VIPNEWS PREMIUM > VOLUME 164 > JANUARY 2014

®

vip-booking.com VIPNEWS > JANUARY 2014

McGowan’s Musings

Welcome to the first VIP News of the year, new year conference­ season kicked off and we, and I’m sure many of you, wish her a I hope you all had a great holiday and that with another ­sold out edition of Eurosonic/ full and speedy recovery. you’re now in the process of setting up a Noorderslag ­in Holland. The VIP team were successful ­and happy 2014! As ever the out in force and though the weather in Back at home the rain still fell and everything­ Groningen ­was not great – too much rain seemed damp – but then I do live by the and an excess of grey, the atmosphere in the sea! But you’ll possibly be glad to know Oosterport and in the venues and bars was that the seagulls are up to their old tricks, to say the least lively and spirits were high. on my first day back in the office I heard a Although certain territories were still feeling­ tapping at the window, oh no I thought it’s the economic ­pinch throughout­ 2013, many Shitty back to annoy ­me, but no, it is I think companies and individuals­ were reporting­ very (huge resounding­ horror film organ chord good and in some cases best ever results ­from goes here…) Son of Shitty! Not yet white, still the year, entering ­2014 with high expectations­ grey and mottled of feather, but somehow - and a great deal of optimism. ­A first day panel presumably ­genetically­ - aware of the art of looked at the rising international ­touring­ infuriating window tapping… I see trouble figures ­with the help of Pollstar and promoters­ ahead! from the UK, Holland and Germany were very positive. Although there had been reports COLOPHON > Sorry about that diversion, but I’m aware that from the German promoters Association some people like to know these things… In the the BDVA, that there had been an overall world of the live music industry much seems VIP-News is published by: VIP-Booking decline in the live business, this was not the to be happening in the UK, with a new UK/US 145-157 St John Street experience of FKP Scorpio, with MD Stephan Agency joint venture being announced,­ a UK London Ec1V 4PW Thandscheit reporting a record year. As the Conference taking itself off to New York (See Managing Director: Ronni Didriksen first major trade event of the year Eurosonic stories in this issue), and Festivals falling over [email protected] is something of a barometer for the state of themselves to announce their 2014 line ups General Manager: the current and ongoing business in general even before the Christmas turkey has been Peter Briggs [email protected] and without taking too much for granted the digested!

Writer and editorial: readings seem encouraging. (See report in this Allan McGowan issue.) So, all we need now is a bit of sunshine and [email protected] the future for 2014 looks bright, as ever make Writer: Manfred Tari On the downside Ingela, wife of Eurosonic­ sure that you let us know how things are [email protected] organiser ­Ruud Berends suffered an going ­with your business and in your territory For advertising enquiries unfortunate ­accident in Groningen, and in general, so….excuse me, someone seems please contact: Peter Briggs had to be hospitalised after falling down a to be tapping at the window, I’ll have to go., [email protected] +44 870 755 0092 metal staircase in the early hours of Saturday in the meantime Ladies and Gentlemen – the morning,­ she is happily now back at home News!

2 VIPNEWS > JANUARY 2014 Here Come the 2014 Conferences! Allan McGowan [email protected]

Following on from Eurosonic the next two Then of course the 26th edition of the ILMC is famous for each edition having a dif- major industry events take place in Cannes, International ­Live Music Conference (ILMC) ferent theme – this year it’s Circus, South of France and London. returns to the Royal Garden Hotel, Kensington, But I’m pretty sure no animals, apart from London from Friday March 7-Sunday March 9. the odd promoter driven wild by the antics of MIDEM, the longest running of all the industry­ You have to be invited to attend the leading­ Agents, will appear on the Conference floors, events has moved back slightly this year, so event of the live industry, but if you can get in the corridors or the bars where the non- maybe the sun will shine on the Croisette­ two industry figures that have previously stop networking will take place! in Cannes as in olden days, following­ pretty attended ­ to recommend you, then you are grey weather in the past couple of years. welcome ­ to register. Although ILMC proper We’ll bring you more news on the Confer- MIDEM will run from 1-4 February, and The starts on Friday, Thursday sees the third edition­ ence Agenda in the next issue. VIP team will be in attendance alongside of the ILMC Production Meeting (IPM) and in luminarie­s such as Marc Geiger, Global Head the evening The ITB Showcase takes place For full details so far go to www.ilmc.com or of Music at William Morris Enterprises (WME) at the Archangel while things take off at the to register apply to [email protected] US, Lyor Cohen – Founder 300 – US, Jean – Royal ­ Garden with the IPM Closing Drinks. Michel Jarre – Composer/Producer and now President of CISAC. ThE hALL DUO IN NEckArpArk

UNIQUE AND DOUBLY GOOD

STUTTGArT cATchmENT ArEA: mOrE ThAN 3 mILLION pEOpLE • hANNS-mArTIN-SchLEYEr-hALLE: Up TO 15,500 SpEcTATOrS • pOrSchE-ArENA: Up TO 7,500 SpEcTATOrS • 2013 ...pUr • pAUL kALkBrENNEr • chrIS DE BUrGh JOE cOckEr • ErOS rAmAzOTTI • pINk • ErIc cLApTON • cELTIc WOmAN • ANDrEAS GABALIEr • ThE BOSS hOSS...

