen (Roskilde) Moderator: Greg Parmley (ILMC / IQ)

LOOK AT THE FUTURE: WHY WE’RE AT THE DAWN OF A NEW AGE IN MUSIC Forget the fear and ignore the pessimism: 2016 has to be one of the most interesting times to be working in the music industry in recent history. From the untold potential of streaming data, to exciting new technologies such as VR/AR and Blockchain, everything is changing, much of it for the better. In her keynote talk Sammy Andrews, a long-standing advocate of the value the digital revolution can bring to bands, brands and events, explained why we could be at the dawn of a new age in music. Live promoters, labels, managers, artists and more, take note.

Speaker: Sammy Andrews (Entertainment Intelligence)

THE LATIN AMERICAN PANORAMA: INDEPENDENT FESTIVALS AND THE IMPACT OF INTERNATIONAL FRANCHISES South America is an important region on the international music circuit and even in moments of high recession and devaluation the demand for international concerts is constant and sales reach record levels. These characteristics established the region as an unmissable place for artists from all over the world. The big international festivals have also focused their attention there and franchises such as Creamfelds, Lollapalooza and Ultra have settled in Brazil, Argentina, Chile, Colombia and Peru simultaneously, while independent proposals coexist with the franchises and continue to grow vindicating the identity, aesthetic and cultural authenticity of each country. This panel we explained the impact of the franchises and the challenges of the independent festivals in the framework of the great 17 variety of promoters and projects that while increasing interest and boost the growth of the industry, can also interfere with the experience of audiences and the artistic and fnancial efciency of the projects.

Speakers: Daniel Grinbank (DG Entertainment), Paola Wescher (Popload), Florencia Juri (DG Entertainment), Philippe Siegenthaler (Absent Papa)

A MUSIC SYNC MASTERCLASS In 2014 global revenues from music sync - the use of music in advertising, flm, games and television programmes - rose 8.4% year-on-year as overall recorded music revenues fell 0.4%. But a good sync isn’t just about money, it can also bring widespread exposure to an artist, while a bad sync can mean waving a fond goodbye to your credibility and career prospects. But what makes a good sync? How can you get one? And what exactly are music supervisors looking for in a piece of music? This panel rounded up several of the best known music supervisors in the business to answer these questions - and more.

Speakers: Peymon Maskan (TBWA / Media Arts Lab), Chris Pattinson (TBWA / Media Arts Lab), Ricki Askin (VICE Media) Moderator: Daniel Cross (Record Play)

IS ALL THE MONEY IN MUSIC MOVING TOWARDS APPS? With each big round of investment in musical technology businesses a new and potentially revolutionary source of income appears. To this we add all the recent changes in what parts of the music industry can generate money. First it was mp3 players, and then streaming that devastated the market of physical music. Later, live music became a great part of the revenue of artists and labels. This panel explored the next chapter of this story history: apps. Their ever-increasing infuence and how the industry may end up relying on them to survive were debated.

Speakers: William Chappel (HSBC), Clif Fluet Lewis (Lewis Silkin LLP), Chris Carey (Media Insight Consulting), Jonathan Davies (Shazam)

FESTIVALS AS A PROMOTIONAL TOOL: THE LATIN AMERICAN EXAMPLE If Latin America is now seen as a priority for the global music industry, then much of that is thanks to the area’s booming festival business, where international names like Lollapalooza and Creamfelds rub shoulders with established local operators including Rock in Rio, Vive Latino and the Buenos Aires Jazz Festival. This panel examined the importance of the Latin American festival business, giving an insight into how international acts can use the circuit to help establish a following in Latin America. The panel also examined the question of whether international festival promoters should consider launching in Latin America.

Speakers: José Velásquez (Veltrac Music / IMIP), Ale Ban (Music Wins), Roberto Parra (Primavera Fauna) Moderator: Juan Sebastián Salinas (T310 / Absent Papa)

ARC PRESENTS: BREAKING OUT, HOW TO TAKE YOUR MUSIC TO NEW INTERNATIONAL AUDIENCES We’d all like to think that music knows no international boundaries. But, as anyone who has tried to build an audience for an artist outside their native country will know, this just isn’t true. In fact, breaking a band internationally requires an incredible amount of hard work, patience and insider knowledge. It's difcult to help with the frst two. But this panel gave some of the best insider knowledge - with advice on everything from language problems to local partnerships - from panelists who know from experience how to break an act internationally.

Speakers: Fernando Yáñez (Live in Dallas), Javier García (ARC / Music Bus), Clémentine Bunel (ATC Live), Gianluca Giusti (Modernista) Moderator: Kate Hutchinson (The Guardian)

18 WHAT IS THE FUTURE OF DATA IN THE MUSIC INDUSTRY? Never before has the music industry had so much data at its fngertips. But this abundance of information is useless - or even harmful - if you don’t know how to use it. In this panel Chris Carey, founder of music industry data specialist Media Insight Consulting, gave us a crash course in the present and future of data use in the music industry, showing us how data can be used to discover talent, market your product, plan a tour and manage an artist, also covering the basics of which data sources to use and how.

Speaker: Chris Carey (Media Insight Consulting)

CAN FESTIVALS BE SOCIAL AND POLITICAL SPACES? Many festivals began with a social purpose, to provide a political or free space, often occupying public space and ofering an opportunity for people to engage with art, politicise and reclaim the land. With today’s festival market more competitive and crowded than ever, we examined how festivals around the world, from Shambala in England to Shoko Festival in Zimbabwe, Swn in Wales and Emergencias in Brazil can remain spaces with social purpose.

Speakers: Fabrício Nobre (A Construtora, Brazil), Sid Sharma (Shambala), Huw Stephens (Swn / Radio 1), Jerome Trehorel (Vieilles Charrues) Moderator: Ruth Daniel (Un-Convention)

FUTURE TRENDS AND TOOLS FOR MUSIC INDUSTRY MARKETING: A PRACTICAL GUIDE Driven by digital innovation, the music marketing landscape is changing at a breathtaking speed - so much so, in fact, that it can be hard to keep on top of all the latest tools. In this talk Claire Mas, head of digital at Communion Music Group, gave a detailed guide to the latest trends and tools in digital marketing, illustrated by real-life case studies.

Speaker: Claire Mas (Communion Music Group / Music Ally)

MUSIC NETWORKING WITH ASIA: ZANDARI FESTA IN SOUTH KOREA Started in 2012, Zandari Festa quickly established itself as South Korea’s largest music showcase festival. The annual event takes place in Seoul’s Hongdae area, the epicentre of youth culture in South Korea and ground zero for the country’s indie music scene. For three days each October, Zandari Festa brings together acts and music industry professionals from 15 countries for concerts and conferences at more than 20 unique venues around Hongdae. In this panel, Yoon-Young Kong, the general director of Zandari Festa, presented an overview of Korean indie music scene, and explained how the international networking has been made by the festival, through his experience of intercontinental collaboration. Also, there was a Q&A chat with the audience about Asian and Korean music scene.

Speaker: Yoon-Young Kong (Zandari Festa) Moderator: Cecilia Soojeong Yi (Korean Cultural Center in Spain)

CAN MUSIC STILL CHANGE THE WORLD? What is music’s role in 2016? Is it a simple diversion? Or can it make a deeper impact on our society? Can music, in other words, still change the world and make a diference to our divided society? These questions - and many more - were addressed in this panel by multidisciplinary artist and activist Simona Levi and Ruth Daniel, founder of Un-Convention and In Place of War, a movement that supports artists and creative communities living in sites of war, revolution and confict.

Speaker: Simona Levi (Xnet / 15MpaRato) Moderator: Ruth Daniel (Un-Convention)

ANGEL INVESTING IN SPAIN Spain is one of the most active countries in investments in startups. The objective of this keynote was to describe the Spanish investment ecosystem (market size, players, targets,...), to analyse the drivers of a Business Angel, to share the diferent ways of investing in startups in Spain and to focus on taxation and legal issues for foreign Business Angels that want to invest in Spain.

Speaker: Juan Álvarez de Lara (Seed&Click)

19 PENTAGROWTH, THE FIVE LEVERS FOR EXPONENTIAL GROWTH AND THE MUSIC BUSINESS Organisations growing exponentially leverage their own assets and capabilities by orchestrating new interactions among their ecosystem. The pentagrowth report is the result on analysing data from 50 organisations that grew more than 50% interanually in income and users during 5 years in a row. How can this model apply to the music business?

Speaker: Javier Creus (Ideas for Change)

APM PRESENTS: WHAT DO SPANISH POLITICAL PARTIES PROPOSE REGARDING CULTURAL MATTERS? The reduction of cultural VAT, the reform of the Intellectual Property Law, the legal recognition of music in education and a real Ley de Mecenazgo (law on sponsorship) are some of the demands made by the cultural and musical sector on the new political panorama in Spain. At this panel, representatives from the main Spanish political parties explained their proposals regarding questions of music and culture; in order to open up the debate on the subject of the direction public policies need to take in support of culture.

Speakers: Eduardo Maura (Commissioner for Culture, Podemos), Iban García (Culture Secretary, PSOE), Marta Rivera (Cultural Commissioner, Ciudadanos) Moderator: Neo Sala (APM)

THE MUSIC INDUSTRY AND SOCIAL MEDIA: TOO MANY PLATFORMS, TOO LITTLE TIME When social media meant just Facebook and Twitter it was easy. Now, with Instagram, Snapchat, Vine, Line etc etc etc there is far too much choice. So which platforms should you use to make the most of your time and efort when releasing a record, launching an artist or promoting your festival? And which should you dump? How can you, in other words, squeeze the most out of your social media channels without wasting your time?

Speaker: Aurelio Moreno Lanaspa (Runroom / Primavera Sound) Moderator: Aleix Ibars (PrimaveraPro)

LUSH: THE PRIMAVERAPRO INTERVIEW Lush were one of the most emblematic independent groups of the 90s, straddling the divide between dreamy guitar atmospherics and pop songwriting on their way to international cult success. They split up in 1998 only to return with rabidly received live dates and new music in 2016. In this exclusive interview, the band - Emma Anderson, Miki Berenyi and Phil King - talked about their early success, signing with 4AD and what it feels like to reform in the age of social media and streaming.

Speakers: Lush Moderator: Eamonn Forde

SONICVISIONS PRESENTS: WHAT CAN THE MUSIC BUSINESS LEARN FROM SUCCESSFUL STARTUPS? A music artist can be inspired by a painter, writer or a flmmaker for his art. But how can the start-up branch or the entertainment industry inspire an artist in his strategy to reach new audiences or build up a sustainable business? What are the diferences and what are the potential similarities that can help emerging artists and music managers enhance the potential of their projects? A panel of experts that discussed today’s innovative business strategies and the numerous crossroads between the start-ups and the music industry.

Speakers: Martin Guérin (Nyuko), Michael Roe (Sargent House) Moderator: Olivier Toth (Rockhal / IMMF)

FROM NINE INCH NAILS TO PJ HARVEY: IN CONVERSATION WITH SUPER PRODUCER FLOOD It would be hard to fnd a producer more in line with the music of Primavera Sound than Flood. Over more than 30 years of recording, he has worked with everyone from New Order to Nick Cave, PJ Harvey, Nine Inch Nails, Sigur Rós, The Jesus and Mary Chain, U2 and The Smashing Pumpkins, whose leader Billy Corgan called him “incredible”. “Flood is a tremendous producer,” Corgan added. “Flood is very masterful with the sonics, but where he really shines is he's a great idea person”. He was interviewed by renowned English singer songwriter Ed Harcourt, who has been working with Flood on his new album.

Speaker: Flood (producer) Moderator: Ed Harcourt (artist)

20 LABEL FOCUS - DOMINO Domino has become one of the most important, respected indie labels in the world, with a roster that includes everyone from Arctic Monkeys to James Yorkston. But this success didn’t happen overnight: the label started of in 1993 licensing releases from US indie labels like Sub Pop and Drag City, found itself on the wrong side of fashion during the Britpop years, signed several of the most important British guitar acts in recent history and scored its frst number one album in 2005 with Franz Ferdinand. Since 2005, the Domino ship has been overseen by director John Dyer, who gave us a practical insight into the day-to-day running of this key indie label, explaining how Domino has managed to go from strength to strength in this most difcult time for indie labels.

Speaker: John Dyer (Domino) Moderator: Eamonn Forde (The Guardian / Music Ally)

PRESENTATIONS

REDCLASH PRESENTS: YOUR DIGITAL MANAGER RedClash is a digital manager, an app designed for artists and organisations from the world of music, performing arts and audio-visuals. Its objective is to facilitate the management of musical and cultural projects with statistics, information and resources. All of this in a mobile application designed to bring together trust and the delivery of results, two key qualities in a manager. Redclash is designed to modernise, professionalise and help new talents in particular, exploiting to the upmost new technology and shared information.

Speaker: Félix Ortega (Founder)

LIVE CINEMA UK PRESENTS: MOVIES AND MUSIC, NEW OPPORTUNITIES FOR ARTISTS AND FESTIVALS Have you ever thought about making a soundtrack for a flm? Or about streaming your festival on a giant screen? Live Cinema UK ofers new opportunities to collaborate with music bands and festivals from all around the world, using their cinematographic experience to create live events that will allow you to reach new audiences and to reinforce your national and international presence.

