ELECTRONIC MUSIC in FRANCE SURVEY 1369 SACEM ETUDEMUSIKELECTRO INT Eng.Qxp Mise En Page 1 17/01/2017 17:49 Page1

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ELECTRONIC MUSIC IN FRANCE SURVEY 1369_SACEM_ETUDEMUSIKELECTRO_INT_Eng.qxp_Mise en page 1 17/01/2017 17:49 Page1

ELECTRONIC MUSIC IN FRANCE SURVEY

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introduction overview of the ecosystem economic impact

6 9 35 DEFINITION OVERVIEW OF THE ECONOMIC AND ARTISTIC, ECOSYSTEM IMPACT CULTURAL OF ELECTRONIC OF ELECTRONIC AND ECONOMIC MUSIC MUSIC HISTORY IN FRANCE IN FRANCE

12 40 CREATION FOCUS ON FESTIVALS

PRODUCTION 42 & PROMOTION FOCUS ON CLUBS

20 DISTRIBUTION

22 BROADCASTING

26 PUBLISHING

28 MANAGEMENT

32 AUDIENCE

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development challenges conclusion appendix

45 62 64

DEVELOPMENT WORKING GROUP CHALLENGES FOR 67 ELECTRONIC ACKNOWLEDGEMENT MUSIC

46 ARTISTS

49 CHALLENGES FOR RIGHTS MANAGEMENT

56 CLUBS

58 FESTIVALS

60 SUSTAINABILITY OF CULTURAL STRUCTURES

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introduction overview of the ecosystem economic impact development challenges conclusion appendix

FRAMEWORK, CONTEXT AND OBJECTIVES OF THE SURVEY 

After 30 years in existence, it was deemed This working group, throughout their important to draw an up-to-date overview of research, maintained an intellectual what the electronic music sector represents conformity and rigour, regarding the in France, both economically and culturally. methodology and content, that proved For this purpose, one hundred and fifty very productive. stakeholders in this music scene have been interviewed, creating an open information census of its major economic drivers and BENJAMIN BRAUN enabling its true evaluation, as well as defining its main practices. An independent consultant, he frequently advises the media and culture sectors. The scope of this first exercise is however For more than ten years, he has been more a qualitative study than a quantitative supporting companies and institutions from audit. It represents a first marker in this various sectors to help them face challenges endeavour to precisely measure the and new opportunities brought about by little-documented real economic digital technologies. contributions of this important cultural movement. To achieve this, the survey had OLIVIER PELLERIN to look beyond aesthetic trends and not leave out any aspect of electronic cultures, After obtaining a degree in Music treating them all with equal attention Management and Administration in 2000, and respect. he began his professional career in jazz, hip-hop and electro as an independent To ensure the relevance of this approach, press agent, and created the jazz and rock Olivier Pellerin and Benjamin Braun have label Chief Inspector. In 2008, he became been supported by Sacem staff and by press relations officer for Cité de la Musique a committee of various qualified figures and Salle Pleyel, before joining Radio France in the electronic music world. in 2010 in music broadcast programming and production for France Inter and Le Mouv’ (Alternatives, Addictions, Laura Leishman Project, etc.). From 2015 to 2016 he joined the innovation unit of Radio France, where he developed 3D/binaural sound music applications. He is now focusing on his work as a free-lance journalist and editor, which for several years has been driving him to write about music and the nightlife world.

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DEFINITION AND ARTISTIC, CULTURAL AND ECONOMIC HISTORY UP TO THE 2010s 

Electronic music, often gathered under the catch-all diminutive electro, today represents an important, even dominant, artistic trend, the greatest impact on modern culture after hip-hop and rock.

It embraces numerous genres and countless sub-genres, as much stylistic as for marketing, whose names evolve across the successive generations that adopt them. Thus minimal techno, which had its day in the 2000s, has turned into micro house among young aficionados who weren’t old enough to hit the dancefloors at the beginning of the century. Likewise, hardstep is the offspring of drum & bass, which itself was an evolution of jungle.

Far from wishing to reconcile purists and converts, still less to draft a periodic table of electronic music, this survey aims precisely to encompass it all in its diversity, from the most specialised to the most mainstream and from the most «underground» to the most commercial genres. It addresses all electronic music, insofar as all participate in a dynamic of

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artistic creation and wealth generation whose In order to draw a quick French picture, techno impact and revenue distribution need to be originates with the arrival of rave parties and measured. acid house from England and Belgium in the late 80s. This hedonistic and strongly localised In order to define the scope of the analysis, movement quickly unifies a community of one must consider that all music that is subject activists, joined by ex-punks, and skirts the to electronic treatment, not as a mere beginnings of hip-hop. Several organisers, technique but as the core of both the process record shops and the radio stations Nova and and the creative end, is regarded as electronic FG unify the movement. In 1997, FG organises music. While this music is closely tied to the a techno march prefiguring the Techno Parade technologies that shape it (hardware and created by Jack Lang in 1998 and taken over software), it does not preclude the use of by the Technopol association that still runs it. instruments (since nowadays, following hip-hop, Even though rave parties are stigmatised, electronic music can be performed with techno culture definitively takes root in Paris traditional instrumentation). Its composition and sees the birth of parties, labels, venues and its performance evolve however along and media that will ensure its survival until constructions that can shatter the traditional today. From the Wake Up parties organised by framework of verse-chorus-verse and snub Laurent Garnier between 1992 and 1994 at the the durations of traditional songs. Moreover Rex Club to techno’s first Victoire de la it can be endlessly sequenced and remixed, Musique in the «Dance or Electronic Music» its characteristics linked as much to category in 1998; from the Rough Trade shop the elaborate resonances and rhythms run by Arnaud Rebotini and Ivan Smagghe, as to the melodies and lyrics. co-founder also of Pulp nightclub with Chloé and Jennifer Cardini that will give birth to This definition, while generic, allows avoiding the Kill The DJ label, a community that will a pitfall: today electronics have permeated all mushroom right up to Daft Punk and David musical creation, ranging from rock to hip-hop Guetta, allowing the current explosion of a via middle of the road music. Electronics as a young generation with no complexes, even mere style effect are outside the scope of this though it isn’t necessarily conscious of what survey in order to focus only on music that their fervour owes to the activism of their uses them as its very essence. Whether techno, elders who are still well present. house or dance, all electronic music was more or less born out of the technological Light will be shed on the complex ecosystem experimentation of the French works of GRM resulting from this quarter-century of (Groupe de Recherches Musicales) under evolution, with the purpose of revealing its Pierre Schaeffer in the late 50s, that ended up structures, practices and orders of magnitude permeating popular music on both sides of the as well as its main issues and challenges Atlantic, whether in Düsseldorf with Kraftwerk to come. since the 70s or Detroit with Underground Resistance in the 80s. The rest of history is henceforth all the better documented now that the reign of electronic music is definitively consecrated.

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1. OVERVIEW OF THE ECOSYSTEM OF ELECTRONIC MUSIC IN FRANCE

In the past few years, the proliferation of electronic music festivals has revealed a growth of this cultural ecosystem which befits addressing beyond mere intuition.

THE ADVENT OF Many subscribe to a creative approach whose ELECTRONIC MUSIC strong identity and shared aesthetic unifies FESTIVALS various scenes and above all audiences. YOUNG AND French pioneers in the genre, namely Nuits CONNECTED Sonores in Lyon, Astropolis in Brest, Nordik Impact in Caen and N.A.M.E Festival in Lille, STAKEHOLDERS have been joined by Paris in 2013 with two electronic music festivals, the Weather Festival These newcomers, all of them very young, organized by the Surprize agency and the master new technologies that alter the modes Peacock Society by the We Love Art agency. of music creation and production (home The emergence of other local scenes, studio) as well as the way to broadcast and in Nantes, Bordeaux, and in the PACA region, access the produced works (platforms and makes up for the French lagging behind on social networks). They are digital natives the electronic scene where most stakeholders creating for digital natives. agree that the beginning of the 2000s was Far from being unaware of the previous a sort of barren desert. French festivals generations, they manifest a learning ability encouraging the mobility of audiences from that is boosted tenfold by the Internet’s all regions, indeed from Europe, makes for capacity to make a plethora of information an electronic music market whose explosion instantly accessible anywhere. can be witnessed throughout the national territory. The springing up of new festivals, Thus a productive acculturation is created, parties, clubs, collectives and artists has endlessly subverting the electronic music accelerated in the last few years. ecosystem, its boundaries in constant motion.

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THE ECOSYSTEM OF ELECTRONIC MUSIC IN FRANCE: FROM THE DIGITAL PRODUCER TO THE CONSUMER OF LIVE EXPERIENCE.