Tel. +49 (0) 711/9554-40 [email protected] Fax +49 (0) 711/9554-500 www.in.stuttgart.de

AZ_in_stutt_VIPmag_2013_RZ.indd 1 13.11.12 18:32 3 3 VIPNEWS > JANUARY 2014 UK and US Agencies Announce Joint Venture Allan McGowan [email protected]

In a Press Release from London and Los Angeles earlier this month The agreement with CODA will be the second joint venture partnership ­ the UK’s CODA Agency and the US based Paradigm have announced for Paradigm, following their agreement with AM Only, a leading the setting up of a joint venture partnership. This formalisation of a electronic dance music agency representing such international­ stars global alliance sees Paradigm acquire a 50% stake in the company and Grammy winning artists as David Guetta, Skrillex and Tiesto, in CODA Agency Limited. January 2012.

CODA Music Agency celebrated its 10th anniversary in 2012 and Marty Diamond, Paradigm’s Head of its East Coast Music Division has grown rapidly in recent years representing over 500 artists and said, “We have been working closely and successfully with CODA DJs from numerous genres. The company’s Directors are Agents Alex for many years and share common values and a deep commitment to Hardee, James Whitting, Marty Diamond, Rob Challice and Tom artist development. This new partnership is the next logical step as we Schroeder supported by Greg Bestick, Dave Hallybone and Managing continue to carefully grow our Music Division with the artists interests Director Claire Horseman. The company currently works with artists always at the forefront of our planning.” including: Bastille, Bon Iver, Disclosure, Ellie Goulding, Emeli Sande, Imagine Dragons, Jake Bugg, Rudimental, The XX, The Lumineers and Sam Gores, Chairman and CEO of Paradigm said, “We could not be many others. happier to start the New Year with this partnership with CODA, a terrific ­ group of agents who are dedicated to growing artists careers Paradigm is one of the entertainment industries major talent the right way. This furthers our strategy of aligning with agencies agencies­, with 130 agents in Beverly Hills, New York, Nashville around the globe that share our values and our commitment to the and Monterey, guiding the careers of an elite roster of clients in highest quality representation.” motion­ pictures, television, music, theatre, comedy, publishing, digital media­, physical production, commercials and voice-overs. VIP News spoke to Coda MD Claire Horseman and Director/Agent Considered­ a taste maker in the Music business, Paradigm represents­ Rob Challice about the new joint venture: a wide range of highly respected artists including; Aerosmith, Black Eyed Peas, Coldplay, Dave Matthews Band, Ed Sheeran, Eli Young Claire Horseman only took over as MD at CODA in March last year, Band, fun., Imagine Dragons, Janelle Monae, Jason Mraz, Phish and having previously had a successful career working for BMG and Toby Keith amongst many others. Columbia­.

Rob Challice, Claire Horseman, Coda Agency Coda Agency

4 VIPNEWS > JANUARY 2014

How did your move to Coda and into the Agency business as an LLP, so we formed CODA Agency Ltd as the entity to complete come about? a 50/50 partnership. – Horseman: Someone said to me I’ve seen a job that’s got your name written all over it! So I went in and met all the Partners. I only really What do you think are the main strengths of the coming knew Alex Hardee (Coda Director/Agent), we worked together on together­ of these two Agencies? Calvin Harris’s debut album project. He was probably the only Agent – Horseman: For a start, unlike some Agencies, the Directors are who I worked closely with back then. I had never thought that labels ­ all still Agents, Marty Diamond of Paradigm is also on the Board of worked well, or closely enough, with Agents (except perhaps if you CODA and it’s my job to run the business side. Both Paradigm and were working indie/rock acts), and when marketing budgets got CODA are very strong in an A & R sense and tip each other off when squeezed the need for tour support always got questioned. Now it’s they come across something of interest. The main thing is that with much more integral, and of course live is a massive part of an artist’s both Companies the main motivation is whatever’s right for the artist. development and career. The joint venture will enable the two agencies to pool their expertise and resources on a global basis. How has it been since you took over looking after the Coda business? I was wondering whether this deal would be exclusive enough – Horseman: It’s been a bit of a roller-coaster ride since moving from to stop you working with other agents in the US or will it allow the record industry side to the live business, but it’s allowed me to you to continue working relationships with other agents that bring in some fresh ideas and a new approach, and the deal with you have worked with previously? Paradigm has certainly followed on from that. – Rob Challice: Coda will continue sharing clients with other agencies in USA, i.e. where we book an act in Europe and they book the act What do you think was the main reason for this deal coming in North America. The same applies to Paradigm, where they have together when it did? clients they book in North America and there are other agencies – Horseman: The two Agencies have worked together for quite a booking the band here. We firmly believe in managers placing their while and there is a lot of mutual respect. Following the completion artists with the most appropriate agents in respective territories. Also, of their deal with AM Only, Paradigm was looking for other areas in we don’t want to go down the route of ‘making’ one of our agents which to expand, and it seemed quite natural to approach CODA. represent a band that they don’t believe in, that ethos remains at the Other Companies had made approaches, but Paradigm has a very centre of how we make decisions. similar style and there was a lot of common ground. CODA was set up

Marty Diamond, Coda Agency

Sam Gores, Paradigm Agency

5 VIPNEWS > JANUARY 2014

Concert-To-Go with Simple Minds Manfred Tari [email protected]

The’ Take Away Concert Experience’ continues.... German company audio-merchandise­-item will consist of recordings delivered in an Bleeker Street Entertainment will join Simple Minds on their European­ MP3-format­ and delivered on 4 gigabyte USB-sticks. tour and provide fans with instant live recordings on USB-sticks throughout the UK act’s upcoming tour. The ‘official bootleg’ costs 30 Euro and will be offered in the concert venues or can be bought afterwards on the web site Every concert will be recorded, mastered and made available for www.bleecker-street-shop.com/ purchase­ by fans immediately following each show. This special

1-4 February, 2014 Palais des Festivals Cannes, France

Gain insight, make connections and accelerate business.