Speaker: Lisa Brook (Director)

BUE FESTIVAL BUE is a music festival that takes place in Buenos Aires and is produced by Daniel Grinbank. It is an urban festival that over the years has established itself as a meeting place for national and international artists from diferent generations and styles, from Daft Punk to the Beastie Boys passing through PJ Harvey, TV on the Radio, Massive Attack, Elvis Costello, Patti Smith, The Strokes, Kings of Leon, Yeah Yeah Yeahs, Gustavo Cerati, Luis Alberto Spinetta, Amadou & Mariam, M.I.A and Morcheeba. After a hiatus of ten years since its last edition in 2006, on the 8th and 9th of October 2016 the festival will take place once again in Buenos Aires.

Speakers: Florencia Juri (Artistic Director), Tomás Roggio (Commercial Director)

MEETMAPS Meetmaps is a platform that allows the participants in an event to improve their networking experience by supplying a visually attractive and intuitive online environment that facilitates connection between the participants and the live following of an event. Meetmaps, also, has been the ofcial PrimaveraPro 2016 networking app, and during this presentation its creators explained the ins and outs of the platform and how it can be adapted to suit each event.

Speaker: Cesc Riera (CMO & Co-Founder)

WANDER PRESENTS: NAVIGATION AT FESTIVALS, WITHOUT INTERNET When there are so many people in one place, people at festivals face several challenges. “How do I move around the site when there are so many people?”, “How do I get in touch with my friends?” (Mobile and WI-FI networks do not work in large crowds), “Should I stay here or move to another place?”. You have to plan every move, something which the more experienced festivalgoers have adapted to –and often resolve in creative and ingenious ways- but… how can we solve this for everyone?

Speaker: Yonah Frost (Creator/Developer) 21 PLAYMOSS PRESENTS: “SUBSCRIPTION BY PLAYMOSS”, THE NEW WAY TO GENERATE REVENUE FOR ARTISTS, LABELS AND PROMOTERS “Subscription” is the new service of the Playmoss platform on which you can create your own online club. In it you will be able to share all sorts of interesting contents with followers who are members of the club quickly and efectively, be it in digital, physical or experiential format (digital music, vinyl records, concerts, merchandise…). In exchange, the followers pay a monthly, quarterly or annual fee to the artist, label or promoter. It is a new model of revenue for the music industry that was explained by the founders of Playmoss, who also ofered practical advice to artists and international promoters.

Speakers: Aleix Fernández (Co-founder), Gerardo Cartón (Co-founder)

IHEAR PRESENTS: A MOBILE PORTABLE MICROPHONE Nowadays it is normal to use our mobile devices as tools to record videos and audio and to take unique photos. However the microphones on current devices do not have the desired sound quality when they are subject to a high level of decibels (for example during a concert), lagging far behind the video recording systems that have reached an exceptionally sharp image resolution. To help users, ihEar is a small microphone that can be connected to the headphone socket of mobile devices such as telephones or tablets and allows you to record good quality audio.

Speaker: Vincenzo D'Agostino (CEO)

MANTRA MAMUT PRESENTS: FIRM STEPS IN LOOP Beyond its functions as a collective management record label Mantra Mamut is a social company that seeks to provide an ethical framework of integral support and administration so that musicians and independent creators can self manage, administrate and sustain of their artistic careers. With an editorial line that prioritizes small formats (individuals, duos and trios), Mantra Mamut participated in PrimaveraPro in order to build links in tune with their social objective and to boost business and exchange that beneft everybody.

Speakers: Soledad Ferraco (Musician), Verónica Paz (Director)

WOO MEDIA PRESENTS: HOW THE DIGITAL WORLD HAS CHANGED ALBUM RELEASES For forty years, the radio and record shops were the epicentres of record company marketing strategies in their quest for a hit. Internet and the social networks have started a major revolution in how to get songs to audiences: the artists have a direct relationship with their fans, live music is booming and new consumer habits – multiscreen, through searches or sound-afnity, in sync formats through TV, advertising, cinema and videogames – have built up a totally new ecosystem. Those who have not adapted languish in their nostalgia or have already disappeared. What are the keys to surviving in this new digital world?

Speaker: Ibai Cereijo (General Director)

GLOWNET & YUMIWI PRESENTS: HOW TECHNOLOGY IMPROVES THE FESTIVAL EXPERIENCE This presentation was focused on the use of technology at a festival, and how technology bridges the gap between the promoter, the brands and the attendees. Proving that data can be used to analyse and share real time analytics while providing valuable insights into consumer behaviour.

Speakers: Izan Coomonte (Glownet) & German Coppola (Yumiwi)

SOUND DIPLOMACY PRESENTS: MUSIC CITIES NETWORK Music cities are the world’s fastest growing cities. They increase revenue, retain talent, drive tourism and brand development and are the key to the sustainable music economies. As melting pots of musical creativity and consumption, urban centres are where music is produced, performed, advertised and sold. There is exceptional potential in this, creating unique opportunities to position music cities as thriving and international important centers of music and media production. Sound Diplomacy and the Hamburg Music Business Association (IHM) are currently setting up a global Music Cities Network, for active music cities all over the globe.

22 It is dedicated to improve communication, share research and intelligence, explore policy and advocacy, and network for policy makers and city leaders. The network is aimed at making cities wealthier, healthier and more international through music. In this session Katja Hermes, Director of the German ofce of Sound Diplomacy, introduceed the idea behind the Music Cities Network to interested representatives of music cities.

Speaker: Katja Hermes (German Ofce Director)

ELOS RJ PRESENTS: CONNECTING THE MUSIC CULTURAL AGENTS OF RIO DE JANEIRO ELOS RJ is an intervention by the Secretaría Estatal de Cultura of Rio de Janeiro that connects the music cultural agents of all the State of Rio de Janeiro, in order to promote the music scene and to facilitate contact. In its frst phase, the necessities of musicians, producers, managers, teachers, technicians, visual communicators, communication media advisors, record labels, music aggregators, editors, music synchronisation companies, associations, networks and other agents in the music production chain were identifed thus generating a mapping of the regional vocations and needs. The next step is assistance and aims to develop these networks, as well as to examine the best possible way to consolidate the actions that respond to the regional demands and to establish a pool of experience that will beneft all agents.

Speaker: Daniel Domingues (Music Coordinator at the Ministry of Culture of Rio de Janeiro)

PONTE PLURAL PRESENTS: RJ MUSICAL MAP The Musical Map of RJ is a collaborative platform monitoring the musical production chain in Rio de Janeiro, with the aim of giving visibility to the cultural activities of the State of Rio de Janeiro, to stimulate the circulation of Brazilian and foreign artists in the region and to boost new business. The MMRJ includes details about festivals, collectives, and concert venues among other existing local cultural agents.

Speaker: Luiza Bittencourt (CEO)

STAMPERY PRESENTS: THE XXI CENTURY NOTARY The winning idea at PrimaveraPro Startups 2015, Stampery is a platform created to certify digital documents (from emails to contracts passing through artistic creation) following the Bitcoin and Blockchain’s encryption model. One of Its creators, Luis Iván Cuende and Daniele Levi, explained the objectives and functioning of the platform that to date has managed to raise over $600,000 in investment and among other recognitions it has been a fnalist of one of Silicon Valley’s main technical events TechCrunch Disrupt.

Speakers: Luis Ivan Cuende (CTO)

TICKETSCRIPT PRESENTS: THE IMPORTANCE OF DATA FOR YOUR EVENT Analytics is a very powerful tool to gather information that can make your event “the” event. However there is so much information available that it is very common to be confused by all the options or to give too much attention to the least relevant aspects. There are basically two types of data: interesting data and useful data. At this session we dealed with the second type, and we showed you how to use and make the most of this useful information to make the marketing of your event more efcient.

Speaker: Shane Mansfeld (Head of Marketing)

TICKETSCRIPT PRESENTA: A NEW DIGITAL WORLD FOR YOUR EVENTS In a world in which technology is evolving faster than ever, the experience of an event is also changing. What impact will technological advances have on events over the next few years? What added values can ticketing companies ofer them? What is the secret behind a sold out event? How can interaction on social media and the use of information diferentiate you from your competitors? At this session we analyzed the future of the organisation of events from the perspective of the ticketing company Ticketscript.

Speaker: Shane Mansfeld (Head of Marketing)

23 MUSIKEE PRESENTS: THE PLATFORM TO SHAKE UP AND GET YOUR FANS INVOLVED Fans are fundamental for artists and the music industry in general. Musikee is a free online platform specifcally designed to involve them, allowing direct communication and a programme of rewards for carrying out actions that contribute to the artist’s development and objectives. At this presentation the founders of the platform talked about the diferent types of fans and about how street teams can help an artist giving specifc examples and about how Musikee and its system that allows one to covert likes and follows by fans into real and useful actions for the artists works.

Speakers: Daniele Ghidoli (CEO), Chiara Crispino (Co-founder and Business Development)

COONCERT PRESENTS: THE SUCCESS OF THE CONCERTS ON DEMAND What artist do you want to see in your city? This is the question you see when you go into Cooncert.com, a collaborative concert platform where the fans are the main protagonists. They launched the project in 2013 and since then over 60 concerts by international artists have been confrmed thanks to the participation of the audience. Discover how this concert on demand model works and join the project as a fan, musician, venue, promoter, record label, media, brand or festival. Together we will continue to prove that together no concert is impossible.

Speaker: Pau Corbalán (CEO and co-founder)

MUSIC TRAVELER PRESENTS: THE CONCERTS AND FESTIVALS SEARCHER ORIENTED TO TRAVELERS Music Traveler is a search engine that allows its users to decide where to travel within two parameters: their travel dates and where they want to go. With this information the platform fnds all the concerts and festivals that will take place in those places, so that the user can choose according to their musical taste with all the necessary complementary information such as ticket, fight and hotel information. At this presentation the founders of Music Traveler talked about their experience developing the platform and the objectives that they have set themselves.

Speakers: Guido Jerí Donat (Co-founder), Lenin Moreno Penna (Co-founder)

WHY PORTUGAL Currently in Portugal there are over 4800 artists of all types, more than 200 festivals, 30 agencies and promoters, 180 record labels (including 3 major labels), and over 2 million festivalgoers. These numbers demonstrate that the Portuguese are true music lovers, and the platform WHY Portugal was initially created with the aim to bring together all the players in the sector in a comprehensive online guide presenting Portuguese music today. In January 2017, Portugal will play a lead role in “Country Focus” at Eurosonic and WHY Portugal (integrated by AMAEI (Portuguese indie association) APORFEST (Portuguese festival association), MMF Portugal (Music Managers Forum Portugal) and Antena 3/RTP) will co-organise it with them.

Speakers: Nuno Saraiva (SCL - Lusitanian, Director), Hugo Ferreira (Omnichord, Director), Jorge Bizarro (AMAEI, President)

ULULE PRESENTS: HOW CROWDFUNDING WILL REVOLUTIONISE THE MUSIC INDUSTRY AT 2017, AGAIN After fve years of working with over 2000 labels, artists and bands that wanted to create and publish music, the crowdfunding platform Ulule has helped small, medium and enormous bands to reach their objectives, get their music to their fans and making them their patrons. And they say that money is only the tip of the iceberg of crowdfunding. The music industry has changed a lot in the last decade and it is going to carry on changing in the next few years, partly thanks to crowd funding and Ulule.

Speaker: Mathieu Maire de Poset (General Director)

BANDWIDTH PRESENTS: CONNECTING WITH THE LOCAL SCENE Bandwidth is an app that replaces the typical notice board for musicians and bands with something more efcient, modern and fun. Its objective is to connect local musicians directly, in order to set up bands, fnd members and set up new collaborations. All in an online tool designed for both professional musicians as well as for amateurs, which is easy to use and allows you to search according to abilities, musical tastes and shared experience.

Speakers: Juan Criollo (Founder), Duncan Campbell (CTO) 24 MARS MUSIC ACADEMY PRESENTS: MUSIC INDUSTRY’S CHALLENGES, LET US PREPARE THE MUSICIANS FOR THE BATTLE Dedicating yourself completely to music is difcult but exciting; it is a journey that requires character, strength and tons of determination. After all, artists need to know how to do lots of things: from distributing their record, to uploading tracks onto Spotify, answering emails from fans on social media and negotiating concerts with venues. As well as creating music of course! Mars Music Academy is a self-management school of music at which students learn directly from the experience of other musicians and professionals from the sector with the joint aim of reducing uncertainty and of acquiring the power of decision. The way of managing music has changed not only because what we knew before doesn’t exist anymore: now there are many more paths that lead to where you want to go. The problem is fnding them.