Distribution Record Stores physical Shops a Electronic music CD, Vinyl Online stores

artists Online Platform Production Digital Streaming and and promotion Distribution a downloading Creators Publishing DJs Traditional broadcasting Radio / TV / a Public venues

Brands / Agencies Synchronization a

a Third-party creators Live Bookers Clubs / Festivals / Venues

Recording a

Institutional stakeholders

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A CONSTANTLY RENEWING ECOSYSTEM

The multiplication of stakeholders in an expanding market, including production as well as broadcasting or consumption, a modifies behaviours and practices in various segments. To outline before diving deeper into the analysis, one can separate on one side the market segment which deals with a Publics the monetisation of the growing broadcasting of dance music works through traditional channels (radio, TV, nightclubs) but which is weakly represented in a live context; on a another side a market segment composed of techno/house music, whose artists appear mostly live but whose works are almost never broadcast on traditional channels, a to the benefit of low income broadcasting on the internet whose main purpose is communication. Thus electronic music stakeholders are spread across a wide spectrum of structuring and practices, a defining diverse and more or less compatible issues and strategies. a

Management of author’s rights and related rights

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1.1 CREATION

ELECTRONIC MUSIC THE TERM DJ COVERS MIXES OWN CREATION VARIOUS REALITIES. AND USE OF THIRD The various production modes also indirectly PARTY CREATORS’ impact on various ways to approach live performance. Some DJs appear on stage WORKS. behind their mixing desk, while others are composers who perform live out of necessity, Electronic music may be the genre, following the former to broadcast their works and an era launched by hip-hop and its systematic benefit from performance revenues, the latter reliance on «sampling», which borrows the due to falling record sales. most from third party works to create new content. Electronic music producers exhibit Regardless, the number of DJs is on the rise, a constantly developing musical culture; listen in accordance with the success of electronic to much music from all ages, unearth sounds music as well as with the ease of its and references from the shelves of the world performance and production through the music library, which is now only a few clicks democratisation of technology. For example, away on the Internet. the download platform Beatport, basing itself on the number of DJs who buy its music pieces, estimates that there are about 10 Thus creation becomes polymorphic, mixing million DJs in the world! own production, borrowed works and transformation. Next to the sample banks, Two broad categories of DJs can be content is also originating from peers, whose distinguished. On one side there is the musical pieces can be remixed, combined in talented MC who selects and sequences mash-ups, sampled, etc. by the electronic pieces of music in a nightclub, where he is music artist. The remix of "Prayer in C" by usually a resident employee. On the other Lilly Wood & The Prick by the German DJ side there is the electronic music artist who Robin Schulz is a revealing example. The creates music, live or not, sometimes based latter remixed the music piece on his own on existing works, and who can offer an array initiative and achieved resounding success, of varied arrangements on stage (performance which in turn led the original band to sign of own works, remixes of third party works, a contract with him so as to endorse combining of records). Most of the time, the a win-win situation for both parties. latter performs his art in various clubs or festivals that hire him directly or through his booker and that pay him either by invoice or with a salary depending on his status.

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Classification of electronic music artists

DEVELOPING Two notions must be ARTIST distinguished, the producer and the DJ. A producer can of course He started playing music in private be a DJ. He can then play his parties and bars. As his knowledge own productions and those of “BEDROOM” and technique expand, sometimes in third party artists. Likewise, a DJ close contact with a collective, the can also be a producer in order PRODUCER number of his sets multiplies to the to strengthen his popularity, and point where he begins to consider turning it into a profession, at least thus multiply his engagements. A music aficionado, he masters (often part-time. Whilst when he began he at a young age) computer music In general, as an electronic music only made some undeclared income, software and composes pieces of artist begins his career, he tends or was paid in drinks, he is now in music, in his bedroom, that he posts to assume both roles in order to contact with a booker who offers to on platforms and social media, hoping multiply his income sources. take him on a casual basis and pay for a viral success that can be him for the performance dates he According to his career’s dazzling, as with Petit Biscuit or manages to set up. The question of evolution, he can choose to keep Kungs. In this case, he can plan to production arises, since it will allow all the artistic activities sign a publishing contract, find a label him to position his trademark brand, (production and stage and thus launch his career. The live it will be his artistic business card that performance) or to focus on the performance aspect is also addressed will multiply his hiring opportunities. one that best suits him. He can since it is what will give his music limit himself to producing, for greater visibility and bring better himself and/or others, allowing income opportunities. broadcast media and other artists to play his productions. On the other hand he can focus solely on live performance, going as far as leaving the producing of his own pieces of music to others (so-called “ghost INTERNATIONAL producers”, sometimes gathered STAR in “production camps” so as to create the most efficient hits CONFIRMED He succeeded in positioning his style possible). Depending on their and his music which found their musical genres and the expected TECHNO DJ audience through the broadcasting of revenues, the artist can combine his tracks and/or albums on general different profiles to suit him best. He is under contract with a booker public media. He schedules at a who provides him with sets around frantic pace several hundred dates the world, on Fridays and Saturdays, per year all around the world. He has or more. been approached by other artists to Most of his income is generated by remix their tracks and vice versa. live performance (in clubs, festivals, Beyond remixes, he even produces private events for brands). He is music by other artists, through his constantly on the road and must learn publishing company or his label, when to compose new music during his it isn’t done in his name by a team of travels, in touring transport or in hotel producers (ghosts producers). rooms. His compositions extend to He can also create music for visual movie music or fashion show ambient media (advertising campaigns, movie music. soundtracks, music for private events).

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Name Chloé Profession artist CHLOÉ Label Kill The DJ

◆ What are, in your opinion, ◆ Has the prevalence of live ◆ How do you protect the significant developments performance and the Internet your works? in the electronic music world definitively changed the way When I began, I didn’t register in France these past years? music is produced? my works. I am a producer, Electronic music was The Internet has, but so has the I make film music, which provides democratized; it exploded evolution of technology. Before, me with income, among which and is affecting everyone. buying equipment was expensive streaming is beginning to take its New generations make it theirs. and you needed to be a bit of place. As an artist, I pay attention There are so many new parties a geek or to study in a sound to platforms that remit rights. with a certain prerequisite among school. Today once can find As far as played titles are young organisers that it looks tutorials on the Internet and concerned, we often play like its beginnings. Of course, software has become intuitive, unfinished pieces, by DJs who there is also an EDM starification including its own lessons. It is haven’t even registered them yet, and takeover by the majors, a great change in the way we make special edits for but at the same time there is technological knowledge is our DJ sets. There is a real the opposite with parties where passed down, even though it cuts desire to reclaim the music, the collectives are known but two ways since one must be able to offer something unseen: this not the DJs. What’s more, there’s to find one’s way in such is the added value of the electro a pursuit of hedonism. an abundance of information. DJ. A model should be found between a DJ and a live show, ◆ What are the challenges ◆ Do you have enough time to between identified pieces for tomorrow? produce music? and creation. Nobody could have imagined this I can create a piece of music in explosion then. Finding a venue no time, leave it, and come back was hard, with some very French to it later. I made tracks in planes, regulatory particularities. Today travel gives one ideas. There there are many unusual venues aren’t really any rules. I don’t but the formalities for the know whether I’d be productive organisation of parties should by staying inside a studio all the be simplified. time. Time constraint can be a good thing. But it is sometimes hard to return to one’s life at home after a tour.

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Name Cassius: Zdar & Boom Bass Profession Artists / Producers CASSIUS Label Ed Banger ZDAR

◆ How do you see the recent ◆ What advice would you give to ◆ Does the new generation seem evolution of electronic music in young artists? more professional than what you France? Each artist is too particular to be were at their age? There are many more parties: able to give general advice. But The Internet has freed it is a movement that develops by one must be stubborn, believe in something. We learned in the going upwards. EDM is certainly oneself and train a lot to be able field, we were rookies. Then I got the largest music business on the to last. One must be careful how an agent licence and we created planet, but there is room for one makes money: performing Absolut Management with Anne everything. Electronic music has too many DJ sets is a waste! Claverie in 1990. Today the become today’s pop music. One must stay cool-headed and evolution of the scene certainly productive as an artist. brings more tools but it still Performances are time- remains a story of desire and consuming, we’ve seen some networking. promising DJs getting lost and disappearing. They came with 2 or 3 music pieces, then went on many tours and were never heard of again. Being on the road every week-end is tiring and it is hard to recover efficiently so as to be productive for the rest of the week. With Cassius, we have never accepted more than 4 gigs (concert dates, Ed) per month since the beginning.

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ARTISTS ORGANISE WITHIN COLLECTIVES

DJs and other electronic music artists increasingly unite within collectives generating an unprecedented creative rivalry on the current scene. Beyond artistic stimulation, the advantage of such a gathering also lies in the ability to share the means of production and promotion in a group with a larger visibility as well as in the superior firepower allowing the creating of parties and regular events, and unifying larger audiences.