Case study Get inspired Place Rita Ora’s by Marc Geiger your music success with Global Head with Nike, BACK VEVO’s ‘Lift’ of Music – Microsoft, video platform William Morris Philips… TO GROWTH? Endeavor Entertainment MAKE IT (USA) Meet rising Source new start-up stars international SUSTAINABLE! & VCs at talent MidemLab

Midem, the leading international business event for the music ecosystem. Register now and save €100 on midem.com (Special rates for artists, students and young companies) To exhibit, advertise or showcase your product, call Javier Lopez now on 020 7528 0086 or [email protected]

MIDEM_MusicWeek_224x155_1312.indd 1 03/01/14 16:27 6 VIPNEWS > JANUARY 2014 Glastonbury Festival Emerging Talent Competition Allan McGowan [email protected]

Emily Eavis, Glastonbury

Glastonbury Festival has announced the Once entry closes, a panel of around 40 of Last month Arcade Fire were announced as details­ of this year’s emerging talent the UK’s top online music writers will help the first headliners for this year’s festival, competition­, which gives unsigned artists­ compile a longlist of 120 acts. The longlist which will take place between 25 and 29 from the UK and Ireland the chance to will then be whittled down to a shortlist of June at Worthy Farm in Somerset. compete­ for a slot on one of the main stages eight artists by judges including Glastonbury at the festival. organisers Michael and Emily Eavis, before a live final showcase in April decides the Scouting For Girls, Stornaway, Treetop winning­ act. Flyers­ and The Subways to name a few have all taken part in previous editions of Glastonbury co-organiser Emily Eavis said: the competition.­ Last year’s winners Bridie “We get very excited about new music, and Jackson ­ and the Arbour played five sets at the emerging talent competition is just a Glastonbury last year. brilliant­ way for us to discover fresh talent.” “Our stage bookers come down to the live Acts will be able to enter the competition­ finals, and dozens of the acts who’ve entered between­ 20 and 27 January via over the years have been given a slot at the www.glastonburyfestivals.co.uk/information/ festival.” emerging-talent-competition-performing/” “We can’t wait to see what this year’s festival’s website. competition­ brings.”

7

14 -17 januarY 2015 groningen, nl

The The European European music music platform platform

The The European European music music platform platform Thank you for attending Previous edition in numbers EUROSONIC NOORDERSLAGEUEUROSONIC WORDTROSONIC GEO NOORDERSL NOORDERSLRGANISEEAGRDAG WORDT DOORWORDT GEO GEORGRGANISANISEEEERDRD DOOR DOOR SPONSOREN SPONSORENSPONSORENTotal amount of visitors (sold out) . . . . 38,500 Eurosonic Noorderslag 2014 Conference visitors (sold out) ...... 3,275 See you next year Nationalities ...... 39 Acts ...... 337 Number of stages @ Eurosonic ...... 36 Number of stages @ Noorderslag . . . . 11 Early bird registration and Media & journalisten ...... 307 act submission open May 1, 2014 EBU radio stations ...... 30 ETEP festivals ...... 89 Act submission closes September 1, 2014 International festivals ...... 419 VIPNEWS > JANUARY 2014 > INDEPTH STORY > EUROSONIC NOORDERSLAG 2014 Eurosonic Noorderslag 2014 - Peace, Love & Business Allan McGowan [email protected]

Groningen in January has become a Memorable moments? Stefan Lehmkuhl it is not yet known whether this organisation lovely ­ tradition. A host of players from the from Melt Booking confessing while winning­ will install and maintain an office in Brussels, Europea­n live music business and even from the price of the festival line up 2013, that the political and administrative nerve centre of further afield, make this pilgrimage to the he never expected to win an award for a Europe, to continue to lobby for the benefit famous­ town in the North of the Netherlands money­ losing festival and Ivan Milivojev of and the needs of popular music. each year, celebrating the start of the new Exit Festival­ who sharply concluded regarding­ year with a stimulating trip involving talents, RFID-systems for festivals “I am using it to Eurosonic Noorderslag has reached a level tokens and travel adventures... make money, not to promote it!” where many things occur simultaneously – it’s busy! It has become almost impossible to Without any doubt, Eurosonic Noorderslag is With the ‘beer crate sessions’ Eurosonic has follow­ up on all of the developments, notable­ one of the best music conventions in Europe. created a new conference format, presenting information or concerts during this event. With a slight increase in concert goers and single speakers in a cross between a lecture Meanwhile the event continues to deliver­ an officially 25 more international delegates, and a personal Q&A session. The informal ongoing flow of valuable issues and encounters­ another­ sold out edition of this convention character of these sessions actually seems to that are essential to the present and future ­of yet again provided a fresh opening to the work better than the more official speeches, the European music business. With all this in business agenda for a new year. such as the keynote by Karel Barták from mind, the Eurosonic Noorderslag ­team once the European Commission, who presented again delivered an extremely well produced There is certainly no lack of talent. As usual Creative­ Europe, the new culture support and fruitful convention. Eurosonic Noorderslag provided a well- program from the EU. chosen­ bill of new artists and for the business ­ There was only one real gripe which buddies an interesting line up of keynote Apropos Creative Europe, following the concerned­ the RFID-payment-system in and panel speakers and interviewees such demise ­of the European Music Office (EMO) the delegate bar on Saturday evening (the as CAA’s Emma Banks, Lucy Dickens of ITB, which was forced to file insolvency in October Noorderslag show which concentrates on Folkert Koopmans of FKP Scorpio, and a 2013, a group of 17 music export offices met Dutch talent) in the main venue Oosterport­. video message from a well known German during the convention and agreed on to join In reference to Ivan Milivojev’s previous promoter at the European Festival Awards. forces in order to fill the gap left by the closure statement­ this RFID-system needs to be of the office. The new network will be known improved­, as the payment-procedures took as ‘European Music Exporters Exchange’ but three-times longer than a beer is be tapped...