Speakers: María Lamartí (Co-founder), María Godoy (Co-founder)

OMITSIS PRESENTS: RELATIOOON, HOW TO TURN YOUR RELATIONSHIP WITH THE AUDIENCE INTO DATA, MONETISATION AND A MEMORABLE EXPERIENCE

Relatiooon is a system that allows concert venues to improve their relationship with their audiences exponentially. It is a project that was conceived by Omistsis in mid 2014, which thanks to an app, a CRM/ERP management system and a series of sensors and markers allows these venues to know everything that the audience does in the venue, with the objective to collect the information to then ofer a more personalised service in tune with their tastes. At this presentation we talked about the challenges facing the platform this year including the integration of gamifcation and monetisation and we explained a real case using data and results obtained throughout 2015.

Speakers: Ferran Martínez (CEO), Albert Ferré (COO)

SOUNDREEF PRESENTS: HOW CAN TECHNOLOGY MAKE THE MUSICAL INDUSTRY FAIRER AND OPENER? The music industry has totally changed in the last 20 years, during which technology has acquired a central role.Royalties and live music are now a fundamental part of the revenue generated by music, the European Union Directive 2014/26/EU, should it be well implemented by its member states is a great opportunity to make the industry fairer and to open it up more to independent artists. Soundreef develops the technology that allows the owners of rights to manage them with speedy payments and total transparency on how the music is used and the royalties that it generates. The company manages over 150,000 songs around the world for tens of thousands of users in over twenty countries. In the last two years it has licensed live events, with more than 1000 artist regularly using a service that is available in Spain from June 2016. As well as licenses to use music Soundreef also collects and distributes royalties on the behalf of authors and editors, an alternative to the traditional copyright management companies.

Speaker: Davide d'Atri (CEO)

BOOK PRESENTATION: MANUAL FOR THE PERFECT FESTIVALGOER Presentation of the second edition of the only festival guide in the world. On this occasion, with the updated Top 5 (Primavera Sound is one of them), eleven new festivals (local and international) and new sections and articles written by artists, fans and promoters. All of this accompanied by the usual anecdotes, backstage adventures and surrealist situations that put the icing on the cake.

Speaker: Gerardo Cartón (Author)

NAKATOMI PLAZA PRESENTS: HOW TO PREPARE FIVE LITRES OF NESQUIK IN A WASHING MACHINE In “How to prepare fve litres of Nesquik in a washing machine”, Nakatomi Plaza tackles the universal problem faced by everybody when they have an idea: how to put it into action. Making a move means exploring all the possibilities and optimising every available resource to achieve maximum potential. In Nakatomi Plaza they create experiences from this exploration and transmit them through avant-garde artistic and cultural interventions in Buenos Aires. Nakatomi is action, a platform of artistic and cultural exchange, a way of life sustained by the love of music, new technologies and visual arts.

Speakers: Iván Bein (Executive producer), Andrés Park (Creative), Juan Ignacio Molina (Creative) 25 SOUNDBETTER PRESENTS: THE FUTURE OF MUSIC PRODUCTION The way of recording music has changed drastically in the last few years. Music production used to be limited to a few fortunate people who had access to the necessary tools, but nowadays millions of musicians produce their own music and release it. Shachar Gilad, founder and CEO of SoundBetter, explained this change, what it means for musicians and fans and how SoundBetter can help musicians to maintain quality as they produce.

Speaker: Shachar Gilad (Founder and CEO)

VOLUTEON PRESENTS: SMART TV, A NEW WINDOW OF COMMUNICATION TV Apps open a new window of communication between companies and users and Voluteon has developed a technological platform with which to create, manage and personalise them. This platform not only incorporates video but also allows contents to be interactive as it is possible to integrate multi- screen and multi-device functions, thereby increasing the possibilities of the application. Interactiveness with the user through the contents on the TV is a new stage for companies that have something to communicate or sell, as was setting up a web page in its day or developing an app for mobile phones.

Speakers: Bartos Cañete (CEO), José Miguel Ramirez (CTO), José Mª Pina (CCO)

MMF LATAM PRESENTS: BUILDING MOTORWAYS IN LATIN AMERICA The Latin American Association of Musical Managers is a professional network of music managers focused on the development of the Latin American music industry. It was founded in October 2015 in Medellin (Colombia) and currently has over 60 professional members from 16 Latin American countries. At this talk they introduceed their network, objectives and the profle of their members, exploring the cultural and contextual diferences of the member countries, with the aim of developing links with other organisations and agents.

Speakers: Carmen Barahona (Doll Music), Abraham López (Mánagers Anónimos)

MENTORING SESSIONS

This program was designed to put the delegates in direct contact with some of the most important professionals in the music business. Experts in various areas of the music industry were available to give advice and resolve doubts.

Mentoring Session 1 With: Juan Sebastian Salinas (T310 / Absent Papa), Roberto Montero (Epicentro), Albert Torres (The Orchard), Ruth Daniel (Un-Convention)

Mentoring Session 2 With: Daniel Cross (Record-Play), Jose Velasquez (Veltrac Music), Abraham Lopez (Managers Anonimos)

Mentoring Session 3 With: Aurelio Moreno Lanaspa (Runroom / Primavera Sound), Jerome Trehorel (Festival des Vieilles Charrues), Yoon-Young Kong (Zandari Festa), Jordi Puig Soberón (Vive Latino)

Mentoring Session 4 With: Carmen Barahona (DollMusic), Sebastián Milós (PortalDisc.com), Carla Arias (IMI Chile), Oliver Knust (IMI Chile)

Mentoring Session 5 With: Fernando Delgado (PIAS), Sammy Andrews (Entertainment Intelligence), Pablo Skaf (Deezer)

Mentoring Session 6 With: Debbie Ball (Create Spark), Kevin Moore (The Great Escape), Huw Stephens (Radio One / Swn)

26 COCKTAIL PARTIES

El Segell del Primavera Cocktail Party SXSW Cocktail Party Meet Catalan Music Cocktail Party UPF – DGIM Cocktail Party Sounds From Israel Cocktail Party Australia – Aussie BBQ Cocktail Party IMIP Cocktail Party IMI Chile Cocktail Party APM Cocktail Party Sounds From Valencia Cocktail Party A Construtora Música e Cultura Cocktail Party IMEXSA Cocktail Party

PRIVATE MEETINGS

CATALAN WINE AND MUSIC TASTING SESSION FOR INTERNATIONAL PRESS Creative Catalonia and Primavera Sound also holded a private meeting aimed at international media professionals to celebrate Catalan wine and independent music. This exclusive gathering was an introduction to Catalan wine and emerging independent music culture of Barcelona and Catalonia. Gramona wine cellar was conducting the wine tasting experience, while journalists Joan S. Luna (chief editor of Mondo Sonoro) and Aleix Ibars (editor of Indiespot and head of communications of PrimaveraPro) briefy introduced the most exciting indie scene in Barcelona and Catalonia.

MUSIC FROM THE HOLYLAND – NETWORKING SOUNDS FROM ISRAEL Sounds From Israel presented the Israeli music market as well as its diversity, the enormous choices and mostly its varied impacts. The International Music Showcase Festival was presented as one of the major events in the Israeli music world .The outcomes of the exposures and mostly the outstanding experiences that are having the participants and guests.

APECAT - The Catalan association of independent record labels meeting The Catalan association of independent record labels (APECAT) holded a general assembly open to its members.

UFI MEETING The Spanish association of independent record labels (UFI) holded a meeting open to its members.

APECAT - The Catalan association of independent record labels meeting The Catalan association of independent record labels (APECAT) holded a general assembly open to its members.

UFI private workshop: How to upload catalogues and rescue those still pending in Ritmogestion The Spanish association of independent record labels (UFI) holded a private workshop open to its members.

ALTAFONTE INTERNATIONAL CONVENTION Altafonte holded an international convention open to its members.

MUSIC ORGANISATIONS MEETING: INTERSECTORIAL COLLABORATION FOR THE DEVELOPMENT OF MUSICAL PROJECTS IN A EUROPEAN CONTEXT Live DMA, Liveurope, IMPALA, UFI, ACCES, ASACC and APECAT holded a meeting to discuss how they can share their strengths and work together on European projects where they have common interests

APM PRIVATE MEETING: ORIGINS RIGHTS The Spanish association of music promoters (APM) holded a meeting open to its members.

LIVEUROPE MEETING Liveurope holded a private meeting open to its members.

WOMEN IN LIVE MUSIC MEETING The collective Women in live music holded a private meeting. 27 WORKSHOPS

THE ROLE OF PROMOTERS IN THE IMPLEMENTATION OF NFC/RFID TECHNOLOGY When a festival or event decides to implement NFC technology it has a global impact on the diferent areas of the organisation: general production, infrastructure, networks, access, security, communication, etc… Everything contributes to the fnal result and to how a festival is perceived by the public as well as by the media and brands. Bringing technology on board has innumerable short-term and long-term advantages, and for this reason a promoter cannot adopt the stance of a spectator when integrating it, as the inclusion of better technology requires a well planned production and execution to get good results.

In the workshop diferent professionals responsible for diferent areas of production, communication, ticketing… of the festival talked about their experience and the measures and solutions that they have implemented internally to adopt NFC technology, as well as the tools that they used for the implementation and the lessons that they learnt. During the workshop a small “guide of good practices and tools” when implementing NFC were put together and were shared via Playpass on our web and other channels.

Speakers: Estanis Martín de Nicolás (Stubhub), David de Wever (PlayPass), Guillermo Roadknight (PlayPass), François Jozic (Piknic Electronik)

HOW TO DEVELOP MUSIC FOR ADVERTISEMENTS Are you a musician? Do you work or would you like to work in advertising? Have you heard music in an ad and want to know how the brand chose it? At this workshop there were three professionals from three diferent but related areas, who pooled their talents and know how to show how music is made for advertising, how it gives value to creativity and how it helps to create a consistent brand image. The workshop showed this creative process live from beginning to end: from the request from the client and the elaboration of a creative briefng, passing through the creation developed in the agency leading to the composition by the musician, with input from the brand and copywriter.

Speakers: José Antonio Palomares (McCann Ericsson), Eloísa Moscardo (Banco Santander), Gabriel Casanovas (Anaut), Jaime Nieto (CORD)

28 HOW CAN CONCERT VENUES CONTINUE TO BE ATTRACTIVE FOR YOUNG PEOPLE? Venues have been fghting for years to be recognised as places where young people can play and enjoy live music in a safe environment. Their evolution has been fast and on the fringes of established circuits, and currently, with the new models of creation, the listening to and publication of music online, they are facing new challenges: What role will venues have? What challenges do they face and how can they adapt to these new parameters? How can they strengthen their connection with young people through digital tools, programming and marketing?

Speakers: Karen Sofe Sørensen (Brak), Denis Tallédec (Collectif Bar-Bars), Alejandro Tena (Queremos entrar), Ángel Aranda (Queremos entrar) Moderator: Kees Lamers (VNPF)

POP GOES POLITICS “Pop Goes Politics” is a concept that was developed in Switzerland by PETZI (association of concert venues and festivals) with PromotorSuisse, which was presented for the frst time in April 2016 at M4Music Festival as an open dialogue between the representatives of organisation of concert venues and public institutions and politicians. Its objective is to understand and analyse the problems concert venues are facing while drafting public policies that respond to and establish a suitable environment for their survival.

Specifc problems vary from one country to another, which is why Pop Goes Politics is proposing that several organisations meet up during PrimaveraPro to share experiences and exchange ideas, with the aim of cultivate across Europe and in a uniform way the recognition of concert venues as a cultural asset for society.

Speakers: Stephanie Thomas (FEDELIMA), Anne-Claire Rocton (French Ministry of Culture), Philippe Nicolas (CNV), Miquel Cabal (Heliogàbal), Esther Úbeda (La Sala) VIP row: Beverley Whitrick (Music Venue Trust), Isabelle von Walterskirche (PETZI), Marc Wohlrabe (Clubcommission), Carmen Zapata (ASACC), Federico Rasetti (KeepOn Live) Moderator: Audrey Guerre (Live DMA)

EE MUSIC The growing commitment of concert venues to subjects that afect society is making the management of sustainable energy an ever greater concern for the live music sector, but good intentions often do not work in practice. EE MUSIC is the most important campaign that has existed in the area of energy within the European music industry, and it aims to increase good practices and the tools available for a better use of energy.

Speaker: Chiara Badiali (Julie's Bicycle / EE Music)

QUEREMOS ENTRAR! Making changes to legislation in favour of music is not easy and Queremos entrar! has succeeded in making such changes in the sector in particular for minors who can now get into concert venues in the Comunidad de Madrid thanks to their campaign. At this presentation, the people behind the association talked about their experiences so that similar movements can thrive in other areas of Spain and around the world and they refected on strategies that can be adopted to include under aged people in a sector that urgently needs renovation both at the level of the audience and the artists.

Speakers: Carlos Sevilla (Queremos entrar), Alejandro Tena (Queremos entrar)

29 HOW CAN WE UNIFY THE DIFFERENT FOCUSES OF SUSTAINABLE DEVELOPMENT AT A EUROPEAN LEVEL? Concert venues, as agents of culture that they are, are an active part of the development and changes in society, which is why they have responsibility in the area of boosting new initiatives in the domain of sustainability. How can the issue of sustainability in venues be dealt with regarding to energy and with regards to social and economic models? At this workshop several examples of European cooperation on sustainable development were presented. What can be done at a community level to develop these good practices were also debated.