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THE MOST PROMINENT FRENCH COLLECTIVES

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1.2 PRODUCTION & PROMOTION

PRODUCTION distribution platforms. This affects both the rhythm and format of production and REINVENTS ITSELF promotion. One must adapt to new Internet FOLLOWING NEW usages and feed the information flow. The album is gradually replaced by a regular TECHNOLOGIES publication of new titles.

A significant proportion of electronic music The current growth of electronic music came artists use the production of recorded music about by digital natives joining the pioneer and its distribution first as a promotion tool, generations: digital technologies definitively supporting a career based on live performance. transformed the production/promotion/ The artists instantly “post” their pieces distribution/ broadcasting chain and gave themselves and also send them to other artists. power to the creator. It is a resource that other DJs can broadcast or remix. A remix is usually performed based on Today’s young creators have access to software an OTC private agreement implying a fixed and hardware that allows them to bring their rate. But quite often it is a simple exchange artistic ideas to life anywhere, from their of goods, between two artists remixing each bedroom (home studio, or even bedroom other’s works, according to artistic affinity studio) to a train carriage or a plane seat. as well as in a way to pool their respective They are able to create complete pieces fast audiences. and cheap, without the need for expensive studios and time delays. Some electronic music artists gather under independent labels. The decrease While this creation mode isn’t really new, even of middlemen in the production chain and though it further fluidized in these past years, the new versatility it requires often drives artists the way music is broadcast has drastically to create their own structures, both to control changed. The digital revolution that generated the artistic and strategic direction and to highly complex problematics for recorded multiply income sources, combining music has also triggered the decrease of production, promotion and publishing of middlemen in the music distribution chain. their works and performances. In general Henceforth once a music piece is complete, one can notice a significant improvement in the artist can immediately make it available professionalism among stakeholders over to his audience on social media and online the last decade.

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PRODUCER INFINÉ: ALEXANDRE CAZAC & YANNICK MATRAY X

Name Alexandre Cazac & Yannick Matray Profession Producer / Publisher Company inFiné Booking Dif Artists Rone, Vanessa Wagner, Murcof, Clara Moto, Gordon, Arandel, Cubenx, Danton Eeprom… Date of creation 28/12/2005 Number of employees 1 employee + 3 service providers + 1 intern

◆ How does an electronic music ◆ What does a producer ◆ What are the challenges for label face declining sales today? contribute? tomorrow? It is very complicated. The model This contribution isn’t sufficiently Daft Punk has eventually has been evolving for 15 years. recognised. People talk a lot changed many things: more and For InFiné, the label is a about pipelines, Netflix, Spotify more small French artists go showcase allowing the or Deezer, but it all works abroad. The international aspect developing of each album as an because we produce content. is a real challenge since ecosystem, bringing together Would Rone have abandoned his electronic music is the one that production, audiovisual aspects, cinema studies if we didn’t is exported. One needs to find concerts, publications… Our encourage him to pursue music? relevant partners. Thanks to Idol, commitment to artists is equally It takes a vision, incentive. We our digital distributor, and to the important as producers and as pride ourselves on having Warp label, with which we have publishers. We also attach a great stimulated the projects by signed agreements, we manage deal of importance to Aufgang, Bachar Mar-Khalifé, to address each territory international growth. Pedro Soler & Gaspard Claus and specifically. The question of even the come-back of Bernard innovation is a crucial one: we ◆ Can a label still durably develop Szajner. Today we work with should be part of the French a young artist’s career? several generations of artists, Tech, associate music to new We have been managing it for aged 22 to 76, different countries technologies and benefit from 10 years with our artists, and figures ... With our the strength of French start-ups. in particular due to subsidies. "workshop InFiné" festival, With our new DIF structure, we If we take Bachar Mar-Khalifé’s we have hosted artists and offer engineering in cultural example, we have supported him audiences beyond our label. branding, it’s a way forward for since his 1st album which went In the 50s, France knew how to the future. rather unnoticed; the 2nd drew welcome the African American some attention, up to the 3rd jazzmen. Today we have lost this that was duly recognized. It is hosting ability, which is essential. a commitment, a daily struggle. Ambitious cultural policies We pride ourselves on should be launched, with the succeeding in retaining almost all ability to stimulate creation in our artists; on having made their partnerships with historical projects available to the largest monuments, national scenes ... audiences. It’s a real know-how we possess the tools to that can be compared to literary successfully foster these publishing. ambitions.

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1.3 DISTRIBUTION

Following the iTunes era, streaming platforms In this context, physical distribution amounts have taken a dominant position for the to limited editions of vinyl records (between distribution of recorded music, in particular a few hundred and a few thousand) for for independent electronic music, YouTube techno/house music that is thus able to reach and Soundcloud being at the top, followed a captive audience of aficionados and DJs. by Apple Music, Spotify and Deezer for The relative return to favour of the vinyl mainstream artists. record allows the sustaining of a fragile ecosystem of specialist shops. Even though Thus streaming is currently overtaking record stores are more numerous today than downloading in terms of value creation 15 years ago, their model is extremely fragile. in the digital music economy. It creates Records are expensive (maxis between 10€ an upturn in an industry that sees it as an and 15€ on average, LP between 25€ and evolution of its model that may finally allow 40€ on average) and additionally take long to escaping the doldrums that appeared with ... be produced, since pressing factories have the advent of downloading and illegal pirating yet to renew a production fleet that had long practices that branched from it. Yet there is remained underused. The current revival thus still much to be done in order to sustain the mostly benefits large productions for majors model and generate sufficient income levels that reissue their classics for a new audience, to enable continuous creation. willing to equip their shiny new turntables at the expense of smaller labels with ever As of now, placing of music pieces in playlists increasing delays. on streaming platforms (such as Spotify Fresh Finds) has become the crux and replaced the Selling records is thus often unprofitable promotion targeted at traditional media among for independent electronic music labels. labels. A digital economy fosters digital They remain a product with symbolic practices: relevant positioning within key appeal, a business card to keep live playlists will ensure the success of a title. performance alive. And finally it will also ensure the success of future works and of the artist’s career, The more commercial dance music keeps the latter having to ensure the management on generating a significant turnover with and growth of his audience on the social media. recorded music for artists benefiting from a large airplay on radios and commercial Development strategies are built over time television, but it has also been following between artists, labels and distributors, whose the globally negative evolution of the rest roles are balanced in an egalitarian of the phonographic industry for the last collaboration, more horizontal than the 15 years. previous vertical structure adopted by the record companies.

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Name Edouard Taieb Profession Manager / Agent Company Unity Group Booking Michael Calfan / Klingande Kungs / Clement BCX Broken Back / Addal Date of creation 2011 Number of employees 6 Other activities Publishing

MANAGER UNITY GROUP: EDOUARD TAIEB

◆ What evolutions have you ◆ What is your vision of the new ◆ What are according to you the recently noticed in the electronic French scene? challenges for tomorrow? music world in France? In France the so-called This positive evolution will We have only been into this underground is growing fast, continue. It depends on activity for 5 years and clubs are in particular for techno. EDM decisions made by bookers who currently booking many more is more targeted at provincial often market their artists at very international artists than when we stages where clubs play hard high prices. They must be began. Electronic music festivals sounds that will not be heard reminded that they are dealing are developing according to an in larger cities, where listening with music, not only a business. economic logic: a DJ with a pen to techno is a synonym of drive who can perform the whole being cool. We are currently in the 30 night is less expensive than a In smaller towns one comes to glorious “boom years” of electro, whole band. Moreover today DJs a nightclub to unwind. starting 10 years ago with Daft are making people dream; In France we are neither Punk. We still have 20 years electronic music is fascinating. underground nor commercial, ahead of us. Consumption modes As a consequence, the cost of but precisely in between, change. Electro is the 2nd most DJs has increased and has grown with such artists as Synapson streamed genre on Spotify, by 5 or 6 times within 5 years. or The Avener. people like it. Today one can easily make music on one’s computer, even pop music is made on a computer. The idea permeates people’s minds: electronic music is everywhere and everything is electronic music!

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1.4 BROADCASTING

Broadcasting of electronic music is effected Thus, while electronic music remunerates in two extremely different ways, according to its authors with the income from its media the schematic separation between dance broadcasting and the sales of works, live music and techno/house. performance often represents the main source of income for techno/house artists. The former, dance music, occupies the totality Its operation, contrary to the production of on air broadcasting in clubs and the media modes facilitated by technological progress, (radio, TV, nightclubs), but is barely present in has not changed. The artist still has to grow live performances. The latter, techno/house in his reputation in order to obtain engagements its broad meaning, strongly feeds live in clubs or festivals, where he will perform for programming in clubs and festivals but is his audience. excluded from traditional on air formats in the media. Fees are covered by his organisation (by the artist if he isn’t represented, by his booker if Media covering electronic music are few: he has one, who then deducts them from the some specialist magazines (Trax, Tsugi or DJ salary fee he has negotiated for him). Mag being foremost), some radio stations (such as FG and commercial radio for dance The last few years has seen a multiplication of music: NRJ or Fun Radio, and specialist sensu stricto electronic music festivals; there programs on campus networks and Férarock) are about 60 such festivals in 2016. One can and some TV shows only for the dance music add real music festivals that have fully hits. In accordance with the nature of integrated electronic nights in their electronic cultures, most media dealing with programming or extended their opening its diversity are found on the Internet, hours to leave the late evenings to electronic including the reference website Resident music artists. Advisor (setting yearly rankings for DJs and international clubs), the websites of the specialist magazines Trax, Tsugi and DJ Mag, joined by those of brands active in electronic music: Red Bull Music Academy, Villa Schweppes, etc.