Networking at Eurosonic 2014

9 The Winners Of the The First ETEP-Chart 2014 European Festival Awards

YES Group H&S Innovation Award Presented in association with the YES Group and Jungle / 7 ICM&SS Paleo Festival Royal Blood / 5 Milky Chance / 5 Best New Festival Sam Smith / 4 B.my.Lake George Ezra / 4 Festival Anthem of the Year Daft Punk - Get Lucky Eurosonic Noorderslag Best Indoor Festival in figures Metal Hammer Paradise Total visitors ESNS (sold out): 38.500 The Green Operations Award In association with the GO Group (previous year: 35.000) Way Out West Conference visitors (sold out): 3,275 (3,250)

Nationalities: 39 (45) Best European Festival Line-Up Berlin Festival Acts: 337 (304) Number of stages at Eurosonic: 36 (36) Newcomer of the Year In association with Eurosonic Noorderslag Number of stages at Noorderslag; 11(12) Imagine Dragons Media & journalists: 307 (404)

Artist’s Favourite European Festival EBU radio stations: 30 (31) Lowlands ETEP festivals: 89 (78) International festivals: 419 (417) Headliner of the Year Arctic Monkeys The Winners of the Promoter Of The Year FKP Scorpio European Border

Best Small Festival Breaker Awards 2014 FUSION Festival (Romania) The EBBA’s celebrates European artists that have achieved cross border success with their Best Medium-Sized Festival first international release. In association with Eventbrite Disclosure (UK), Melt! Festival Icona Pop (SE), Best Major Festival in association with Intelligent Jacco Gardner (NL), Envy (NO), Venue Solutions Zedd (DE), EXIT Festival Lukas Graham (DK), Marek Lieberberg Lifetime Achievement Award Kodaline (IE), – also won the celebrated Marek Lieberberg EBBA ‘Public Choice Award’ GuGabriel (AT), Asgeir (IS) and Woodkid (FR). 10 VIPNEWS > JANUARY 2014 > INDEPTH STORY > EUROSONIC NOORDERSLAG 2014 The Return of Barnaby Harodd to Eurosonic Noorderslag

The delegates at this edition of Eurosonic Noorderslag ranged from – I think it’s both, you know. We meet a lot of people and it’s always RFID-providers from New Zealand and tekkie masterminds from good to see people that you’ve been in contact with by e-mail. I’ve SXSW Interactive in Austin/Texas. However, VIP News picked on seen a lot of people this weekend who I only exchanged e-mails with Barnaby­ Harodd from Mercury Wheels in Madrid and asked him before. And that’s a very good thing, when you see someone you about his experience of the current edition of this convention: can look them in the eyes, you can actually relate to somebody a lot more, it’s very helpful. So, when you send the next e-mail next What is your impression of Eurosonic Noorderslag 2014? Tuesday ­ or even a few weeks later, you already have a closer bond – It’s great, crazy madness that is my impression. It’s good crazy with this person ­because you’ve seen him, you’ve had a beer with madness­! him, you’ve laughed. That’s important.

Are you here for the first time? We’ve also seen some acts we really like, so we’re looking for talents ­as – No, I came here like 10 years ago and then I stopped coming well and we’ve made a lot of deals. So, pretty much all of it, checking­ because­ early January is the only time where I can have my holidays out talents, making business deals and seeking new partners. and where I can turn my mobile-phone off. But now they’ve changed to a later date, I think it’s now nearly the third week, it that means I What’s the next convention you’re heading to? can come again. It’s changed a lot, it’s much bigger now. – Texas, South by Southwest. Oh, actually no, the next convention is the annual meeting of the Spanish promoter association APM, that’s Do you come more for business relations or to see bands here? in mid February. It’s going to take place in Saragossa and there will be – I came mainly for business; how should I put this….we’ve drafted some new promoters I think. There I will sit down with all the Spanish a couple of agreements. We haven’t signed anything yet, but one is promoters, some of them are really rivals, you know, we’re fighting about to confirm. But we have also made some deal proposals that about bands. But when we meet and have a nice glass of whatever we will take up again on Monday and Tuesday next week. I’m working ­ then we are friends again. with Daniel Poveda who has been doing a festival in Northern­ Spain, the Vida-Festival. It is a much loved and well respected festival, it’s Has the market in Spain got a little bit better? been running for 10 years and in the last 3 years it’s been sold out. It – They say it’s getting better, we had a 0,3 percent growth in the last started as a small festival for about 1.500 people, but now Danny’s quarter, but I still think our problem in Spain is the VAT, which went got to move to a bigger capacity for about 10.000 people. I’m doing up from 8 up to 21 percent. the international booking for this festival. So one of the reasons why I’m here is to check out possibilities and availabilities for bands for the Do you expect that APM will be able to find a way to resolve summer season. this tax issue? – They’ve tried very hard, we’ve had some fairly good answers from In terms of the economic situation in Spain these days, how is the Government, there are couple of ministers that say that maybe it when you are talking here to UK agents or other European it was a bad idea to increase V.A.T. on culture tickets. APM will join agents? up with the cinema and the theatre people and will create a single – We made an offer, a very big offer, I can’t say who it is, but it was culture lobby. We will continue to raise awareness and we will show a big act. In the end it didn’t happen because the offer from another them how many jobs are being lost. We’ve got nearly 50 percent less bidder was twice as much as what I was offering. I thought my offer­ tours, that’s too much for everybody. Some promoters are going out was already a high one and when I called the agent he took the of business; some promoters have laid people off. We pay 30 percent phone and said “Ah, Barnaby, the guy from the other country ran out on tax and royalty deductions, so what shall we do? Our rivals in of money.” I think that says it all. France are paying 11 percent. So, of course I lose tours and I lose bands. That’s more a problem for us than the actual financial crisis. But what matters most for you, looking for talent or rather to meet the right people that can ensure a proper future for your For more information please check www.mercurywheels.com company? 11 VIPNEWS > JANUARY 2014 > INDEPTH STORY > EUROSONIC NOORDERSLAG 2014 At the Bar with Robert Meijerink