Speakers: Marjan Dewulf (Muziekclub 4AD), Chiara Badiali (Julie's Bicycle / EE Music), Maeva Justice (Le Grand Mix), Milena Dabetic (L'Aéronef) Moderator: Stephanie Thomas (FEDELIMA)

LIVE MUSIC AND AMATEUR PRACTICES: A EUROPEAN OVERVIEW Concert venues are an essential platform for emerging bands to begin their professional careers. They are also essential for amateur bands for rehearsals and concerts, even if they do not want to make a career out of music. How do concert venues support such bands? What legislation would be ideal to develop this amateur scene? The participants of this workshop shared their opinions and experience in order to determine the peculiarities of each country and what shared aspects could be dealt with at a European level.

Speakers: Federico Rasetti (KeepOn Live), Jordi Planagumà (La Mirona), Samuel Arnoux (MAPL) Moderator: Armando Ruah (ACCES)

WHY SHOULD EVERY MUSICAL CITY HAVE A NIGHT MAYOR? The Night Mayor is an ambassador of nocturnal culture. His role is to watch over a dynamic musical scene in the city and to build bridges between the institutions, concert venues and festivals and the inhabitants of the city. Many cities understand that the night culture boosts and contributes to the positioning of musical cities in the world, ofering a window of creativity and cultural and social innovation. This is why there are Night Mayors in Paris, Amsterdam, Toulouse, Groningen and Zurich, London will name a “Night Time Champion” this year and cities such as Barcelona and Milan are formally considering it.

Speakers: Chris Garrit (Groningen's Night Mayor), Mark Davyd (Music Venue Trust), Carles Sala (Barcelona City Council), Miquel Cabal (Heliogabal) Moderator: Isabelle von Walterskirchen (PETZI)

CITIES OF MUSIC: PARIS, GLASGOW, BERLIN AND BARCELONA The role of live music in big cities is still generating an intense debate, even after decisions like that taken by Barcelona and London to allow and back live music in small venues. At this panel, representatives from institutions and local associations from Paris, Glasgow, Berlin and Barcelona (as well as a large number of guests from other cities) explained their model and their experiences, with the aim of taking further the debate started at the frst edition of the International Congress of Concert Venues last year at PrimaveraPro, in which representatives from Austin, Groningen, Reykjavik and London participated.

Speakers: Dominique Muller (Bureau de la Musique, Paris), David Laing (Glasgow Life), Katja Lucker (Musicboard Berlin), Carles Sala (Barcelona City Council) VIP row: Dagur Bergþóruson Eggertsson (Mayor of Reykjavík), Tom Vangheluwe (De Kreun), Denis Talledec (Collectif Bar Bars), Berend Schans (VNPF), Katja Hermes (Sound Diplomacy) Moderator: Daniel Granados (Cultura Viva)

LIVEUROPE: WHEN CONCERT VENUES WORK TOGETHER Live music venues have a lot more strength when they work together. A year and a half after the launch of Liveurope, the frst European platform of concert venues, this new collaboration of the live music sector has been particularly efective. Over 600 emerging bands from around Europe have already been programmed in the 13 venues of the network to date, highlighting the positive efect of the collaboration. This panel gathered together some of the people behind the initiative and it was focused on the practical details of Liveurope, its future ambitions and its model for expanding the network. The debate was moderated by Fabien Miclet, who coordinates the platform from Brussels

Speakers: Ditte Sig Kramer (Vega), Eyvind Brox (Blå), Naiara Lasa (Apolo), Kurt Overbergh (Ancienne Belgique) Moderator: Fabien Miclet (Liveurope)

30 ATTITUDE IS EVERYTHING: ACCESS TO VENUES FOR DISABLED PEOPLE Attitude is Everything is a charitable organisation focused on making events as accessible as possible to deaf and disabled people, be they audience, artists or workers. They have awarded prizes to over 115 British venues and festivals for their good practices (among which fgure Glastonbury, Latitude, Festival No. 6, The O2, Roundhouse and Wembley Arena) as well as drawing up a report about the current situation every two years through the Mystery Shopping Project, in which their volunteers (deaf and disabled people) go to concerts and festivals and explain their experience. They also ofer training in matters of equality for disabled people and consultancy on accessibility for events.

Speakers: Gideon Feldman (Attitude is Everything), Mich Wyser (PETZI)

THE EVOLUTION OF THE MARKET OF BOOKERS IN EUROPE The position of agents, promoters and bookers has greatly changed in the past few years. Agencies contract their venues directly now, which is something that has changed the relationship with bookers and the programming of music. At the same time, bookers are facing new markets and all sorts of pressures and competition. What are the challenges that they are facing? And how can they deal with them?

Speakers: Maude Paley (Rocking Chair), Stefanie Klär (Kuppel), Yann Rivoal (Le Vapeur), Lluís Torrents (Razzmatazz) Moderator: Torbjørn Heitmann Valum (NKA)

PRESENTATION OF THE STUDY ON THE SITUATION OF CONCERT VENUES IN EUROPE The Live DMA network represents over 1500 concert venues and festivals in Europe and since three years ago they have been carrying out a study of the situation of European venues, underlining their particularities and current problems. The survey measures the activity of the venues, the number of visitors, the fnancing and employment rate and these results were revealed for the frst time during this presentation at PrimaveraPro. Is the sale of tickets enough to cover the costs of the programme? What role do volunteers play in the venue teams? What percentage of the income is represented by grants and drink sales?

Speaker: Arne Dee (Live DMA)

HOW CAN THE EUROPEAN COMMISSION SUPPORT THE MUSIC SECTOR? The European Commission is currently working towards a possible EU programme for the music sector, along the lines of the MEDIA programme for the audiovisual sector, which has been in existence for 25 years. If approved, the music programme would start in 2020. The Commission has organised a series of workshops throughout the frst half of 2016, inviting organisations from across the music sector to provide some feedback on what an EU music programme should be like. This panel was a good opportunity to hear directly from the Commission about their plans and about what’s been done so far, and also to hear the views of a Spanish member of the European Parliament and from music industry organisations IMPALA and Live DMA. The panel was moderated by Fabien Miclet, coordinator of EU- supported platform Liveurope.

Speakers: Alessandro Senesi (Deputy Head of the Creative Europe Programme, European Commission), Javi López (Member of the European Parliament, PSC), Audrey Guerre (Live DMA), Helen Smith (IMPALA) Moderator: Fabien Miclet (Liveurope)

31 THE ASSOCIATIONS OF INDEPENDENT LABELS The independent record sector is made up of a multitude of small companies that come up against many obstacles when trying to ofer their content to users. Despite the fact that 99% of record labels are SMEs over 95% of what people can hear and see in shops, on radio and television is in the hands of 3 multinationals. And in spite of being the creative motor that feeds many technological businesses, the value gap means that the revenue accrued to those who generate the contents is signifcantly lower than it should be. For this and many other reasons labels need to join forces to back musical creativity and cultural diversity and have a common voice to defend their interests.

Speaker: Noemí Planas (UFI / IMPALA)

SYNCH.CAT Synch.cat is a platform for synchronising the catalogue of associated labels. The aim of the platform is to boost the synchrony of recordings belonging to labels that are associated to APECAT through a platform of keyword based searches by tags, status, etc., that will be for professionals from the audiovisual sector (music curators, audiovisual TV series, cinema, advertising production companies, etc).

Speaker: Eva Faustino (APECAT)

ALTAFONTE Altafonte is a leading global digital distribution company that is present in all the markets worldwide and that ofers excellent services in the world of music, in a transparent and responsible way, with all its commitments in line with sustainable criteria. We innovate and develop our own technology and online management systems to obtain maximum efciency, speed, productivity and proftably. We ofer a friendly personalised service to our suppliers of creative contents: producers, labels and artists, who are the foundation on which we base our services.

Speaker: Inma Grass (Altafonte)

THINK DIFFERENTLY: CREATIVE STRATEGIES FOR THE PROMOTION OF MUSIC Today, the diferent tools that can be used to launch an album have become essential when devising a creative strategy for the promotion of an artist. Analysing the suitability of each of the diferent elements to be used, planning the contents for social media, deciding the format in which to release the record, creating audiovisual contents apart from the promotional videos and reinforcing the relationship between the artists and their fan base are some of the elements that must be taken into account.

Speaker: Ruth Barlow (Beggars Group), Anna Llacher (United Artist Media), Gerardo Carton (Producciones de Carton), Bruno Munoz (ABC_DJ) Moderator: Verónica Casas (Blanco y Negro)

DIGITAL FEAST OR ONLINE HUNGER? HOW TO RELEASE A RECORD IN 2016 Releasing music has been the cornerstone of the music industry since the invention of the gramophone, but it has never been as complicated as it is in 2016. The apex of the success of digital platforms means that there is almost too wide a choice for artists, labels and managers. Should you keep your music of YouTube that monetises per views but has over a thousand million users? Does avoiding Spotify mean you sell more copies? Or do you have to join them all, hoping that one of them will make it a hit?

Speakers: Fernando delgado ([PIAS] Iberia & Latin America), Rachel Stoewer (Cooking Vinyl), Ricard Tomás (Blanco y Negro Music), Manuel Torresano (Music as Usual) Moderator: Carles Martínez (Industria Musical)

UNITED ARTIST MEDIA UAM (United Artists Media) is a community of infuencers that allows you to promote your record releases and events via a network of infuencers. Speaker: Anna Llacher (United Artist Media) 32 INDEPENDENT MUSIC HUBS Independent Music Hubs is a platform created by UFi (Unión Fonográfca Independiente) to back the promotion and international mobility of artists from the independent sector in Europe and to create international networks between the diferent professionals from the sector, through the organisation of days of networking sessions and artist showcases in diferent cities of Europe. The project has a bilateral and collaborative character between music industry collectives and organisations from the countries involved in each edition.

Speaker: María Ibáñez (UFI)

EMOTION EXPERIENCE The agency Emotion Experience has applied its sensory marketing experience and its facet as a creator of contents for brands to develop an innovative system in the music market aimed at creating unique playlists for each of their clients (shops, commercial centres, banks…), introducing the emotional factor into them with the aim to enhance the shopping experience and the satisfaction of the user. The platform allows a total control of the management of music and visual contents of all the playback points globally, which is a new avenue for business for record labels and music generators.

Speaker: Carles Gilibets (Emotion Experience)

HOW CAN THE EUROPEAN COMMISSION SUPPORT THE MUSIC SECTOR? The European Commission is currently working towards a possible EU programme for the music sector, along the lines of the MEDIA programme for the audiovisual sector, which has been in existence for 25 years. If approved, the music programme would start in 2020. The Commission has organised a series of workshops throughout the frst half of 2016, inviting organisations from across the music sector to provide some feedback on what an EU music programme should be like. This panel was a good opportunity to hear directly from the Commission about their plans and about what’s been done so far, and also to hear the views of a Spanish member of the European Parliament and from music industry organisations IMPALA and Live DMA. The panel was moderated by Fabien Miclet, coordinator of EU- supported platform Liveurope.

Speakers: Alessandro Senesi (Deputy Head of the Creative Europe Programme, European Commission), Javi López (Member of the European Parliament, PSC), Audrey Guerre (Live DMA), Helen Smith (IMPALA) Moderator: Fabien Miclet (Liveurope)

COCKTAIL, INTRODUCTION AND AWARD CEREMONY IMPALA 15 + YOUNG INDEPENDENT LABEL SPOTLIGHT As part of its 15th anniversary, IMPALA (the Brussels-based organisation representing independent music companies and associations across Europe) has launched various initiatives which are taking place under the “IMPALA 15” banner, in order to illustrate what independents have achieved in 15 years of collective action and its plans for the future. One of these projects is the Young Label Spotlight, a monthly feature under the campaign name “FIVEUNDERFIFTEEN”, which shines a light on the work of a set of unique labels 15 years young or younger. You can read more about this campaign on the online publication The Independent Echo. Just before PrimaveraPro the next fve labels were announced, including the Spanish one Canada. IMPALA came to PrimaveraPro to present the Spanish label with its award and discussed why it has decided to focus on young labels.

Participants: Helen Smith (IMPALA), Noemí Planas (UFI)

33 PLAYLIST STATION The Xcèntric Archive of the CCCB –open to the public and free– became a playlist station, where a selection of interactive and 360º music videos were shown, along with a sample of the work of Walter Stern, of the professionals from the session “Creative Tandems” and from the VICE catalogue.

INSIDE MEDIA HOUSES: VICE At this session the economic, technological and creative strategies chosen by brand when elaborating a complex multimedia project were discussed. What place does the brand occupy in each window and how is the musical content related? What is the editorial line proposed when working on audiovisual contents for a brand? What technological advances are being developed and how are they related to the content production and to the defnition of the brand itself? VICE is developing new strategies such as VICELAND (VICE televisión that started at the end of February 2016), Diario VICE (daily programme for Movistar+, inaugurated in autumn 2015) and Noisey (platform dedicated to music), among others.