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Name Aurélien Dubois Profession President Company Surprize (Concrete, Weather Festival) Booking Antigone, Behzad & Amarou, Ben Vedren, Cabanne, François X, Shlømo, etc.

ENTREPRENEUR SURPRIZE AURÉLIEN DUBOIS

◆ What are, in your opinion, ◆ What are the challenges for ◆ You combine several activities. the significant developments in tomorrow? Does it mean that the activity of the electronic music world in Continuously listening to our a club is no longer self-sufficient France these past years? audience and being able to today? Elected politicians and anticipate its desires. We are Not at all, it is due to my craving governmental administrations see thinking about offering longer for creating projects. I love electronic music as a real culture, opening hours to allow our diversifying my activities. which improves relations and artists more time to express This diversity is a need for gives the possibility for themselves on stage and thus an entrepreneur in live stakeholders in this culture to bring a deeper immersive performance shows. The demand venture into bolder and better experience to the audience. from audiences is changing controlled projects. at such a speed that one needs ◆ How can a club retain its to have several projects to offer. customer loyalty on a weekly basis? We must be able to offer the best of artistic diversity to our audience. This involves a constant questioning, a search for new talents and the ability to put forward an offer that is able to evolve according to the mood of our audience. We reflect on these aspects every day.

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TOP ELECTRONIC MUSIC FESTIVALS

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The increasing requirements that audiences In this context, more and more clubs and expect from top class events force festivals stand out from classic discos through programmers to constantly scrutinise specialist programming. their offering. The demand for novelty is At the end of each week, from Thursday continuous and the lack of new content is or Friday until Saturday, they host different penalised. Festivals and clubs will thus need artists every night, united around artistic sets to provide increasing diversity and novelty with distinct styles. They are as much French in their artist programming. as international, appealing to specific audiences and performing DJ sets or live sets For all that, while the scare that the techno (machines, keyboards, etc.) that require both bubble might burst has been around for preparation and rehearsals. several years without actually witnessing it, They enjoy a real creative status and their one must be wary of a standardisation of performances are likened to a live show. They programming and events at the very moment therefore expect a salary in accordance with when electronic culture is reaching its their fame, of up to several thousand euros in commercial maturity in France, albeit lagging clubs and up to 20,000 or 30,000 euros for some way behind her German or English headlining at festivals. The success leading to neighbours who had embraced its commercial strong growth in fees for electronic music potential from the very beginning. artists over these last 5 years also has a price to pay in the weakening of these venues’ and events’ financial models.

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1.5 PUBLISHING

A not inconsiderable resource could The artist or his label can benefit from compensate for the loss of revenue due to working with a publisher who will price-fix his the lack of broadcasting for most electronic catalogue so as to share in higher publishing music, except dance music. This resource revenue than would have been generated by is the use of music for visual media. keeping all publishing to himself but without The publisher plays a central role in the skills or the network necessary to supporting fixed works (synchronisation) optimise the revenue. However, since the and to respond to a growing demand 2000s, labels are attempting to claim the for music composition for visual media. publishing rights of their artists’ productions so as to compensate for the loss of revenue The job of the publisher in electronic from falling sales. music lies largely in synchronization and composition of music for visual media. In general, as with other music genres, The advent of Internet culture has increased the publisher’s role is to develop his artist’s the production of videos, in particular in career. Publishing revenues that he collects advertising, and the need for music to can help his artist with acquiring production accompany them. While electronic music equipment, or a studio, or investing in may be often seen as eclectic for large TV promotion...to see to it that the artistic campaigns, they are more welcome for project is fully developed and scaled up web campaigns. into a more competitive market than before, demanding that projects have proven Many musicians thus generate steady income their worth before consecrating them. from web advertising campaigns, ranging from several hundred to several thousand euros with the accompanying broadcasting rights.

The publisher also must develop his artist’s catalogue, by finding collaborations for his client, proposing other artists to sample or remix his music. The remixer is an arranger. He negotiates a fee for the remix master as well as for the publishing. The publisher claims no rights to the master part that depends on the producer and artist alone, but takes his share of the publishing rights.

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PUBLISHER X ETENDARD Name Christian de Rosnay MANAGEMENT: Profession Publisher / Manager Company Etendard Management CHRISTIAN Publications Breakbot, Dj Pone, Justice, Kavinsky, Sefyu, The Shoes, DE ROSNAY Uppermost, Woodkid, etc.

◆ What are the specific features of ◆ Can synchronization and music ◆ In your opinion, what are electronic music as far as for visual media compensate for the main evolutions of the French publishing is concerned? the drop in sales? electronic music world in the past A high potential for export Indeed, the synchronization of 3 years? (pieces are often instrumental a musical work with an Brands seem to have adjusted orsung in English), a music genre audiovisual work generates to electronic music and are that is increasingly used for revenue for the rights holders of increasingly associating with synchronisation (especially by the musical work. Moreover it this field. Globally a drop in brands), which provides an represents an additional means synchronization revenues has alternative to radios in terms of to provide exposure for the work been noticed for 3 years (the audience exposure. But and can even leverage the sales brands leveraging the fact that collecting author’s rights on of phonographic media. they provide an opportunity advertising synchronization for the exposure of a work licences has proven to be a long and relying increasingly on and hard battle, all the more so commissioned works – rather abroad. than commercial works – to be the producer and/or publisher in certain cases). We can only note the drop in sales in physical or virtual media for the benefit of streaming, as well as a return of the vinyl record (certainly as a result of consumption usages that drive the audience toward an item considered more valuable).

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1.6 MANAGEMENT

In comparison to the sulphurous climate that We must note the proliferation of culturally cloaked electronic music with the emergence activist collective organisations, structures of rave parties in the early 90s, the politico- and events on the national electronic music cultural environment now casts a much more scene, answering to the current need by benevolent eye. The growing professionalisation audiences for live interactive experiences. of all the stakeholders in this field over the last Beyond the frontline professional activities, decade, as well as burgeoning recognition of the many amateur practices must also be the music’s artistic value, has allowed for accounted for. smoother relations with local communities and authorities, even though some local differences persist. AMATEUR

Moreover, state institutions have attuned PRACTICES themselves to the explosion of electronic cultures by adapting, albeit recently, the legal AND FREE PARTY and cultural apparatus governing them (intermittent employee contract granted to The Freeform association, a centre providing DJ, VAT reduction for clubs, etc.). They now resources and empowerment for such tend to encourage and support the practices, counts 4000 parties organised in development of electronic music, in France each year. They answer to a need for recognition of the entertainment it brings to freedom outside such structures as clubs or their regions and the high demand for it from festivals. In 2001, the Mariani amendment audiences. Of course, local recognition varies. regulated free parties by enforcing their Whilst Paris is exceptional, paradoxically declaration in advance, but their unpopularity combining the aggravated nuisance levels systematically led to their cancellation. While inherent in a record population density with the situation has now evolved into a a capital city’s overflowing calendar of constructive dialogue involving several staging multtiple cultural events (parties, ministries and communities, here too regional clubs, festivals…), other French cities are not disparities impact on organisational lacking: Lyon, Nantes, Bordeaux, Brest, possibilities. Strasbourg, etc. Outside of the cities, further discussion with local authorities is sometimes At a ministerial level, however much Techno needed to secure a festival site in a Parade is a national cultural success, many countryside or unusual location. stakeholders consider that the Ministry of Culture isn’t yet a discussion partner who has fully assessed the value of electronic cultures.