Robert Meijerink – Booker at Eurosonic

It is one of these traditions at Eurosonic ourselves ­ how we could move it up to only the delegates, can find their way, so Noorderslag, catching up with Robert another­ level. How can we re-invent the they can enjoy the program in the best way Meijerink­ towards the end of the event. heart of Eurosonic­ and try to make things possible­. When the cancellation of a venue Meijerink­ ­is the booker of the Eurosonic better, learn from the faults of the previous comes so late in the game, it’s like you really festival­ and as such the most relevant talent­ year. That’s always a good position to start, have to start all over again. supplier or coordinator for the European but when it comes to booking you have to Talent­ Exchange Program deal with lots of music and you have many When did this news reach you? choices. Every year, in that process, it’s – In mid September and the deadline is first VIP News: Are you happy now? alway­s hard to find a way; but in the end of November. Normally we start with the EBU – Yes, I am really happy, yes. we do find our way. Now about the negative (European Broadcasting Union) program first, things – we had to deal with difficult things every EBU act was confirmed, and so we had What have been the biggest pleasures in the booking-process, like, the confirmed to re-schedule every act from the Huize Maas and what were the most unlikely things venue Huize Maas was badly damaged by to other venues. In the end we succeeded, we that you experienced at this edition of a fire last year. As a booker you look at the managed to have the Magic Mirror and also Eurosonic Noorderslag? entire festival­ from a helicopter perspective. the Der AA-Kerk. That’s just a particular thing – To answer the first question: When we You try to give every artist the best spot that affecting the booking-process­, this is not a started­ booking this festival, we asked is possible and ensure that the people, not game that you play every ­year; every year

12 VIPNEWS > JANUARY 2014 > INDEPTH STORY > EUROSONIC NOORDERSLAG 2014

it’s something different­. Music first, there developed over the last few years. I think it wait for one year. He had a massive success are many upcoming talents, so how you are is important to have media on board and with his debut-album in Iceland. I saw him going­ to book the festival, who is going to I’m really glad that we have group media on stage in Iceland and I thought this is really be selected and why? When I start booking­ attending­ Eurosonic, because we have so everything an act needs in order to make the the festival then I rely on the venues we many acts that are investing in their careers. next step, not only content-wise. His father, have, and as one big venue like Huize Maas For me as a booker it is very important to who is a famous poet in Iceland, wrote his is gone…wow, that was my personal biggest have the right people at the right place, lyrics. It’s a big story and he’s a great musi- set-back of the year. It was really like a slap in because­ I care about the acts who come cian backed up by his friends, maybe more the face, it pushed me not in a wrong way, of with a growing ambition, with a strategy, a experienced and also great musicians. It was course, but we had to deal with it and I think dream, however you want to call it. Media is a great show at Eurosonic but not everyone we’ve found a great solution by having both very important but not only the media, the was aware of that fact. He played twice and venues to accommodate the acts. No one professionals in general, people who come one year later he earned so much success, was talking about the ‘Huize-Maas-Effect’, to discover the talents and invest in them, of John Grant from Canada translated his lyrics so I think that is a good thing. course. It all makes sense. and a UK Label released a UK edition.