Speakers: Andrés Reymondes (VICE Spain), Medir Plandolit (Diario VICE), Dani Campos (Diario VICE)

360º VIDEOS AND VIRTUAL REALITY 2016 is, at last, the year of Virtual Reality, as companies such as Facebook, Samsung and Apple are developing their own prototypes of Oculus, as well as digital project linked to VR. At this workshop/ live demonstration conducted by Roc Parés (research artist in interactive communication), professionals and experts including Eloi Champagne (technical director of the animation studio of the National Film Board of Canada, where projects of virtual reality applied to sound have also been developed), Jorge Caballero Ramos (currently working on the frst documentary based on the Virtual Reality of the Masters of Creative Documentary at the Universitat Autónoma de Barcelona), and BeAnotherLab (laboratory that since 2006 has focused on immersive technologies and the digital environment, analysing them from a sociological and experimental perspective) showed and gave details about their work, with particular stress on the technical particularities and the possibilities that are already within our reach.

Speakers: Eloi Champagne (National Film Board of Canada), Jorge Caballero Ramos (Universitat Autònoma de Barcelona), Philippe Bertrand (BeAnotherLab), Jimena Torno (documentary director) Moderator: Roc Parés (artist)

LOW COST MUSIC VIDEOS FOR ONLINE COMMUNITIES When we talk about Generation Z, or about any other generation that has grown up with Internet, a new way of producing, distributing and consuming music and videos comes into play. Through apps, online editing programmes, remixers or the appropriation of the Internet language, there are a number of young video creators who do not ask for permission to make their videos. They don’t ask for permission nor do they ask for money: they produce low cost videos especially for the Internet. Authors such as Ackee Films (directors of the videos of Pxxr Gvng, among others), Dinger King and Willy Watermelon (directors of the videos of KFN), Space Surimi, Javi Álvarez (La Follable, directors of the videos for Roldán, among others), Los Ganglios (producers of their videos and videos for other bands including Los Punsetes) and Gema Briones (director of videos for Las Bistecs), who in this session talked about this form of expression that makes the most of the technological possibilities available to everyone.

Speakers: Kokos Ackee (Ackee Films), Dinger King and Willy Watermelon (flmmakers), Javi Álvarez (La Follable), Gema Briones (director) Moderator: Joan Pons (Rockdelux / Fotogramas / Ara Play)

NEW CREATIVE AND ECONOMIC OPPORTUNITIES IN THE GLOBAL CREATIVE COMMUNITY Nowadays it is normal to fnd companies that are dedicated to connecting brands to directors, while developing new synergies between festivals, brands and musical and audiovisual creators. Two such companies are: Genero, dedicated to connecting clients to the global creative community focusing on both music videos and cinema, having worked with artists of the calibre of Damon Albarn, Robert Plant, Alicia Keys, M83, Underworld and Tricky; and 1Band1Brand, dedicated to put in touch musicians with

34 brands and events. This session tried to defne how the music industry can best make use of audiovisual production for self promotion and for connecting with fans.

Speakers: Mick Entwisle (Genero), Brady Sadler (1Band1Brand)

MANAGING THE IMAGE OF THE ARTIST FROM THE AUDIO VISUAL SECTOR The award winning production company Academy Films, founded 25 years ago, it is dedicated to advertising, music videos, short flms, long flms and digital contents. One of its priorities is to cultivate emerging talent and to this end they backed professionals including Jonathan Glazer, Frederic Plancho, Si & Ad, Seb Edwards and Martin De Thurah when they were starting out. In 2010 they created A+, the division of their company dedicated to digital work, music videos, installations and live concerts. The producer Liz Kessler and director Walter Stern talked about their specifc case and explained how it is possible to create and reinforce the image of a musical artist from the audio visual sector.

Speakers: Liz Kessler (A+), Walter Stern (A+) Moderator: Cristian Pascual (In-Edit)

NETWORKING WITH THE CATALAN AUDIOVISUAL CLUSTER: MUSIC AND AUDIO VISUAL, A NEW NARRATIVE PROPOSAL Session organized in order to develop synergies and to interchange projects between the audiovisual and the musical industry. Presentation of the more interesting enterprises or projects in the audiovisual and musical feld. Session coordinated with the Catalan Audiovisual Cluster.

LOOP PRESENTS: WONDERS (CARLES CONGOST) Introduction to “Wonders” by Carles Congost (Olot, 1970), winner of the second edition of the Video Production Prize promoted by the Xarxa de Centres d’Arts Visuals de Catalunya, Arts Santa Mònica and LOOP Barcelona.

“Wonders” is a video proposal that uses resources close to musical biopics and performance to analyse the role of the "one-hit wonder”, probably one of the most symptomatic of the neoliberal paradigm that has permeated each of the areas of the global world during the last three decades. The expression "one-hit wonder" is used, in the record industry, to name those who have feetingly achieved massive recognition thanks to one successful single.

Speakers: Carles Congost (audiovisual artist), Eloy Fernández-Porta (writer, teacher and performer)

THE TWO LIVES OF JOHN CARPENTER: MUSICIAN AND FILM DIRECTOR Primavera Sound and Sitges Film Festival are organising a session to penetrate the artistic career of one of the most outstanding guests at Primavera Sound 2016: John Carpenter. Film director and composer of his soundtracks, he has been one of the inescapable references of the Sitges Film Festival and of Horror genre, of which he is considered a key fgure. The session was a face-to-face between the flm director Jaume Balagueró, Ángel Sala (director of Sitges Film Festival) and Nacho Cerdà (Phenomena).

Speakers: Jaume Balagueró (flmmaker), Ángel Sala (Sitges IFFFC), Nacho Cerdà (Phenomena)

CREATIVE TANDEMS: RELATIONSHIPS BETWEEN FILMMAKERS AND SPANISH MUSIC BANDS There are flmmakers who have been responsible for the construction of the image of some music bands, through the creation of their videos in a relationship so long that the line between the flmmaker and the band has become blurred. It is the case of J.A. Bayona with OBK, of Lyona with Love of Lesbian, of Sergi Pérez with Manel, of Kike Maíllo with Manos de Topo, of Luis Cerveró (exCANADA) with Joe Crepúsculo, and of Roger Guàrdia (CANADA) with Mourn. In this highly entertaining session there were a play of of the best videos of each tandem, with commentaries by their creators.

Speakers: J. A. Bayona (flmmaker and producer), Lyona (flmmaker and producer), Sergi Pérez (flmmaker and producer), Kike Maíllo (flmmaker and producer), Roger Guàrdia (producer) and Luis Cerveró (Terranova)

35 MUSIC DOCUMENTARY: MEETING PEOPLE IS EASY (1998) The rockumentary follows Radiohead through the extensive presentation tour of their emblematic album “OK Computer” (1997) from its start in Barcelona to its end, 104 concerts later, in New York. In it you can see fragments of concerts, the day-to-day of the band and promotional interviews amidst videos and abstract landscapes, avoiding at all times the more intimate and personal questions of the band members.

MUSIC DOCUMENTARY: THE BALLAD OF GENESIS AND LADY JAYE (2011) An intimate and heart-rending portrait of the life and work of the performance and punk pioneer Genesis Breyer P-Orridge (Throbbing Gristle, Psychic TV), and his collaborator and wife Lady Jaye. The documentary focuses on the physical transformation that the couple undergoes in the development of their “Pandrogyne”.

BEST OF VICE Prayers and the Cholo Goth Movement-Noisey Meets VICE, 8’10”, V.O. English subt.

Making Digital Cumbia in Peru-Sub.Culture Lima VICE, 7’11”, V.O. English subt.

Diario VICE: Dembow callejero 8’, V.O. Spanish

King Lil G Keeps Compton’s History Alive. Noisey Raps 8’30”, V.O. English subt.

Música barata y fama de YouTube. Una conversación entre El Coleta y Cecilio G VICE, 6’47”, V.O. English subt.

NOISEY Meets: Los Sugus VICE, 4’39”, V.O. English subt.

Three Days with Mourn at Primavera Sound VICE, 14’34”, V.O. English subt.

MUSICAL DOCUMENTARY: SHUT UP AND PLAY THE HITS (2011) The documentary shows James Murphy, frontman of LCD Soundsystem, on the night of his farewell concert at Madison Square Garden and the day after. The live hits blend with a day in the life of the author and his perception of the band, tours, composing and humbleness.

36 OPENING PRIMAVERAPRO STARTUPS 2016 A welcome session for the third edition of PrimaveraPro Startups, a joint initiative between PrimaveraPro and Seed&Click to recompense and strengthen business initiatives linked to the music sector. Introduction by Juan Álvarez de Lara, CEO of Seed&Click.

Speaker: Juan Álvarez de Lara (Seed&Click)

HOW TO GET 1.6 MILLION DOLLARS FOR YOUR STARTUP At this session Luis Iván Cuende from Stampery and Shachar Gilad from Soundbetter, the people responsible for the two winning projects of the last edition of PrimaveraPro Startups, shared their experience of this last year, during which they have managed to raise a total of 1.6 million dollars for their respective companies. They were accompanied by Nevena Vujosevic (Berklee College of Music) who moderated this panel.

Speakers: Juan Álvarez de Lara (Seed&Click), Shachar Gilad (Soundbetter) Moderator: Nevera Vujosevic (Berklee College of Music)

STARTUPS PITCHING The fve projects selected for the fnal by an international jury for their innovation and disruptive technology in the music industry were presented to a panel of experts, investors and members of the public attending the grand fnale of PrimaveraPro Startups. The fnalists presented their project in the format of an elevator pitch (5 minutes).

The fve selected projects of PrimaveraPro Startups 2016 were: Bandsquare (Paris, France), Humm (London, UK), Muserk (New York, USA), Rotor Videos (London, UK), and Whitestone (Amsterdam, Netherlands).

DELIBERATION OF THE JURY / NETWORKING SESSION Once all the projects have been presented, the jury withdrawed and deliberated to choose the winner. Whilst the jury was making its decision, in the main room there was a networking session so that all the attendees could meet the investors presented to this edition and vice versa.

HOW TO SET UP A SUCCESSFUL STREAMING PLATFORM Pablo Skaf, Head of Iberia Operations at Deezer, was the keynote speaker explaining how to set up a successful project like that of the streaming platform Deezer. Skaf is a specialist in business and marketing development and has extensive experience in the cultural sector, media and brands.

Speaker: Pablo Skaf (Deezer)

AWARD CEREMONY After the deliberation of the jury, the winning project of PrimaveraPro Startups 2016 was announced: Whitestone. The selected project walked away with a prize of the value of 100,000€. The winner of the audience award that voted for on social networks was also announced: Rotor Videos.

37 Reports

PrimaveraPro 2016 notes

“Although things change, they stay the same”. This seems to be the fundamental message of the conversations that took place during the panels and interviews at the seventh edition of PrimaveraPro.

“Is musical press still relevant?” Was the crucial question at the panel moderated by Judy Cantor-Navas from Billboard, at which representatives from important publications such as Pitchfork, Stereogum and Intro argued the case concluding that although some of the dynamics of power have defnitely changed –above all in relation to exclusives– the role of journalists is still extremely important, as they are the flter through which the audience receives the relevant information, as not everybody has the time to explore the great quantity of news and music on ofer nowadays. As long as music continues to be important for audiences, musical press will continue to exist, people will always want to read the review of a concert or read interviews by people they admire. People value the editorial line of certain publications, which give them the chance to discover new music, recommended by fgures that they trust. At the end of the day the role of selector or curator is gaining more and more ground, as personal opinions always carry more weight than one that is generated automatically by an algorithm.

Another important topic that came up at several of the panels of the meeting was Latin America. Daniela Ribas, from Brazil, active member of the music sector of the National Council of Cultural Policies at the Brazilian Ministry of Culture, was very clear on one point it is impossible to have policies on music and culture if there is no democracy in a country. One of the main problems in Brazil is corruption in the government and administration, which is why it has been impossible to establish solid institutional mechanisms to stimulate musical development from an economic and cultural point of view.

Nonetheless the independent music scene continues to fourish, an example of this is the success of the Festival Bananada, whose representatives were present at several PrimaveraPro panels, one of which discussed the social nature of festivals around the world: are they still social and political spaces or have they merely become commercial events? This panel moderated by Ruth Daniel from UN- Convention presented examples of festivals such as Shambala in the United Kingdom, that has no sponsors or advertisers. Its creative director Sid Sharma explained that “it is risk to depend to a great extent on sponsors, because they are external entities with their own agenda and they may not be around forever, thus generating a huge hole in a festival’s budget” In their case, the social contract is much more important than the commercial one.

However, having sponsors can have an important impact, as in the case of Bananada, which can, thanks to the money coming from companies lower the price of tickets for its audience. With respect to political afliations, above all in the case of Brazil nowadays, even when a festival does not associate itself directly with any party, it is very difcult to separate oneself from the political reality of the country and it is also impossible to limit the freedom of expression of the people and artists when faced with the actual event. Therefore, the construction of a line up of a festival is in itself a political act, above all in the case of independent festivals where the criterion goes beyond commercial success.