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Aid for projects

There are several aid schemes accessible on the monprojetmusique.fr website that gathers all the support schemes for the music and cultural sector. REQUEST FOR For example, support provided by Sacem is described in its aid programs and accessible on the SUPPORT Project Aid website (https://aide-aux- projets.sacem.fr); other programs are co-funded by EXPRESSED BY THE the whole sector (FCM or the Export Bureau). Of its 6 main aid programs (1) in the field of modern SECTOR music, the most important ones are the support for pre-production to publishers (over 50 supported Many stakeholders of electronic music are projects) and the support to festivals (over 15 have calling for an artist support mechanism, an exclusively "electronic music" programming). via the introduction of support funds whose Two examples of supported events: financing and operating systems are yet to be defined. Even though they aren’t necessarily - French beat, launched in 2013, whose objective informed about existing aid for creativity, is to promote the French electronic scene to they are calling for endowments for small international audiences and to foster exchanges record stores, labels or artists, to help with between France, Europe and North America. rent/hire, equipment, tour support, etc. In partnership with the Cosmopolis in Lisbon, the MEG (Montreal Electronic Groove) and the MaMA in Paris, The French Beat allows 3 young creators each year to perform on these three stages, thus contributing to the development of their career and to talent circulation.

- French Wave, the 1st international transmedia experience in French electronic music, mixing generations and offering: a web platform, TV documentaries, a web series and international concert evenings. This project benefits from partnerships between Sacem, the Export Bureau, Institut Français and Unifrance.

Over the course of 2015, support from Sacem to the electronic music repertoire has amounted to a total of 255,000 euros, representing about 7% of its commitment towards modern music.

[1] Pre-production aid (Publishers), Autoproduction aid, Career support, Aid for venues, Stage production aid, Aid to festivals.

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Artist status and Technopol schemes

Nom Tommy Vaudecrane Profession Président Company Technopol - Techno Parade Activities Protection, recognition and promotion of electronic music

Date of creation 1996 Number of employees 3

DEFINITION OF THE DJ AND VJ “He or she uses techniques Both definitions are inscribed in of mixing, scratching, sampling, the list of performing artists. ARTIST on music, instruments, sounds Therefore, DJs and VJs are today or voices that are pre-recorded considered performing artists. or produced live, for the (for the latter, only in the interpretation on stage of CCNEAC) an original work.”

The only definitions can be found “The VJ interprets a dramatic, in the two main Collective choreographic or musical work. Conventions regulating the He uses techniques of capture, sector of live shows: broadcasting, image processing National Collective Convention of and audio-visual processing, live, Artistic and Cultural Companies from pre-existing images and/or (CCNEAC) + National Collective videos, specifically created for Convention of Companies in the the work or not and/or images Private Sector of Live Shows and related sounds, created live.” (CCNESPSV).

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DJ AND VJ ARTISTS = DJ ENTERTAINER: ANOTHER PERFORMING ARTISTS: STATUS OUTSIDE THE CONSEQUENCES PRESUMPTION OF SALARIED STATUS

Presumption of salaried status, article L.7121-3 of the Labor Code. Therefore a DJ or VJ artist There are DJs who provide entertainment at private performing on stage, for a payment, is presumed to parties or carry out their activity within discos with have a salaried status. The organiser employing him no specific artistic programming. Such people are must thus fill a DUE + employment contract + not considered as performing artists but rather as remuneration statement + declarations and DJ entertainers. From a social viewpoint, they will payment of social contributions. belong to the general scheme and can be salaried as in any other profession. Exemptions for the avoidance of presumption of They can bill through their individual structure salaried status: entrepreneur (individual or Society) or Society, without an obligation to hold a show holding a show entrepreneur license n°2. A DJ or entrepreneur license. VJ artist, established as a sole trader or in a Society, can directly invoice the organiser. However, such The separation between a DJ artist and a DJ a legal structure must hold a show entrepreneur entertainer is sometimes hard to define. It is the license n°2 or, with less than six performances legal nature of the structure within which the per year, issue an Intermittent Show Declaration person is performing that will be largely decisive: to DRAC for each performance date. if the structure holds one or several show entrepreneur licenses, it will be assumed that it is NB: recently, Pôle Emploi has begun recognizing a DJ artist; if the structure holds no license, it will the DJ artist or VJ artist status; therefore during be a DJ entertainer. One will also check whether the the social declaration to their services, the DJ/VJ correspondence surrounding the event is focused artist profession is identified. This implies that on the name of the DJ or on a concept: if it focuses a DJ/VJ artist, who wishes to entirely rely on his on the name of the DJ, then he is a DJ artist; if it remuneration linked to his artistic activity, is able focuses on the concept, then he is a DJ entertainer. to do so under the “DJ/VJ artist” profession, and thus claim the unemployment scheme regulated by Annex 10 of the Unédic Convention (intermittence).

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1.7 AUDIENCE

Electronic music audiences are very young These are the criteria according to which and expert, thanks to a wide culture built the young audience will choose to spend online. No music piece escapes their vigilance a significant amount of money for a night at and the so-called “track ID” practice has a venue, or even for a multiday pass or an become widespread. It consists in recording entire festival. Yet, according to the chosen with a smartphone the moment when an event and duration, the fee may range from appreciated but unknown piece is playing, 30€ to over 100€. One’s budget is thus then posting it on social media, asking for mainly affected by the entrance fee. There help from the community with its usually isn’t much left for spending at the bar, identification. The Facebook group « Weather the restaurant or on merchandising. The Festival Music », with over 30,000 members, young audience often drinks cheap alcohol is the epicentre of this practice. before going to the club or the festival, spending little at the venue. This propensity for erudition does not prevent new consumers from favoring experience. The economics of venues hosting these Whilst good programming is a necessary audiences and undergoing a tight squeeze on condition, it is not sufficient. The last 4 years their prices is thus weakened. French festivals have quenched the thirst of a young audience are among those with the cheapest entry fees that does not realize that such programming in Europe. This is in particular the result of as those of the Weather festival, Nuits cultural policies that always endeavored to Sonores, Concrete or of the Rex Club can make culture accessible to the largest gather more French and international artists audience. Whilst the audience may celebrate, than were programmed throughout a year festivals have to account for this constraint. in one venue in the previous decade. For although subsidies are lower in financing Young consumers only retain that they can schemes for electronic music, the latter is no see their favourite artists up to several times less competing with all other leisure offers, a year in the same city, and thus favour especially now as its audience is widening context and price as selection criteria in into a more popular base. The Beatport a competitive offer. website estimates, based on festival goers of its mother company SFX, that there are 350 The objective is to spend some time, varying million potential fans of electronic music from a few hours to over 24 hours, in one or in the world. several venues that offer top artists as well as a friendly and exotic atmosphere. Sited ideally in unusual venues, the scenery, side activities (catering,relaxation, games, etc.), themed evenings as well as the services (transport, accommodation, cashless payment options, etc.), are increasingly valued.

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Name Michel Pilot Profession Secretary General Company Surprize (Concrete / Weather)

CULTURAL ADVISOR MICHEL PILOT

◆ How do you see the progress of ◆ In your opinion, are there ◆ What do you think the main the electronic scene in France similarities between the current upcoming challenges are? from its beginnings until today? craze and the scene’s beginnings The most important is for this The greatest victory for in the 90s? culture to keep its values. Jazz electronic music since its The electro culture still numbers managed in its own time to beginning until today has been many people who took part in its express strong messages so as that fact that it managed to resist creation. Some of these people to expose the misery of black all the prophets of doom who are today committed to pass this people. Let electro music convey often gravitated around it. I have culture onto the young a powerful message through all always said so and I haven’t generations. They in turn have its stakeholders so that our world changed my mind, the two the desire to learn more and to stays on the right course before greatest cultural musical live through what we lived. This it is too late. creations of the 20th century are may explain the craze for Jazz and Electro. electronic music at this beginning of the 21st century.

◆ Do you think that electronic music has today found its rightful place in French society? I don’t know what finding one’s place means. All cultures have their place in our societies. They are the cradle of our civilization. Electro is one cultural component of our society. It exists and participates in the dreams necessary to every human being.

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2. ECONOMIC IMPACT OF ELECTRONIC MUSIC IN FRANCE

In order to assess the impact of electronic MEASURE OF music in France an incremental approach has been adopted, consisting in aggregating all THE ECONOMIC the constituents of the distribution and IMPACT broadcasting market for electronic music, in order to extract an economic outline. The analysis has been focused on the main Without reducing the strength or the richness economic segments of the ecosystem of the gathered data, it is important to stress described in the first part of the survey. the limitations of the exercise. For some elements it was necessary to cross-check For each segment, the economic impact of different sources (surveys, interviews, etc.) electronic music has been assessed, and and to resort to approximations while ensuring then a techno/house subset has been that resulting figures were consistent. differentiated.

Another difficulty encountered in measuring the economic impact is the ability to precisely delineate the electronic music surveyed. As with the rest of the study, focus was directed on music subjected to electronic processing at the core of both the process and the creative purpose.

Finally, the 1st edition of a survey, by definition, prevents any comparison with previous versions. Analysis has relied on the latest available data from 2015 unless otherwise specified.