I only noticed today that the venue was In the past you had concerts presented­ And he also won an award… not in the listings for this year. by Visions and particularly Intro in – Yes, he did. – Yes, I was there one week after the fire, it’s Germany­. What happened to them? not totally destroyed but it’s badly damaged. – Well, we don’t want to grow bigger in terms Would you say that the ties between of selling more tickets. It’s almost impossible­ EBBA and ETEP are a little bit closer than I’ve been told that Eurosonic Noorderslag­ in terms of the past years, in regards to the before? was sold out in fifteen minutes. Can you conference and also the live-show cases, we – I think it’s hard to say. I think Ásgeir is an confirm that? do need every single thing in order to fulfill exception­ and also a great example of how – Yes, that’s right the bookings. It was fine to work together in we would love to see a development, like a the way we did, with, for example, Visions total unknown act who is upcoming, new, it’s Is that normal or is it a record? or Intro, who were always great and helpful not about winning an award, it’s more about – No, it’s like last year. partners, in order to present the new acts, the fact that he is touring as an headliner ­act but we also want to work with the media in through so many territories around the world Have you had problems with secondary a more targeted situation as we did this year. right now. ticketing? We think that it makes more sense. If you – Yes, of course. I think that secondary have an Intro night, it’s always a great night, Are you also in contact with the festiva­l ticketing­ is an unacceptable way to make easy well-attended, great musicians, but at the bookers of ETEP, do they tell you, for money. They are not doing their job, they are end it’s not about Intro, it’s about the artists, example­, that they have a certain profiting from the efforts of someone else. you know? demand­ for dancehall or alternative artist­s? How was it that there was a StubHub Looking back at the ETEP edition in 2013, – I’­m in touch with a few of them; of course I reception­ in the Oosterpoort­? are you pleased with the results of the like to talk with them about their preferences.­ – I don’t know. That’s really interesting, that Programme and the EBBA Awards? Was There are so many festivals involved at ETEP, is new to me, really. Secondary ticketing is there any highlight for you, something so many genres. It’s about there being so a hot topic, as you know. Not only in the that surprised you in any way? much diversity Europe. Eurosonic is focused Netherlands­, it’s all over Europe. – Oh, that’s a pretty hard question. There on pop music in general, dancehall and metal were quite a few acts who broke through. is always a part of it but we don’t have a rich I’ve seen so much of a media presence Kodaline won an award, Ásgeir played his history in booking metal acts. here; maybe I’m wrong but it seems far first show outside of Iceland, and exactly one more than previously. What does it mean year ago he was an EBU act. He is just 18 years What is next on the agenda? to you in terms of productions? Do you old and for me it is great because I discovered ­ – Finishing this edition, surviving this evening­, have a higher number of requests from this act in Iceland and in cooperation ­with the celebrating the success. Every year a couple media companies or is it pretty much as radio station RAS we confirmed him as an act of weeks after Eurosonic we sit together and usual? to play at Eurosonic. We discussed whether we review what we did and then we look – We have more requests than before, it’s it was really the right moment or should we ahead to the next edition.

13

VIPNEWS > JANUARY 2014 > INDEPTH STORY > EUROSONIC NOORDERSLAG 2014 On the Move with Fabien Miclet Manfred Tari [email protected]

emerging European­ acts you book, the more money you get. On top of this, we’re also striving to build a sustainable, ever-growing networ­k of venues working together and learning from each other. We will submit an application for EU funding in March of this year.

You are probably one of the very few persons in the music ­ industry­ that have an idea of what is going on in the political­ cosmos of the European Parliament and the European Commission­ and its related administrative bodies in Brussels. Please let us know what is happening there that might affect the music industry... – Well, there are many subjects on the table in Brussels that have a direct impact on the music industry. A European directive on collective­ rights management is being discussed at the moment. The new 2014- 2020 cultural funding Programme, Creative Europe, has just been launched. The negotiations on the free trade agreement with the US started last year, and the European Parliament elections are going to take place in May. The composition of the new Parliament will be important­ for the music sector; this institution is responsible for Fabien Miclet voting on a great variety of legislations, some of which have a direct impact on the music industry, in a variety of policy fields including Fabien Miclet is one of the very few people in the music business copyright, licensing, taxation, visas, work permits, broadcasting rules, who has a decent awareness about what really goes on in Brussels­. and many more subjects. Although­, to be accurate there is a lot going on in the political universe­ of the European Parliament and the European Commission, Creative Europe is the new culture support program by but unfortunately very little in favour of the music business. the European­ Union. Do you see a difference between the forerunner­ programme and the new one? Till November 2013 Miclet was project manager of the European – Yes, and I would say that progress has been achieved since the Musi­c Office (EMO) and handled the business of the organisation Culture Programme’ - 2007-2014. To begin with, music is now until ­ it unfortunately went into administration. It has to be noted that recognized­ as an actual sector in the eyes of the EU, while it was Miclet took over this post after the financial problems had already has considered only as one among other components of the ‘performing been caused. Nevertheless it was he who handled the last months of arts’ in the last Programme. In the past, popular music projects had this so far one and only office that until now was the one and only to compete directly with theatre, ballet, opera and other art forms organisation that actually undertook at least some lobbying efforts which traditionally heavily rely on public funding and have decade­s for popular music. And this in an political environment that is very of experienc­e in securing subsidies. Another improvement we have well known for mainly supporting large scale farming, financial or triggered­ is that the new Creative Europe Programme will now chemical industries. includ­e topics such as new business models, access to finance, and touring in its guidelines. This wouldn’t have been conceivable a few After EMO you started working for the concert venue Ancienne­ years back, when the priority of the Culture Programme was mostly Belgique in Brussels. What are you actually doing there? to provide funding in support of the ‘intrinsic value’ of culture and the – I’m currently coordinating an application for EU funding for a preservation of cultural heritage. very exciting project involving AB and 12 more likeminded music venue­s from all across the European continent. Our idea is to create­ Within the proposed budget for Creative Europe, 55 percent a platform­ of concert halls and clubs encouraging the circulation of the 1.46 million Euros is dedicated to the film sector. Any of emerging artists. It will work through a bonus system: the more idea why the designers of Creative Europe are so crazy about