Continuing on the subject of festivals, the increasing demand for this type of event in Latin America was discussed. The infuence of corporations such as Live Nation breaking onto the Latin American market has undoubtedly had an efect, which has in turn made it more difcult for independent festivals, as like tours by important artists, big promoters buy the vast majority of them. Given this reality, the conclusion reached is that it is important to defne independent festivals as platforms for the development of new artists, with their own identity and spirit and not to defne themselves through the headliners that they can attract. During another discussion about festivals, Henrik Rasmussen, founder of the Danish festival Roskilde –winner of the Primavera Award 2016–explained that it is fundamental to fnd a niche and to create a unique proposal, as competition today is not only between festivals, but also between all the diferent options that a young person has to spend their money on.

38 The struggle is how to get people to spend their money on an activity like a festival, which is why it is necessary to create a unique experience.

As has now become usual in the past few years, the streaming war was discussed in great detail during a very comprehensive panel that ofered interesting perspectives on whether this ferce competition is good or bad for the industry, and especially for the fans. Exclusives are defnitely here to stay, although this practice is confusing for users and also frustrating, as those who pay for a premium streaming service want to have access to music that is not available there. Albert Torres from The Orchard argued that the artist is the person who sufers the most in this wars, as for example in the case of Taylor Swift, her music does not reach audiences in Scandinavian countries as audiences there mainly consume music through Spotify. Torres also explained that in his opinion in order for there to be a real war, all the opponents should be at the same level and that this was not the case currently: there is a clear leader and the rest need exclusives as a tool to be able to expand and establish a balance. Eventually, the streaming war will be benefcial because more people will get to know the diferent streaming services and the market will grow.

“How to get your music abroad” was a panel during which the strategies and paths for getting into international markets were discussed. There is no right or wrong way to export artists, each artist must be considered individually. One of the main obstacles is the size of the industry in the country you want to break into and whether there is a solid independent structure with which to establish frst contacts. Another barrier is language, however there are cases in which this is not a problem; it is a question of connection between people and music, of fnding the adequate atmosphere or market (usually independent scenes, but it all takes time). Collaboration with local artists is not always the right path, as the audience of that artist is not necessarily our target audience; it is necessary for the artist, even if they do not sing in English or the target language, to have a story to tell, an image and a coherent message, quality music and be very clear about the artistic project that they want to develop.

As a conclusion to the panels two outstanding fgures from the music industry made an appearance: the producer Flood who has worked with artists such as PJ Harvey and Nine Inch Nails, and the director of Domino Records, John Dyer.

Flood left us with the refreshing message that artists must focus on their art and that the work of the producer was to facilitate that focus, by creating a favourable atmosphere in which the artists can feel like the most honest version of themselves. Arts and commerce have always gone hand in hand and the industry has tried to play down the value of music as art, but future generations cannot be controlled. A young person, who is excited about seeing their favourite artist, does not have anything to do with the business side and that is something that cannot be controlled or invented.

In the current panorama of the industry, in which for example an artist such as Chance the Rapper has gone to the top of the charts without belonging to any label, doing everything by himself, what can labels ofer? “This is not a question of record labels having nothing to ofer at the moment, but a question of diferent artists needing diferent services. The options have expanded, and now some artists can do things on their own, if that is what they want”, replied Dyer.

One of the policies that has guaranteed the success of Domino as an independent record label is that they control all their digital rights, as a consequence there are fewer intermediaries receiving part of the revenue. “I am convinced that by taking away elements of the production chain, we have managed to pay our artists better than major labels, because there are not many people taking their share”.

Julia Hernández (Industria Musical)

39 International Congress of Concert Venues PrimaveraPro 2016: conclusions

In the course of the Congresses at this edition of PrimaveraPro two noteworthy facts were underlined the economic and cultural and social importance of music and concert venues in medium and large- sized cities, and the dangers that the ever growing process of urban-nuclei gentrifcation, that threatens the continuity of these venues, incurs.

Initiatives such as We Want to Get In!, that fghts for the rights of minors to get into concerts, the naming of Night Mayors in cities such as Paris, Amsterdam and Zurich and the creation of a Commission of Clubs of Berlin, that works as a mediator between concert venues, clubs, festivals and the citizens and public institutions, show the increasing importance of music and concert venues as fundamental axes of healthy and sustainable culture that for many cities has an economic reward with the attraction of tourists, among other things.

LIVE MUSIC AND AMATEURS PRACTISES: A EUROPEAN OVERVIEW

Many of these venues are the only support that exists for amateur musicians and are a platform for many budding artists, according to what was said at the talk “Live music and amateur practises: A European Overview”. Countries such as Italy and France have important organisations to give support to what is called “the future of music”.

The workshop was moderated by Armando Ruah coordinator of ACCES (the state association of private live music venues) and participants included Federico Rasetti, project manager and coordinator of the network of Italian live music clubs (KeepOn LIVE), Samuel Arnoux, member of a non-proft organisation that promotes and backs amateur and professional musicians (MAPL) and Jordi Planagumá, the coordinator of the network of Catalan Cases de la Música.

During the talk the importance of amateurism and that of the backing provided by the member-venues of the speakers’ collectives was vindicated. According to Planagumá “all professional musicians were once amateurs, so their role is important for the future generation of artists even though amateurism isn’t necessarily the step that precedes professionalism”, he also underlined that many of them “decide to continue to be amateurs”.

Arnoux, on the other hand, highlighted its “transcendental” and romantic side, specifying that in his collective of music and concert venues amateurism was gauged as the tool that helps “the cultural life of a town or region”, contributing to people being “happier”.

The panel also touched on aspects related to the boundaries between professionalism and amateurism, which gave rise to another debate. For Jordi, “an amateur musician is one who does not make a living from being a musician. A professional musician makes a living and lives exclusively from his work as a musician”, something that in France is not protected by a legal defnition. “In France there is no legal defnition of what an amateur musician is,” commented Samuel. “For us a professional musician is one who works in music and has obligations, one who is regulated by the law. (…) However the fact that there is not a legal amateur musician status has meant that there is currently a debate in France between concert venues, musicians and artists’ unions. If money is made at a concert, musicians should be paid independently of whether they are amateur or not. But this is causing many complaints from musicians’ unions and professional musicians, it is going to be an interesting debate.”.

When ofering solutions, Jordi stated that his collective had wanted to “imitate the sports model, where federation members pay an annual amateur fee. The administration told us that this was not a problem”, however the works inspectorate and social security administration said “if you pay to get in to a concert then the musician is not an amateur musician”, a legal loophole that handicaps Spain as compared to France. “The amateur”, commented Jordi, “has existed because of the legal loophole,” mentioned, a problem that can only be explained by reference to the complexity of reaching an agreement with the diferent administrations.

A key point of the debate was to fnd out if there existed any type of minimum wage for musicians in diferent countries. All the speakers agreed that “if any type of wage was paid then we are no longer

40 speaking about amateur musicians”, although Samuel reminded us of the current debate in France about the payment of caches to amateur musicians by venues: “professional musicians are demanding a solution to this situation as they consider it unfair. In France there are many types of musicians’ unions that pay their fees and have a minimum entrance fee per concert. They consider it discrimination if amateur musicians are paid for their concerts when by defnition they do not make a living from their concerts. We do not know where this debate will take us, but hope that we will fnd a solution soon.” The rest of the speakers agreed that France is way ahead of them. “In Spain the concept of unions exclusively for musicians does not even exist, they are included in the big state unions”, Jordi underlined.

At the end of the panel, the speakers explained the diferent projects that they have to boost amateur music through their network of venues. Federico explained that in Italy artistic directors of the venues of his collective reported every month on the most interesting amateur artists. “At the end of the year we reward the best artists with concerts in big venues and with tours. We also give them the opportunity to play with other artist and musicians so that they have the chance to negotiate concerts for themselves”.

“In France, our collective organises an annual event that brings together the best amateur artists, the ones that in our opinion have the necessary talent to become professional. It is, let’s say a sort of prize for those that we consider have done a good job and are good enough to become professional ”, said Samuel.

Whilst Jordi stated that in the Cases de la Música they have diferent sections to help to record demos, improve their live performances, they have a self-release label, a platform to test their live act, “and we even have a tutoring programme for amateur musicians to advise them on touring, live performances, looking for rehearsal rooms, etc.…”.

One thing that was very clear was the importance of amateur music as a “source of inspiration”, as something “essential for bands, musicians and artists to experience before becoming professionals in a domain which they love and identify with, therefore it was up to the collectives of venues and live music venues to back these artists”, underlined Armando.

QUEREMOS ENTRAR: A SPECIFIC CASE

The ¡Queremos Entrar! participated in the Congress explaining their participative experience by which they have managed to have the prohibition on minors in concert venues lifted in venues in Madrid. Carlos Sevilla and Alex Tena, essential members of the collective, participated in the presentation, which was attended by around ffty people, musicians, lawyers and music lovers in general.

Everything started in 2010, Tena explained, when he and Carlos met at the door to a concert by the Klaxons and as they were minors at that time, they were turned away. They looked into the problem and found out that all around Spain it was the same: either the regulations were very strict or there was a legal vacuum. Something that is very diferent in the rest of Europe where minors are welcome in venues and concert venues.

The creation of the collective came later at a talk organised in the Matadero as part of FESTeen (Festival de Cultura Joven de Madrid), in October 2015, to which professionals of the sector were invited, lawyers, musicians and anyone who was interested in debating the problem of access to concert for minors. This is when the collective was formed and got organised on social media and started to get legal advice to fnd a fast and simple solution.

The fnal boost came from two sources: the backing of Ángel Carmona on the Radio 3 programme “Hoy Empieza Todo” and contact with Jazmín Beirak, head of Culture in PODEMOS, who drafted an agreement between all the parties present in the Congress of Madrid (PSOE, CIUDADANOS and PP) which made the legal change possible in November 2015.

They have not stopped there and want to spread the movement to other autonomous communities. They have presence in Galicia, Valencia, Andalucía and Aragon, where the law has already been changed and they are not averse to continuing the investigation into the autonomous regulations in the rest of the communities to make it possible for minors to get into venues and concert venues vindicating their right to free access to culture.

41 CITIES OF MUSIC: PARIS, GLASGOW, BERLIN AND BARCELONA Another exceptional panel at the Congress was Cities Of Music, at which the synergies between the diferent characteristics of culture and music in the participating countries were examined, making the most of the great success of the frst edition with representatives from Austin, Groningen, Reykjavik and London.

All the speakers agreed on one point: the process of ever-increasing gentrifcation in most European cities that threatens to eliminate the network of venues in some cities and along with it the attractive cultural tourism that it brings. Katja Lucker, from MUSICBOARD BERLIN gave her opinion on the matter “it is important that Berlin maintains its network of clubs mediating the conficts between clubs and neighbours, treating people with respect and explaining that the existence of the clubs is part of our culture. We know that every year club music attracts thousands of tourists and it is an important asset for the city, this is why we must assure its future and convince real estate promoters to respect this”. From Glasgow Line, David Line wanted to add that from his point of view “we feel that we have the power to infuence diferent town-planning projects as neither the agents involved nor the Town Hall of Glasgow have vetoed us”.

Carles Sala, director of Barcelona Capital del Instituto de Cultura de Barcelona talked about the Barcelona experience considering that “for many years we have had an important role the GDP generated by a powerful network of concert venues”. “Many already understand this fact by observing the economic impact of festivals such as Primavera Sound and Sonar. But we want to change this view and focus more on the social aspect and on the cultural benefts that it brings. And that is much more complicated, as it is not easy to measure or for society to see them.”

From the Bureau de la Musique in Paris, Dominique Muller added that, ”It is important to mediate between the confict of interests that arise between urban promoters and concert venues collectives”, explaining that the intermittent system applied in France should be considered as a sort of preservation of music. “All artists and musicians receive a cache or salary when they give a concert or are on tour. Part of this cache or salary goes to the Social Security in function of the hours invested, so that when they are not giving concerts or touring they can receive a grant or fnancial help. It will be like unemployment beneft, as when they are not performing or touring they are still working composing or rehearsing for future concerts. In this way we protect musicians and allow them to continue to create”.

All the speakers also agreed that the process of gentrifcation mustn’t be blindly accepted, as a lot of town planning in central Europe springs from cultural projects. For this reason it is important to understand that culture is something which is essential, an idiosyncratic dimension of a town and not merely a form of entertainment. However as Carlos said “every city is diferent not only as regards size and tourist numbers, but also with regards to musical culture and what its inhabitants understand by it. I do not want to talk about the real estate bubble in our country, but I want stress to all the social agents that a logical, sustainable town planning in which music venues and creative spaces are respected is fundamental”.

HOW CAN THE EUROPEAN COMMISSION BACK THE MUSIC SECTOR?