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Electronic music driven by live performance

ECONOMIC IMPACT IN FRANCE [IN MILLIONS OF EUROS EXCLUDING TAXES]

Electronic music Techno/house

295

416 57 47 =

20 34

15 13 98 5 5

Synchroni Background Physical Radio / tv Digital Export Festivals Clubs and Total zation music Media Broadcasting Discos

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X BREAKDOWN OF THE ECONOMIC IMPACT [IN MILLIONS OF EUROS EXCLUDING TAXES]

Electronic music of which Techno/house

Clubs and Clubs and Discos Discos 2 2 1 + Festivals 5 + Festivals = 82% 5 = 92% 16 20 15 13 3 Clubs and Discos 47 Festivals

Export

Radio/TV broadcasting 34 Digital

Physical media 295 57 Background music

Synchronization

Electronic music in France represents 416 The techno/house subset that we have set million euros excluding taxes. 71% (295 apart represents 98 million euros excluding million euros) comes from the turnover of taxes, or 24% of the total. The two main clubs and discos and 11% (47 million euros) segments represent 92% of the impact of the from the turnover of festivals. These two set: 58% (57 million euros) come from the segments alone represent 82% of the turnover of clubs representing 19% of the economic impact. total turnover for clubs and discos for electronic music and 34% (34 million euros) 5% (20 million euros) comes from the export from the turnover for festivals representing of this music, 4% (16 million euros) from 72% of the total turnover for festivals for digital distribution on streaming and electronic music. downloading platforms, 4% (15 million euros) from authors’ rights and related rights claimed 3% (3 million euros) comes from the export of for the broadcasting of works on TV and this music, 2% (2 million euros) come from radio, 3% (13 million euros) from the domestic revenue for synchronizations, 2% distribution of physical media, 1% (5 million also (2 million euros) from digital distribution euros) come from rights claimed for on streaming and downloading platforms and background music for public areas and events less than 1% (0.6 million euros) from the and 1% (4.5 million euros) comes from distribution of physical media. domestic revenue for synchronizations.

The overall market for the synchronization of electronic music represents about 9 million euros. It is composed of synchronizations performed in France (4.5 million euros), and those performed abroad (4.3 million euros included in the export segment).

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Electronic music represents 17% of modern music

ECONOMIC IMPACT OF ELECTRONIC MUSIC Electronic music Other music

The market for electronic music represents a total of 416 million euros excluding taxes, 17% 83% or 17% of the market for modern music.

ECONOMIC IMPACT BY SECTOR

This market is driven by live performance:  The turnover of electronic music represents Electronic music Other music 35% of the turnover of clubs and discos.  Electronic music festivals are 21% of the Clubs and Discos total turnover generated by modern music 35% 65% festivals. As far as physical and digital distribution is Festivals concerned, consumption of electronic music 21% 79%

differs from usages of other music. In the Digital online music market, 7% of income from 7% 93% modern music comes from the digital distribution of electronic music. For physical Physical media media, this proportion drops to 3%. 3% 97%

REVENUE FROM DIGITAL DISTRIBUTION AND PHYSICAL Digital Physical media MEDIA Modern music 38% 62% The physical/digital split is once again specific in the electronic music field: the Electronic music proportion of digital distribution for electronic 55% 45%

music reaches 55% and even 71% for Techno/house techno/house. 71% 29%

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REVENUE FROM SALES OF PHYSICAL Records Physical media MEDIA

Modern music IIt should be noted that vinyl records are a flagship medium for electronic music. 5% 95% While they account for 5% of sales of modern Electronic music music in physical media, vinyl represents 12% 12% 88% of sales of electronic music. It is even more relevant for techno/house with its leading Techno/house share of 75% of sales in physical media. 75% 25%

Scope and sources of economic data

Physical media Radio/TV broadcasting

Turnover excluding taxes generated by the sales of Rights claimed by the music sector for the electronic music on physical media, vinyl records broadcasting of electronic music works in and CDs, regardless of the distribution channel, traditional audiovisual media (author’s rights and including online trading. Source GfK associated rights). Source Sacem and SPRE

Digital Synchronization Turnover excluding taxes generated by digital distribution of electronic music, with the sale of Share (10%) of revenue excluding taxes generated digital files on one side (downloading) and revenue by synchronizations and commissioned electronic of streaming platforms aggregating advertising music for exploitation in France in advertising films revenue and subscription fees on the other side. and music for image, in television shows and Source GfK completed by data from SNEP cinematographic works. Source CSDEM

Clubs and discos Export

Turnover excluding taxes of techno/house clubs, Share (8% on average) of revenue excluding taxes with a share* (30%) for electronic music of the claimed for the export of electronic music (mainly turnover of general discos. broadcasting, live performance, recorded music, Source Sacem synchronizations). Source Export Bureau * Shares based on assumptions agreed on by the survey working group. Background music

Festivals Rights claimed for the broadcasting of electronic music in public areas. Turnover excluding taxes for electronic music Source Sacem festivals, with a share (10%) for electronic music of the turnover of general festivals. Source Sacem and Barofest 2015 (CNV/IRMA/SACEM)

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2.1 FOCUS ON FESTIVALS

GEOGRAPHIC DISTRIBUTION 60% OF FESTIVALS TAKE PLACE IN ÎLE-DE-FRANCE, PACA AND OCCITANIE

Electronic music (techno/house) festivals are often operated by younger entrepreneurs than at modern music festivals. They more willingly draw their Electronic music (techno/house) inspiration from foreign festivals are mainly concentrated in models dominated by 3 regions that alone host 60% of the commercial structures. total supply: Île-de-France, PACA and Moreover, the historical Occitanie. However, while Nouvelle- wariness of public authorities Aquitaine and Auvergne-Rhône-Alpes, towards electronic music left two traditionally festival regions, host little expectation of public comparatively fewer electronic music funding and subsequently festivals than modern music festivals, didn’t favour the development they do host some of the main events, of associative models. respectively the Big festival and the Nuits Sonores.

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SEASONS AND DURATION

Modern music Electronic music More than 80% of electronic music 60% (techno/house) festivals take place in spring and 50% summer and about 60% 40% outdoors (same characteristics as for all festivals). However, 30% electronic music festivals tend 20% to be shorter: over 85% last

10% less than a week versus 75% of modern music festivals. 0% 4 DAYS More than 1 to 3 DAYS to 1 WEEK 1 WEEK

ECONOMIC CHARACTERISTICS

TICKETING ECONOMIC MODEL LEGAL STRUCTURES

100% public structures 90% free

80%

70%

60% associations LARGE 50% + than 100000€ 40% MEDIUM paid between 30% 10000€ commercial and 20% companies 100000€ SMALL 10% partially - than paid 10000€ 0%

MODERN ELECTRONIC MODERN ELECTRONIC MODERN ELECTRONIC MUSIC MUSIC MUSIC MUSIC MUSIC MUSIC

No data

Electronic music (techno/house) festivals are large festivals, entry paying and more driven by commercial companies than the average modern music festival. Sources Barofest (CNV/IRMA/SACEM) 2015

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2.2 FOCUS ON CLUBS

X X

GEOGRAPHIC DISTRIBUTION CAPACITY 60% OF TECHNO/HOUSE CLUBS IN ÎLE-DE-FRANCE, PACA AND PAYS-DE-LA-LOIRE

100% ≥ 1000 people

80%

60%

40% between 200 and 1000 people 20%

≤ 200 0% peeople ALL TECHNO/HOUSE VENUES CLUBS

Unlike the distribution of French The proportion of techno/house venues nightclubs spread across the whole with a capacity of 1000 people or more is territory, electronic music (techno/house twice as large as the proportion among segment) venues are concentrated in the nightclubs in general. Also there are Île-de-France region which hosts over a notably fewer small-sized venues among third of the total offering. It is followed by techno/house clubs. the Pays-de-la-Loire and Provence- Alpes-Côte d’Azur regions that host about one quarter of techno/house clubs.

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ECONOMIC CHARACTERISTICS [TURNOVER BREAKDOWN]

Clubs with a specific techno/house programme 100% have an economic model markedly different from the rest of the sector: they bear 80% higher staging costs due to ≥ 1 000000 ¤ artists with national and international fame being 60% programmed each week-end. Between 300000 ¤ In return their audience 40% and 999000 ¤ accepts paying higher entry fees. It is a live show

economy, generating a higher 20% turnover as well as higher expenses. - than 0% 300000 ¤ ALL TECHNO/HOUSE VENUES CLUBS

Electronic music venues are mostly medium and large venues. The ratio of venues with a turnover over 1 million euros is 3 times larger among techno/house clubs.

Sources Sacem

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3. DEVELOPMENT CHALLENGES FOR ELECTRONIC MUSIC IN FRANCE

The growth witnessed by the world of electronic music in France over the last five years has allowed its stakeholders to claim their due and to rise to the level of other musical styles, in terms of both economics and status,and insofar as recognition of their creative input is concerned, in particular around live performance.