15 VIPNEWS > JANUARY 2014 > INDEPTH STORY > EUROSONIC NOORDERSLAG 2014

supporting the film and movie industry and thereby neglecting unbalanced. Would you recommend that in particular­ the live other creative sectors? music sector now should launch a political campaign regarding – It’s safe to say that the cinema industry is way ahead of most the unfair policies of EU-burocrats and politicians? cultura­l and creative sectors when it comes to securing EU funding.­ – This is a very interesting question. At the core of the cinema In fact, before the Creative Europe Programme, the audiovisual sector ­ industry’s­ lobbying strategy, you find three principles: teamwork, had its own distinct Programme, called the MEDIA Programme, which differentiation­ and visibility. Teamwork means that all branches of the was concentrating on most of Europe’s cultural funding. All financial­ sector will speak with one voice on certain subjects (and of course, envelopes have now been merged through the Creative Europe­ funding is one of these). Differentiation: in all aspects of the advocacy­ Programme­, but cinema is still vastly over-represented within this new work, the film sector presents itself as substantially distinct from system. There are various reasons explaining this ‘patronage­’ in favor other cultural sectors, arguing the peculiarities of its value chain and of the film industry. The first that comes to mind is that all components ­ its relativ­e economic importance. And perhaps the most important of this sector (directors, actors, authors, studios, etc.) have been point is visibility: Often when an important subject is discussed at EU lobbying ­ together in Brussels for much longer than other­ cultural level, the film sector invests in briefing movie stars and acclaimed film players. The cinema industry holds a well-established, well-endowed­ director­s and bringing them to Brussels. And guess what: EU officials and panoramic lobbying position in Brussels. This discrepancy­ in the will always prefer a chat in person with Lars Von Trier, Almodovar, or allocation of funding within the Creative Europe Programme is the Daniel Bruhl over reading yet another policy paper on private copy result of a 30-year old collective lobbying effort. No other cultural and levies or cross-border licensing. Can you blame them? creative sector has invested that much for so long in its presence in the environment of the European institutions. There is no objective reason why popular music should be treated with less regard than the film sector. They’re equally useful soft- The support schemes for the film sector are well developed power­ tools for Europe, they are both essential for cultural diversity and serve exactly the needs of this industry. The needs of and they contribute to the EU’s economy in equivalent proportions. the music sector are to even a very far extent not so well If the music industry manages to put together a comprehensive and specified­ and documented as thoseof the film industry. What catchy advocacy strategy, it will achieve better results. But the sector went wrong? would first need to invest much more in lobbying, to start working – Far too recently the music sector became aware of the importance together, to believe in itself and to mobilise its artists and creators as of advocating its case in Brussels. Besides, its lobbying effort is too often as possible. To answer your question, yes, ambitious campaigns disparate, torn between larger organizations focusing exclusively on should be launched, but complaining about ‘unfair’ policies won’t piracy and copyright, others advocating for music as a non-industrial solve much. We need to do more in order to achieve more. sector, and those who try to have a more streamlined impact on the industry as a whole. Another thing is the industry’s relative timidity Since the end of December it is possible to apply for funds regarding investment in lobbying compared to the cinema sector. A within ­ the various sub-programs of Creative Europe. Within­ structure like EMO, which had a transversal approach to the issues the previous culture program only a handful of popular faced by the European music sector, as well as an unmatched sectorial music ­-related ­projects actually received funding. The formal­ grasp of EU funding mechanisms, was shut down recently due to lack requirements­ are tough, the bureaucratic burdens even of funding. The popular music industry needs to realise that Brussels tougher. ­ Does it make sense to submit an application within is where a large part of its future is being decided: be it for structural such a pop-music­-hostile-environment? funding, digital rules or trade and export regulations, many important – I agree, these forms are quite heavy, and the requirements to decisions are now made at EU level, not in the Member-States. I hope become­ eligible for funding are sometimes difficult to work with. But the initiative launched last week at Eurosonic (the idea of creating a it’s really worth it, and I see no reason why successful EU-funded new European network of national music export offices) will go in initiatives like ETEP or the EBBAs should be the only ones out there. that direction. Moreover, as I said, the new Programme is now less unfavourable to the music sector, the focus is more business-oriented and competition Looking at the document ‘Commission Staff Working Paper for is less distorted with the other performing arts sectors. Unfortunately establishing a Creative Europe Framework Programme’ the term EMO isn’t there anymore to help with the paperwork and to give ‘film’ is mentioned 220 times, the term ‘music’ 41 times. Digging advice for projects, but there are specific ‘Creative Europe Desks’ in all a bit deeper, the term ‘cinema’ 65 the term ‘concert’ 6 times. The EU countries which are very helpful. It always makes sense to submit document itself consists of 170 pages. With other words, this an application as long as you have a good idea. It’s never a piece of document even proves that the creators of Creative Europe are cake, but if you get through, financial support can be consequent. No obviously film enthusiasts and created a program that is very pain, no gain…

16 VIPNEWS > JANUARY 2014 Ralf Scheffler and the Rebirth Of Batschkapp Manfred Tari [email protected]

Batschkapp

untranslatable­ word for a well designed guideline of health and safety settings for venues and locations.- Ed.)