In relation to the possible support that the European Commission can ofer the music industry collectives, organisations such as IMPALA and Live DMA, this panel looked into the situation of the Creative Europe programme, a new programme specifcally designed for the music sector and how Brussels can back venues and small record labels. “The European Commission has one great drawback: it is slow” said Javi López, MEP and a regular at Primavera Sound. “It is very difcult to get any initiative going because of the number of people involved, the geographical area and legal system of each country as well as Brussels’ own policies (….). Music is an important sector that generates business and tourism but it changes at an incredible rate”. The European Commission is focussed on preparing a specifc project to back the music industry that should be approved and up and running by in 2020. According to Alessandro Senesi (co-director of the Creative Europe programme) the European Commission is already organising meetings and workshops with diferent operators in music to get to know what’s new in the sector and to apply it to the new programme.

Europe must back the sector “not only for the economic impact but also for the social and cultural impact” said Audrey Guerre (Live DM). “The smaller the venue the less revenues it has and more support it needs to stay afoat”, words which the people participating in the debate noted.

Carlos Torres and Rubén Izquierdo 42 International Congress of Independent Labels PrimaveraPro 2016: conclusions

PrimaveraPro 2016 hosted the second International Congress of independent, co-organized with the Catalan association APECAT, the Spanish association UFI and the European one IMPALA, where the main challenges facing the sector were discussed once again. Subjects such as the digital transition, penetrating international markets and the possibilities ofered by new formats were among the focal points at the Congress, where the ffteenth anniversary of IMPALA was also celebrated.

The presence of IMPALA served to fag up the work of independent labels in Europe that accounts for the production of 80% of new record releases in the territory, in turn generating 80% of derived jobs. In this context, it became quite clear, during the Congress, that the gap between multinational and independent labels still exists, and this was borne out by the fgures: over 90% of music businesses are independent and in spite of this their market quota is still only 30% compared to the 3 main multinational players of the sector.

Faced with this panorama and whilst waiting for a new programme of grants for the music industry from the European Commission, there are several initiatives aiming to give greater visibility and presence to independent labels.

NEW MODELS OF EXPANSION

Among the measures that are being put into action to boost new formats, initiatives such as Synch.cat, stand out, it is a search engine developed by the association of independent Catalan labels APECAT and is focussed on the audio-visual sector in order for them to have a catalogue of series, television, cinema, etc. APECAT announced the signature of an agreement with TV3 for the use of this search engine, which is aimed at increasing the visibility of the catalogues of the labels who sign the agreement.

The work of Altafonte is also well worth a mention, a distributor focused on Hispano American market and manages the rights, distribution of digital and physical material as well as Video Network in the area of South America and Spanish speaking countries.

ABOUT INDEPENDENT MUSIC HUBS

At a European level at the Congress the setting in motion by the Unión Fonográfca Independiente (UFI) of Independent Music Hubs was highlighted, platforms of mobility and internationalisation of independent European artists, as well as the initiative of the Association of Independent European Labels (IMPALA) Young Independent Label Spotlight. A programme that creates synergies at a European level to create a platform for the mobility and internationalization of independent artists in Europe: “The aim of IMH is to create collaboration and exchange between the country of origin and the country of destination, that is to say, that the process must be reciprocal setting up showcases, roundtable discussions, meetings and concerts not only in the destination country but also in the country of origin with participants from the destination country”. The frst step in this direction was the event held in Lisbon in November 2015 with an edition at which, apart from the meetings between the collectives of both countries, there were concerts by Tigres Leones, Joe Crepúsculo and Bee Bee Bee. Beatriz specifed: “what we want to avoid at all costs is setting up concerts for Spanish audiences in other countries, that is not what we are aiming for”. Next year’s edition was also announced for December this year in Stockholm.

IMPALA 15th ANNIVERSARY

Celebrating its ffteenth anniversary, IMPALA presented its campaign FIVEUNDERFIFTEEN, which is intended to give visibility and recognition to diferent labels with up to 15 years existence on the market place. The executive director of the association, Helen Smith, made the most of her presence at the festival to present the prize to the local label Canadá Editorial, who won together with the Portuguese label Omnichord Records, Monkeytown Records from Germany and the Dutch label Armada Music.

43 IMPALA participated, with Helen Smith herself, in the panel “How Can The European Commission back the music sector?”, during which the state of the possible new European programme of grants for the music sector was discussed, a project in which the European commission is participating and that is programmed to be up and running in 2020.

EUROPEAN COMMISSION BACKING OF THE MUSIC SECTOR

One of the high points of the Congress was this debate about the European Commission backing of the music sector, with the presence of Alessandro Senesi, co-director of the Creative Europe programme of the European Commission and Javi Lopez, MEP for the PSC. Giving the perspective of the labels and venues were Helen Smith, director of the Association of Independent European Labels (IMPALA) and Audrey Guerre, coordinator of the European network of music venues and festivals (Live DMA). The debated was moderated by Fabien Miclet an expert in European grant programmes and in the management of international music projects.

Alessandro wanted to highlight the success of the Creative Europe project that focuses on the audio- visual sector, but he pointed out that “business models have changed and the participation of the diferent afected collectives is the path to follow for the new European programme to support the music sector”.

From the perspective of their respective associations, both Helen and Audrey stressed the importance and need for support for the sector from Europe “not only with regards to the economic impact but also the social and cultural impact”. “The smaller the venue the less revenue it generates and the more backing it needs to stay afoat”.

Helen added, “The European Commission should not only regulate the music industry but should also boost and develop it. We very often fnd ourselves alone when we want to back our members and Brussels needs to take notice of this ”.

According to Alessandro, in order for the aforementioned programme to go ahead it is necessary for “collectives such as those here present (Live DMA e IMPALA) make themselves heard in Brussels so that their needs be taken into account for 2020. Reinforcing the relationship between them with meetings is crucial in order to maintain the support programme”.

One idea put forward by Javi was “lobbying” within the European institutions in Brussels to put pressure on them fnally to give shape to this backing plan that is essential for the music sector and should be approved in 2020. “To this end it would be very helpful if the organisations here present (IMPALA, Live DMA) asked MEPs to sign an institutional declaration of support for music, the sector and the collectives involved”.

Audrey replied, “This is in theory an interesting idea, but it is difcult to put into practice at an organisational level. The Creative Europe programme is relatively unfamiliar and complex in itself. Many of our associations did not know that it existed and we have frequently had to explain what it is and who it is geared towards. Now as a new European support plan is being devised, there should be more clarity, it should be more complete and we should be asked what our needs are and what specifc backing we require”.

And fnally, Fabien reminded Alessandro of the importance of backing this sector: “It has a huge economic impact on society as a whole and the disappearance of a backing programme at a European level would be very damaging not only for the negative repercussions on the economy, but also for the important negative impact on culture. Music is a universal art form that knows no frontiers and must be preserved and backed by European institutions.”

Alessandro agreed and underlined that “the agents involved must take the initiative themselves to create a programme of support in tune with what they need. A little “lobbying” would be positive in this case. We are organising workshops and meetings with diferent operators in music to fnd out what is new in the sector and to take it all into account when planning the new programme”.

Carlos Torres and Rubén Izquierdo

44 A Summary of PrimaveraPro Startups 2016

The third edition of PrimaveraPro Startups, the international investment forum in the music business organized by PrimaveraPro and the private network of investors Seed&Click, once again took place in the Auditori del MACBA de Barcelona, on June 3rd as an integral part of PrimaveraPro 2016.

The frst panel of the day centred on a successful case from the previous year. “How to raise 1.6 million dollars for your musical startup?” with the participation of Shachar Gilad, founder of SoundBetter, the initiative that won PrimaveraPro Startups 2015 with a market of music production that helps musicians all around the world to establish contacts with experts and which has already generated income to a value of 2 million dollars for the creative professionals of their platform, and has investors such as Foundry Group, among others. The talk was moderated by Nevena Vujosevic from Berklee College of Music, but Luis Iván Cuende, co-founder of Stampery ( the other winning startup from 2015 ) was fnally unable to attend.

The panellists discussed Soundbetter’s experience of raising over 1 million dollars during the past year, an experience that was hard and challenging for Gilad, especially when trying to create a business model which benefted all the parties. For him, a startup is like a roller coaster, but when asking for fnancing it is necessary to have a very clear idea of your business model as this is what investors want to know: exactly where the money is in the business.

After this frst panel came the most important part of the day, with the presentation of the 5 startups selected this year: Bandsquare (Paris, France), Humm (London, United Kingdom), Xceed (Italy / Spain), Rotor Videos (London, United Kingdom), and Whitestone (Amsterdam, Holland).

The frst to take the stage was Bandsquare, a tool for artists, managers and promoters that allows an in depth analysis of the behaviour and needs of their fans. It works like a CRM to collect listening stats and data on the interest in concerts and social networks to then ofer the possibility to create a mailing list to obtain the best sales results. At frst sight this is a tool which seems reminiscent of BandsinTown but it is much more complete at the level of analysed information. Next came Humm, previously called Living Indie and focussed on the live streaming of live concerts, which has become a single platform on which one can look for, gather and listen to music free, without ads and interruptions thanks to the use of the terms and conditions of Youtube that it uses to form a musical catalogue of 50 million tracks.

This was followed by Xceed, which facilitates the interaction between people with experience of the night scene, connecting clubbers with clubs. The app allows you to look for events in a city, as well as managing a guest list or selling drinks to the promoter of the event. Next came Rotor Videos that is a low cost platform to make music videos easily and, what is more important, very cheaply. With diferent editing options the artist can produce a professional video without having a great knowledge of video making. And the last to take the stage was Whitestone, a startup that came from Kickstarter and that ofers interactive music experiences with which it wants to revolutionise the way we experience music (for example, converting an album cover into an interactive experience through key command assignation, or by being able to control tracks through a camera and movements)

While the jury was deciding on the winner of this third edition of PrimaveraPro Startups, Pablo Skaf (head of Deezer España) made a keynote speech on the evolution and success of a streaming platform such as Deezer: from the beginnings of the company to how it grew little by little thanks to investment rounds and agreements with mobile operators from diferent markets to get the largest number of listeners. The company currently has 7 million paying users that can enjoy over 40 million tracks in 182 countries.

The PrimaveraPro Startups 2016 day concluded with the prize giving ceremony: the jury’s winner was Whitestone, who won a prize valued at €100,000, while Rotor Videos won the audience award voted for on social networks.

Carles Martínez (Industria Musical)

45 Showcases

Tuesday 31st May Friday 3rd June

PRIMAVERA ALS CLUBS - La [2] de Apolo DAYPRO STAGE 21.00 – Noga Erez CCCB – Pati de les Dones 22.00 – Merkabah 11.00 – Anam (ZA) 23.00 – RSS Boys 11.50 – Matilde Davoli (IT) 12.40 – Tunacola (CL) Wednesday 1st June 13.30 – Chicago Toys (CL) 14.20 – Moonchild Sanelly (ZA) DAYPRO STAGE 15.10 – Wedance (KR) CCCB – Pati de les Dones 16.00 – Dead Buttons (KR) 11.30 – Núria Graham 16.50 – DTSQ (KR) 12.40 – Planeta NO (CL) 17.40 – Jay Cubed (ZA) 13.30 – CARLA (ES) 14.20 – Esperit! (ES) NIGHTPRO STAGE 15.10 – Bearoid Parc del Fòrum 17.00 – Oh Pep! Thursday 2nd June 18.00 – Chicago Toys 19.00 – Mahmed DAYPRO STAGE 20.00 – Quarto Negro CCCB – Pati de les Dones 21.00 – Nuven 11.00 – Noga Erez (IL) 22.00 – Tunacola 11.50 – Cut Out Club (IL) 23.00 – Anam 12.40 – TinyFingers (IL) 00.00 – Matilde Davoli 13.30 – Jack Carty (AU) 01.00 – Merkabah 14.20 – Oh Pep! (AU) 02.00 – Methyl Ethel 15.10 – Gang Of Youths (AU) 03.00 – Altre di B 16.00 – Methyl Ethel (AU) 04.00 – Boïra 16.50 – The Meanies (AU) – Money For Rope (AU) Ray-Ban Unplugged 19.30 – Jack Carty (AU) NIGHTPRO STAGE 22.30 – Chicago Toys (CL) Parc del Fòrum 17.00 – Noga Erez Saturday 4th June 18.00 – Cut Out Club (IL) 19.00 – Tiny Fingers DAYPRO STAGE 20.00 – O Terno (BR) CCCB – Pati de les Dones 21.00 – Wedance (KR) 22.00 – Dead Buttons (KR) 11.50 – Nuven (BR) 23.00 – DTSQ (KR) 12.40 – Mahmed (BR) 00.00 – Inky (BR) 13.30 – Cherry Pie (ES) 01.00 – Jack Carty (AU) 14.20 – Sun Glitters (LU) 02.00 – Gang of Youths 15.10 – Matilde Davoli (IT) 03.00 – Moonchild Sanelly (ZA) 16.00 – Altre di B (IT) 04.00 – Jay Cubed (ZA) 16.50 – Sycamore Age (IT) 17.40 – Badlands RAY-BAN UNPLUGGED Parc del Fòrum 9.30 – Gang of Youths