Thus, along the whole value chain, breakthroughs have been achieved, and situations challenged, along with a growing professionalism. It results in a new deal with projects to complete and challengesto face regarding the artists and the venues that host them, the regulatory socio-legal frameworks, and the modes of collective or individual rights management.

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3.1 ARTISTS

Electronic music artists, like any other musician, want to be recognised as creators when performing live. When they use existing works, they want to be considered as remixers, a status close to that of jazz arranger. However the status of DJ remixer, created by Sacem in 1997, remains unrecognsed by most and has fallen into disuse. In every case artists look to sustain their artistic activity through an adapted status.

They demand that a distinction is made with those DJs whose activity only relies on the selection and sequencing of third party works. The artistic input by DJ creators goes beyond mere record selection; they enrich it with unique artistic transformations, by being able to mix and modify several music pieces at once, but also adding their own creations or even playing only their own music. Even though they rely on machines and software, electronic music artists are like any other composer and demand that this status be definitively recognised, even more so in the current quasi full digital era.

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Name Kungs Profession Artist Company Val Prod / Barclay KUNGS ◆ Are you interested in the album ◆ Was live performance a step you format? considered when you began Absolutely. I think that an album composing and is it easy to take? is a necessary step in an artist’s I definitely love the idea of being career as it lets me show the a DJ, but I think that an artist has ◆How old were you when you world different aspects of my to offer more than a simple DJ started composing and did you music. To my mind, limiting an set so as to (once again) expect to succeed so fast? artist to one or two singles showcase his universe to people I started composing at 17; makes no sense. My music draws and provide them with a more creating unofficial remixes for its inspiration from very different immersive experience, including songs I enjoyed (Coldplay, Bob things and it is sometimes singers, some live instruments Marley…). After some of them hit complicated to express all these and of course visual productions. several million views on aspects across a few singles. The Soundcloud and YouTube, I had album allows an artist to build ◆ Do you find enough time to the opportunity to deliver several their musical identity and produce music (considering the official remixes including “Are showcase it to the world. time dedicated to tours, social You With me” by Lost media, etc.)? Frequencies and “On My Way” by ◆ Do you use the Internet to Producing while traveling is Axwell & Ingrosso. Then things produce music (online tools, sometimes complicated. got serious and I could perform remote collaboration with artists, Sometimes an afternoon in a in clubs around France and etc.)? studio or home studio is enough Europe at 18. Finally in February Not really for the production but to make much more progress. 2016 everything sped up with to find inspiration, nothing better However I do manage to produce the release of “This Girl”. I didn’t than browsing the Internet and during tours. Usually the expect to reach this stage of my listening to all kinds of music. finishing touches require some career so fast, however it is the But I happen to collaborate with peace and quiet. case today and I’m very happy artists through the Internet, I about it. send them instrumental versions, they return a vocal track and we adjust them together while producing the music piece.

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Name Para One Profession Artist Company Ed Banger Booking The Talent Boutique PARA ONE

◆ In your opinion, what are the ◆ Has the prevalence of live ◆ How many titles do you release main evolutions for electronic performance and the Internet per year (including remixes)? music in France over the last permanently changed the way I fluctuate between none this years? music is produced? year and about sixty tracks in The increase in the number of Of course, the album format 2012! Let’s say about ten titles festivals and the opening of (which I miss) being its first per year on average. SMACs (Current Music Stages, victim. The necessity to survive Ed) to electronic music. in this difficult context also limits the freedom of creation when it ◆ What are the challenges for should be the opposite: poverty tomorrow? should produce new ideas. The end of concert “imitation” and a better integration of club ◆ Do you have enough time to culture, sound systems and rave produce music? parties (in short DJing) with Yes I do. It is my full-time venues formatted for “live occupation. performance”.

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3.2 CHALLENGES FOR RIGHTS MANAGEMENT

Two modes of rights management coexist COLLECTIVE on a non-exclusive basis for artists and MANAGEMENT their managers: collective management and individual management. Which mode to choose depends quite This model operates a 3-stage process: often on how informed artists and their “artist registration of their works – management are about their rights, as well as performance tracking of works – distribution about the strategies that can be implemented of rights”. according to the stage of development of A process that, when fully followed, optimises their careers. creators’ rights and revenue.

This mode answers the questions raised about simplifying registration and tracking performance of works efficiently.

In fact, electronic music does not lend itself to pre-registration of performed programs, unlike all other types of music. Quite often the DJ or the electronic music artist mixes many musical pieces (sometimes very short samples) and his performance often relies on unpredictable improvisations. In this way, the electronic music artist is akin to the improvised jazz artist. However, one must also note that the artist’s added value is closely linked to the originality, exclusivity and novelty of his program, which may lead him to prefer keeping its content secret.

In any case, electronic music artists often consider that the works they perform are not correctly identified and moreover are often not included in the catalogues of rights management societies, since very few of them are registered by their creators.

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COLLECTIVE MANAGEMENT

Tracking progress, enabling the recognition of sounds (the best known to the general public being the app Shazam), has allowed several stakeholders to offer new identification processes with an efficiency that may allow optimal tracking in the very near future Registration Distribution provided that artists and labels provide these stakeholders with sound samples of their titles and associated metadata, or at the very least their titles and the creator’s name.

Solutions involving direct and strictly confidential submissions of DJ and electronic music artists sets (e.g. through a direct On the one hand, some of these works aren’t Internet connection from the artist’s or club’s necessarily subject to registration as they fall terminal) to rights collection and distribution under a confidential usage, in particular for societies (SPRDs) are also being studied in works released in limited edition on vinyl and order to alleviate the difficulties due to whose anticipated traditional or digital manual submission (whether via paper or broadcast is negligible outside a narrow circle online form) of works broadcast declarations. of insiders. On the other hand, the works It turns out that artists, always preoccupied registration process, for those works whose with the exclusivity of their programs as potential revenue may be appealing to their a guarantee of their added value, are rarely authors, is sometimes still too inflexible in their opposed to such systems as long as their eyes. Moreover, the potential additional revenue confidentiality is ensured. The identification that collective management might offer may of performed works thus becomes efficient in seem too low in relation to DJ salaries, or may comparison with registered works databases. be little understood by the artist or indeed unknown, notably around all aspects beyond The correlation of work registration immediate revenue. simplification with efficient tracking is thus the way forward to ensure the “work The world of electronic music is partially registration – tracking – distribution” ignorant of the collective rights management process is really efficient. practices due to a lack of information and of It mainly relies on a better dialogue between collective practice. It is important to circulate artists, venues and Sprds to foster mutual information via a better learning program as trust, ensuring a fairer and optimized well as to simplify the registration process for distribution of electronic music rights for all. electronic music works and programmes.

Ultimately, in order for rights collection to operate optimally, the identification of works needs to be improved. This involves tracking mechanisms that need to be capable of the identification of works performed live, whatever the venue (clubs or festivals, concerts and parties). Recent technological

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THE OPERATION OF A COLLECTIVE MANAGEMENT All rights collected during a festival are distributed SOCIETY according to the program of the works performed and their duration.

During a aaSubmission Processing of festival of the list of the broadcast all titles works broadcast by the festival organiser / d o producer / DJ d o d

o Calculation of author’s rights Payment of Collection of distribution author’s rights Broadcasting authors’ rights Creation of Registration (royalties) of the work from users the work of the work to the work’s or organisers o creators d o and publishers

Among the 280 main French d o electronic music DJs / bands *, about 2/3 are members of a collective management society d Collection of Processing of (of whom 95% at Sacem). For broadcasting identification example Sacem counts 242 other members with the status In a data via a data, provided of electronic music DJ / disco survey and by the composer. identification specialist * From Resident Advisor, DJ Mag, of titles by a company, by Trax Magazine specialist the collective aacompany management societies

Rights collected from discos are distributed based on weekly recordings performed by a specialized society out of a sample of 100 discos. These recordings allow drawing up of a representative picture of the broadcast works.

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Name Guillaume Heintzmann Company Alter-K Date of creation 14/03/2006 Number of employees 5 (2016) Other activities law professor at Iscom (Higher Institute for Communication).