Planning and opening a new concert location always comes Ralf Scheffler along with some surprises. – Any exciting examples that caused your astonishment? After 37 years the well-known concert venue Batschkapp in Frankfurt Not really - except one perhaps: the fire brigade requested an has found a new home. It is one of these rare stories of a re-location emergency­ power supply for the smoke extractor, two very big of a famous concert club that has existed for ages starting all over ventilators­ that start working in the case of fire and suck in smoke in again in new location. VIP News spoke with Ralf Scheffler, boss and the, from my point of view unlikely event, when a power black out business mastermind of Batschkapp: in the town district occurs by sheer chance at the same time a fire starts... A quite unlikely coincidence that would eventually only occur What led you to re-locate Batschkapp? in the case of war or a terror attack. However, this requirement wasn’t – Our aim was to obtain a capacity up to 1.500 people. In fact we to be discussed... have been aware of the fact that extensive renovation measures were necessary to keep the ‘old’ Batschkapp in business. So we thought it How big is the investment and are you pleased with the is more reasonable to invest our money in a new project. backing­ by your bank and the local authorities in Frankfurt? – The investment is around 2.7 million Euros. The real estate office of When planning the new Batschkapp, what have your priorities Frankfurt purchased the premises exactly for this purpose as the City been for the new venue? of Frankfurt was highly interested in keeping us in the city. The banks – We wanted to obtain a better room and technical facilities for artists actually played no role at all within this process, in fact the entire and for the audience as well. investment has been done completely without any support by a bank. In particular our bank, which we worked pleasantly together with for Have you or the architect had to consider many new obligations ­ 37 years, has covered itself in this regard with particular fame. and requirements by the building authorities? – Well, we had to consider the very well known and highly respected For further information please check „Versammlungsstätten Verordnung“. (A German masterpiece and www.batschkapp.tickets.de/de

17 VIPNEWS > BUSINESS > JANUARY 2014 MUSIC IN SHARES Music in Shares Manfred Tari [email protected]

No exciting mind blowing news by the corporate concert companies when this newsletter went to print. Only some variations within the share price overview are to be reported:

CTS Eventim passed the 40 Euro border: Live Nation above $21 40.60 Euro for a CTS Eventim share on January 24 compared to 36.79 $19.82 for Live Nation one month ago, this time already at $21.26 Euro on December 24... SFX Entertainment - Where has the Christmas Bonus Gone? One Nil Less for DEAG: From $11.45 on Christmas Eve, down to $9.91... But also commas could make a difference on figures... 4.60 for DEAG compared to 4.19 Euro on Christmas Eve.

18

VIPNEWS > MISC > JANUARY 2014 MEMBER PRESENTATION ARTIST AVAILS

ORBITAL ñ 25th year anniversary tour in 2014 Territory: The World excluding USA / Period: May onwards Agency: Value Added Talent / Agent: Dan Silver Phone: +44 207 704 97 20 E-mail: [email protected] Homepage: www.vathq.co.uk

Alan Parsons Live Project Territory: Worldwide / Period: 2014 Agency: World Entertainment Associates of America Agent: John Regna - Artist Agent/Manager Phone: +1 407-993-4000 E-mail: [email protected] Homepage: www.AlanParsonsTourPromo.com MKE is an internationally-oriented commercial agency for star acts, personalities and

high-carat artistes with a focus on the event sector, the advertising and industrial Pacifico Blues Territory: Europe sector Period 2014 Nationally and internationally renowned stars and artistes offer a wide variety of Agency: Specific Music Agent: Chantelle Duncan options in event marketing and other sectors of the communications industry for Phone: +442074834440 E-mail: [email protected] image transfer to products and services as well as effective media presentations of Homepage: www.pacificoblues.com very different kinds. THE ORCHESTRA starring ELO former members Territory: Worldwide / Period: 2014-2015 Our direct contacts with celebrities and our know-how in event marketing enable us Agency: World Entertainment Associates of America Agent: John Regna - Artist Agent/Manager to offer professional consulting when it comes to the stars and personalities for your Phone: +1 407-993-4000 E-mail: [email protected] special­ events - perhaps the appearance of an artiste, a patron or a guest of honour Homepage: www.THEORCHESTRAonline.com at an evening gala, trade fair, product presentation, kick-off function, company an- niversary or incentive event. The AllStars Collective Territory: Europe Period: 2013 / 2014 Agency: Specific Music We advise you on what stars fit in with your concept and we offer cost-effective Agent: Paul Pacifico celebrity endorsements according to the type of event, your budget and their avail- Phone: +442074834440 E-mail: [email protected] ability. Homepage: www.theallstars.co.uk

AC ANGRY But our work doesn’t stop with negotiating a celebrity appearance. We also offer­ Territory: Europe professional­ advice in all legal aspects of the events industry. Examples include Period: Winter 2013 & 2014 Agency: Dr. Music Management contract­ law, non-performance or deficient performance of contracts, limited tax Agent: Torsten Wohlgemuth & Miriam Guigueno Phone: +49 2331 127 46 25 liability­ (known as non-resident tax), sales tax, artists’ national insurance contribution­s, E-mail: [email protected] Homepage: www.acangry.com copyright and ancillary copyright / GEMA and GVL [German performing rights and ancillary copyright associations].

MORE ARTIST AVAILS ON: We can, on request, see to all the logistical arrangements, such as flight and hotel­ WWW.VIP-BOOKING.COM reservations­, transfers, security and other services associated with the usually POST YOUR ARTIST AVAILS ON: comprehensiv­e contracts for stars and artistes. WWW.VIP-BOOKING.COM

Orbital

19 ®

vip-booking.com

About Our Company

VIP-Booking’sMyMusicMailer.com core product is the enablesInternet’s artists oldest toand MAIL Today their VIP-Booking music offers a range of tools for the largest databaseto more for than the European6.000 venues Live andEntertainment agencies worldwide… industry­ – including VIP-News, VIP-Booking, VIP-Book Industry www.vip-booking.com developed as a tool for and VIP-Contract. industry professionals. Since it’s launch in the year 2000, Please visit vip-booking.com for further information. we have consistently offered our subscribers the very best in database services and now boast subscribers in Your comments and suggestions are always appreciated. over 30 countries.Mail your music to the Live Music Industry…

®

vip-booking.com 20