46 Saturday 4th June Sunday 5th June

NIGHTPRO STAGE DAYPRO STAGE Parc del Fòrum CCCB – Pati de les Dones 17.00 – Planeta No (CL) 18.00 – Aldo The Band 13.00 – Sycamore Age (IT) 19.00 – Gala Briê (PE) 14.30 – Altre di B (IT) 20.00 – Kanaku y el Tigre (PE) 16.00 – Aldo The Band (BR) 21.00 – Sycamore Age (PE) 17.30 – O Terno (BR) 22.00 – Wolves As Friends (PE) 19.00 – Inky (BR) 23.00 – Sun Glitters (LX) 20.30 – Water Rats (BR) 00.00 – RSS Boys (PL) 01.00 – Money For Rope (AU) 02.00 – Los Outsaiders (PE) 03.00 – The Meanies (AU) 04.00 – Water Rats (BR)

Ray-Ban Unplugged Parc del Fòrum 21.00 – Money For Rope (AU) 22.30 – The Meanies (AU)

47 Recortes de prensa

48

PAÍS: España FRECUENCIA: Diario DILLUNS, 6 DE JUNY DEL 2016 ara 30 PÁGINAS: 30-31 O.J.D.: 12978 TARIFA: 5601 € E.G.M.: 119000 ÁREA: 1167 CM² - 139% SECCIÓN: CULTURA 6 Junio, 2016 Cultura

INDÚSTRIA MUSICAL

Com sobreviure dins la selva digital Els professionals de la música exposen a cor obert els reptes d’un sector en crisi al Primavera Sound

tal, amb un premi de 100.000 euros ques. Espanya, en canvi, no destina ma clau del sector: “¿I com finances OLGA ÀBALOS a la millor idea– i la programació ‘Streaming’ ni un sol euro a les sales. “Això els concerts que no estan basats en BARCELONA OnScreen, una de les novetats Les t’obliga a tancar acords amb mar- la venda d’alcohol?” d’aquest any, que posava sobre la aplicacions ques comercials i, com a conseqüèn- “La indústria de la música està en taula la importància de la pota au- cia, perds credibilitat cultural”, se- Drets digitals crisi, però les èpoques de crisi ofe- diovisual de la indústria musical. mòbils són gons Esther Úbeda (La Sala, Ceuta). La dificultat de rendibilitzar reixen noves oportunitats”. La fra- Una setantena de showcases com- una economia Un dany col·lateral d’aquesta si- la música que hi ha a la xarxa se està caçada al vol entre el movi- pletaven l’extensa programació, en plena tuació és la pèrdua de públic i l’en- Que moltes conferències programa- ment constant de persones del hall que ha comptat amb un pressupost expansió velliment de l’actual. ¿Com s’atrau des giressin al voltant de la gestió i del CCCB, seu diürna del Primave- que enguany ha arribat als 450.000 un públic jove i els menors d’edat, l’anàlisi de les dades que generen els raPro, la trobada per a professionals euros, dels quals 175.000 són una educats en l’streaming? Kees La- usuaris en el seu pas per la xarxes de la indústria musical que fa set aportació de la Generalitat i 20.000 mers, de l’associació holandesa de socials demostra que el futur de la edicions xucla una part de la progra- de l’Ajuntament de Barcelona. locals de música i festivals, aposta- indústria és en l’àmbit digital. Els mació del Primavera Sound. El sen- va directament per adaptar les pro- grans experts en big data són les tit de l’afirmació –la caça i captura Nous públics gramacions als seus gustos. Però la plataformes de música en strea- de noves oportunitats dins un pre- Com revaloritzar el paper noruega Karen Sofie Sørensen po- ming, com Spotify o YouTube, que sent inestable– ha sigut el mantra de les sales de música en viu sava sobre la taula un altre proble- poden adaptar la seva oferta al com- més repetit durant les cinc jornades La principal preocupació de les sa- portament dels usuaris. També les que van reunir fins ahir 3.500 acre- les de música és, esclar, la supervi- aplicacions mòbils, una economia ditats de tot el món (un 35% més vència econòmica dins d’un context en plena expansió. Albert Torres, de que l’any anterior) a través de con- en què cada vegada es venen menys la distribuïdora online The Orchard, ferències, tallers i presentacions, entrades i la música en directe sem- apunta: “Ara mateix el més impor- tant al CCCB com al Macba. Cal des- bla criminalitzada pels problemes tant és l’abast que aconsegueixis tacar la barra instal·lada al Pati de de convivència que genera a les ciu- amb la teva música a través de l’stre- les Dones, nou escenari de concerts tats. El cas de la sala Heliogàbal de aming, que està substituint la ràdio. i un espai indispensable per al net- Barcelona serveix al sector com a un És més important que les vendes working de vella escola. exemple de la necessitat d’un nou online. Al final la caixa la faràs a tra- El programa –molt atapeït: amb ordre de relacions entre instituci- vés de la venda d’entrades de con- 200 ponents repartits en una grae- ons, sales i ciutadania a l’estat espa- certs i la venda de marxandatge, lla de 200 activitats, el doble que el nyol. Carles Sala (Ajuntament de com els vinils”. Però els petits se- 2015– estava vehiculat per eixos Barcelona) apuntava que aquest gells i els músics, cada vegada més com el Congrés de Sales de Con- nou ordre passaria per revaloritzar avesats al do it yourself, necessiten certs, el Congrés de Segells Inde- les sales com a espais culturals, un tecnologia que els permeti també pendents, el PrimaveraPro Star- valor que ja tenen moltes sales eu- Al productor de PJ Harvey, Flood, el va presentar gestionar el seu impacte digital, en- tups –dirigit a l’emprenedoria digi- ropees gràcies a les ajudes públi- l’artista Ed Harcourt (a la dreta). FRANCESC MELCION cara poc transparent. La seva super- PAÍS: FRECUENCIA: Españaara DILLUNS, 6 DE JUNY DEL 2016 Diario 31 PÁGINAS: 30-31 O.J.D.: 12978 cultura TARIFA: 5601 € E.G.M.: 119000 L’EDIFICI Ociopuro, l’empresa que gestiona El Molino, ha posat en de pagaments el 2013-2014. Sis anys després de reobrir, ÁREA: 1167 D’ELCM² -MOLINO, 139% venda SECCIÓN:l’edifici per eixugarCULTURA el deute que arrossega arran de la l’empresa espera vendre l’immoble per entre 15 i 20 EN VENDA compra i la rehabilitació del teatre, que va suposar una milions d’euros (segons el diari Expansión) i continuar 6 Junio, 2016 inversió de 20 milions que ja els va fer entrar en suspensió explotant el local per un lloguer de 900.000 euros anuals. La ciutat autònoma del Fòrum diu adéu fins a l’any que ve Gran final de festa amb Sigur Rós, Julia Holter i Ty Segall

01 Crònica

BORJA DUÑÓ AIXERCH BARCELONA

olts artistes estran- gers ja utilitzen el crit de “Primavera!” Mper adreçar-se al públic en comptes dels clàssics “Barcelona!” que sí que va fer servir PJ Harvey, per exem- ple, o el “Catalunya!” de Los Chi- chos. “Primavera”. Sense ni tan sols el “Sound”. És a dir, que la cosa ha crescut tant que l’any que l’alcaldes- sa ha vingut a conèixer de prop el festival es podia tenir la sensació que el recinte del Fòrum havia esde- vingut una ciutat autònoma per L’ambient del Pro dins del CCCB quatre dies, almenys als ulls forans. i fora, amb concert de Moonchild Una ciutat efímera, amb carrers, Sanelly. PACO AMATE / FRANCESC MELCION avingudes i places, amb mercats i restaurants, una ciutat plena de gent on els comerciants aprofiten vivència pot passar per difondre la l’ocasió per anunciar tota mena de seva música per la xarxa en tot tipus Màrqueting productes i on els músics reivindi- 01. El Primavera Sound s’ha omplert cada jornada amb 55.000 persones. 02. El concert de dissabte de Julia Holter. de formats, ja siguin documentals, «Un videoclip quen drets laborals a les seves por- CRISTINA CALDERER anuncis o videojocs, i aconseguir un tes. Una ciutat, també, on sempre és retorn econòmic en forma de drets et posiciona festa major i, per tant, no tens clar i, poc després, Julia Holter duia al Primavera Sound 2016: el de Ty d’autor digitals. La clau? Detectar més que un fins a quin punt pots enfadar-te directe Have you in my wilderness, Segall. tota la música usada sense control. ‘community quan la xerrameca generalitzada no un dels discos més interessants de Acompanyat per una banda ano- et deixa ficar-te de ple en la propos- l’any passat. La californiana, que menada The Muggers, el californià Veure per escoltar manager’», diu un expert ta immersiva dels islandesos Sigur va aplegar una quantitat de públic va assaltar l’escenari amagant la ca- Nova tecnologia per a noves Rós. Perquè, esclar, en una festa ma- considerable, va desplegar les me- ra rere una màscara grotesca. Pit- experiències immersives jor no faràs callar la gent per sentir lodies lluminoses de les seves can- jant a fons l’accelerador del garage José Luis de Vicente, membre de Creativitat millor els matisos de l’orquestra, oi? çons sense guitarres: contrabaix, rock més cafre, Segall i el seu grup l’equip del Sónar+D, explicava en Per al Com deia un altre cronista: “Si vol bateria, teclat, violí i veus (més un no van donar treva a una audiència una trepidant ponència sobre pro- comoditat, vagi a l’òpera”. saxo ocasional) eren tot el que ca- que es va divertir de valent fent xo- postes musicals immersives i in- Sónar+D, els lia per reproduir els arranjaments car els cossos amb virulència i sur- teractives –les gravacions en vídeo festivals Gàbia de colors oblics –barrocs en alguns mo- fejant per sobre dels caps de la gent. de 360 graus, per exemple– com els hauran de Calia espavilar-se, doncs, a fugir dels ments– i gens previsibles d’una El cantant, aficionat també al festivals hauran d’oferir experièn- personalitzar que pateixen incontinència verbal autora fascinant. crowd surfing, es va deixar magre- cies personalitzades i dirigir-se cap experiències per poder gaudir plenament del con- Molt a prop, els novaiorquesos jar i rebregar pel públic fins al punt a nous formats per sobreviure. “En cert dels islandesos. Tancat en una Parquet Courts despatxaven amb de cedir el micròfon primer als fo- un festival l’escolta no és en estèreo, gàbia de llums de colors, el grup lide- intensitat el seu indie rock delicio- tògrafs i després a membres del pú- és en mono, perquè no et pots mou- rat per Jónsi –ara trio– apostava per sament atrotinat que recorda blic. La sorpresa va arribar amb un re, estàs atrapat dins d’una multitud una solució escènica que només dei- grups dels 90 com Sebadoh i Pave- noi, el Mani, que ho feia tan bé que i només tens un sol punt d’escolta”. xava veure els músics a contrallum, ment. Ho feien davant d’una bona li van cedir tot el protagonisme du- Per tant, el futur es basa en la cre- però que a canvi oferia un gran es- concentració d’aficionats, molts rant el tram final del concert. Se- ativitat, la mateixa que demana la pectacle audiovisual que es podia se- més dels que seguien –amb gran gall, convertit en espectador, se’l realitzadora de videoclips Liz Kess- guir perfectament a distància. entrega, això sí– el con- mirava i no s’ho creia: un fan va aca- ler (The Verve, David Bowie o El falset del cantant i gui- 02 cert d’uns altres no- bar sent l’estrella de la nit. Coldplay) per trencar “la cultura de tarrista, que potser va vaiorquesos: l’in- Aquesta va ser una de les moltes la por” de la indústria discogràfica. despertar alguna fa- fluent trio de cireretes que es podien posar al “Els segells sempre aposten per mília de balenes, hardcore Un- pastís del Primavera Sound 2016, l’opció més segura. Això mata la cre- va planar per so- sane. Més una edició amb el que potser ha si- ativitat i acaba afectant la quantitat bre d’un magma amunt, en gut el millor cartell de la seva histò- de gent que hi treballa i la generació sonor que evo- un dels es- ria. És difícil imaginar què podria de nous llocs de treball”. Però ¿és lucionava sub- cenaris superar-lo i potser ja està bé que si- l’obra audiovisual un valor segur? tilment fins a principals, gui així, perquè concerts com el de Gerardo Cartón, exmànager gene- esclatar en vol- estava a Radiohead, en què més de la mei- ral de la discogràfica Pias España i cànics crescen- punt de co- tat de la gent es trobava massa lluny expert en noves estratègies de pro- dos d’electrici- mençar un per veure’l o sentir-lo bé, fan pen- moció musical, creu que sí. “¿El tat desfermada. concert que sar que el festival pot haver tocat meu consell cap als músics? Que in- Això passava proporciona- sostre. Créixer encara més podria verteixin en un bon videoclip. Això mentre el metal ex- ria alguns dels fer esclatar la bombolla d’un esde- et posiciona millor que contractar trem de Venom rugia moments més di- veniment que, fins ara, ha sabut un community manager”.e a l’altra punta del Fòrum vertits i delirants del marcar la diferència.e

Collaborators

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