PUBLISHER ALTER K: GUILLAUME HEINTZMANN

◆ What are the specifics of (1) Samples As a co-author if lyrics are electronic music in terms of A sample is defined as the usage added? Generally a remixer is publishing? of a pre-existing work or of part most often branded as an First of all, it must be noted that of a pre-existing work within a “arranger”. The point is that the all “general” publishing new work. The new work is then status of arranger limits the problematics also apply to mixed, combining composition / remixer’s share of the public electronic music, there is a original writing and reuse of an performance rights since the common basis for all music: external and prior work. The use arranger claims only 1/12 of the rights collection, table of usage of samples can be found rights, versus an often larger part information by collective anywhere but this practice is as a composer. management societies, found mostly in electronic music development tasks, international and hip-hop, a type of music ◆ Can synchronization and music issues, etc. culturally open to borrowing, for image mitigate the drop in Among problematics specific to re-use and collaborations. sales? electronic music, one can single Yes, synchronization is an out those linked to writing and (2) Remixes important source of revenue both production, which are much In a remix, an artist/ author- for publishers and producers / more "exogenous" than other composer uses separate tracks labels. But even though sales types of music, often integrating (stems) from a work by another have dropped, the new model pre-existing sounds, textures and artist in order to create a has now been thoroughly rhythms. different version of that work. implemented, mainly based on Moreover electronic music lends These remixes allow synchro- streaming revenue and an itself to cooperation between nizations that were impossible important aid system for artists. Electronic music authors with the original works. production, clips, stages, as well or composers as well as their Moreover, in the case of as a tax credit considerably publishers are thus frequently electronic music, a remix is reducing the expenses of music facing two cases: samples (1) increasingly part of a label’s sector structures. This new and remixes (2). or publisher’s strategy and ecosystem allows the continuous marketing for an artist’s development of projects. development. Should one Synchronization is an necessarily see the remixer as indispensable complement to a new creator of the remixed this model but it remains a highly work? On what basis: as a haphazard sector. co-composer? As an arranger?

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Name Jean-Christophe Bourgeois Company Sony/ATV Music Publishing (France) Date of creation 1995

ÉDITEUR SONY  ATV: JEANCHRISTOPHE BOURGEOIS

◆ What are, in your opinion, ◆ What are the specifics of ◆ Can synchronization and music the main evolutions of electronic electronic music as far as for image balance the drop in music in France in the last 3 years? publishing is concerned? sales? It is striking to see that the They are numerous. Firstly, They can contribute to it. impressive development of the regarding the distribution of In particular the widespread electronic live scene was not due rights among creators. A standard broadcasting of electro sounds to the success of some “star” configuration for the creation of in French society should make artists on the radio, but rather an electronic music work sees the electronic music less eclectic to the successful development of contribution of one or several in the eyes of marketeers and a relatively dislocated ecosystem composers/producers/ track agencies. around large mainstream media writers on one side, creating an The development of more and their programming. instrumental “track”, and one or targeted communication Moreover, the cultural grip several topliners on the other side operations, as opposed to of electronic music has dealing with writing the melody exposure in adverts during prime strengthened. Electro sounds and the lyrics if necessary. time, on national TV channels are today found in most musical However this distribution does targeting a mass audience, also productions whatever their not follow the traditional formats provides electro stakeholders with style, in dance shows, movie of composer / lyricist that are still new opportunities. Finally a new soundtracks and sound illustration prevalent within Sacem, since the generation of movie directors and for audiovisual programs, sound topliner creates both the melody producers, who grew up listening effects on TV and radio…. (belonging to composition) and to electro, will be able to impose In short electronic sounds are the lyrics. Collaborations within its aesthetics in the years to omnipresent even though the electro world moreover often come. electronic music isn’t so in cross boundaries, bringing the media. together creators contracted to different author societies, ◆ What are the challenges for sometimes evolving into tomorrow? a different legal framework. The transition towards a world Finally, in some cases, a sample dominated by streaming is may be used, a pre-existing work challenging the economic model may be interpolated or a mash-up on which many independent of several works created... electro labels developed. The In short, a real complexity can access ability of electro emerge around these works and it stakeholders to published playlists is up to the publisher to overcome on these platforms will also be these sometimes numerous a key issue. Finally creators in the obstacles in order to allow world of electronic music are a smooth usage of the work and doomed to innovation, as failure to a fair remuneration of the provide it will cause the ubiquity of beneficiaries. electro sounds to wear thin. 53 1369_SACEM_ETUDEMUSIKELECTRO_INT_Eng.qxp_Mise en page 1 17/01/2017 17:50 Page54

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Tracking issues

1. In order to ensure fair Sound recording must be For several years new companies distribution, an author’s rights capable of recognising have been developing around society requires the most performed titles. music recognition technologies representative and/or most (MRT), for title tracking and complete broadcasting data 2. identification. possible. It also requires that the Around the world, author’s rights The sound database must be works have been registered. management societies resort large and diverse enough to to these providers. One can for identify all titles. If rights distribution is based on example mention Bmat music surveys, usage data has to be innovation, DJ Monitor, Yacast, collected from a sample of 3. or Trax-air. Yacast is the solution venues representative of the Identification quality of titles and used by Sacem in France. DJ sector economy, the broadcast their mode of transmission to Monitor is also one of the repertoires, the geographical the author’s rights society must reference solutions, in use for implantations and the activity facilitate the distribution process more than 10 years in the (guest DJs or not, opening hours Netherlands by BUMA, the local and days,etc.). 4. author’s rights management If distribution is based on the society. A technological playlist of performed titles, i.e. The process must guarantee alternative is to directly collect accounting for all the works and end-to-end data integrity, i.e. at identification data on the their duration, it is necessary to no time may data be susceptible performed titles (DMC, Direct be able to gather this information to corruption or modification. Metadata Collection). This is the in an exhaustive manner. technique offered by a company The data gathering and For a program-based such as Pioneer DJ and used in processing procedure must distribution, two additional Australia by APRA, the local follow various requirements for requirements have to be met: author’s rights management each distribution scheme, either society – in conjunction with survey or programming based: 5. other measures. Whatever the The date and venue of the event technology used, the feedback must be precisely established from author’s rights management in order to correctly match societies shows that data capture collected rights with performed is only the first step. It is titles. followed by comparison and identification that will only succeed for titles that have been 6. previously registered and for The collected programme list which tracking companies have must be complete. access to sound footprints and metadata provided by artists or their publishers.

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INDIVIDUAL MANAGEMENT

Broadcasting venue

Artist Booker

INDIVIDUAL The artist or his management, for similar reasons linked to specific broadcasting, may MANAGEMENT also manage their own rights and collection. It is possible to draw parallels with metal It relies on a 3-way co-operation between music. A band such as the giant Rammstein, “broadcasting venue – booker – artist” and that manages to fill stadiums by performing provides immediate financial profitability. music that is only broadcast through concerts or its recordings, for which the band is the This mode is often considered to return author, the composer and the performer, does a higher financial reward than the rights not need to resort to collective management. expectations that may be generated from The expectation is to earn more revenue by one’s works or performances in the long term. cutting out the management fees of an SPRD, This forward-looking assessment can be however this ignores the distribution part of an artist’s analysis of his career. modalities that may actually benefit the artist. For example he can consider that his music has little broadcasting opportunities or that It is especially important to consider, his current fame does not yet provide him in terms of artist career typologies and their with sufficient live performances and that evolutions, and of the nature of their works the projected rights income does not make and their type of use and broadcasting, that it worthwhile to entrust rights management individual and collective management are not to a third party. mutually exclusive and may succeed one another or even cohabit.

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3.3 CLUBS

Among some 2,000 French nightclubs, those Taking this specific aspect of live shows into that enliven their city, not only by relaying the account involves modifying the fiscal base, buzz of the local scene and the strength of its in particular VAT (with a 5.5% rate), integration communities, but also by hosting artists from to the sector of live shows through a other cities and countries, in tune with artistic contribution to CNV and the obligation for the trends, are growing in number. Even though operator to hold a show entrepreneur licence. they are a 3% minority among the total number of nightclubs, their cultural impact These evolutions in the nature of exploitation is undoubtedly prominent and their actions as well as in the use of musical works can support creation. By approaching traditional also lead to an evolution in the level and unions and organizations of the sector, modes of musical rights collection. they join an increasing professionalization approach that adds flexibility to the operation A judgment must thus be made by the venues, of the sector. as to whether they wish to be recognized as a live show activity (which in particular pays Those clubs that base their activity on diverse a salary to the programmed artists since they artistic programming, organized in sets are recognized as artist creators under the connected to distinct aesthetics, wish to be “part-time showman” status) or as a simple recognized for their cultural contributions. disco (paying a salary to resident DJs). The programmed artists perform under the conditions of live shows and therefore demand The distinguishing feature of clubs that lay a distinct status from traditional discos that claim to the artistic and cultural specialism employ resident DJs, whose activity mainly of their programming, in contrast to discos rests on the selection of existing works. that enliven their parties by only playing pre-existing works for their audience, has legal, fiscal and social (and therefore financial) consequences, and shifts the boundaries between venues, bookers, artists and their representatives.

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Name Bruno Blanckaert Profession President of the Grand Rex and of CSCAD (Artistic Cabarets and Discos Trade Association)

CLUBS REX CLUB / CSCAD : BRUNO BLANCKAERT

◆ What are, in your opinion, ◆ As president of CSCAD, ◆ What are tomorrow’s challenges the main evolutions of electronic do you see an obvious distinction for clubs and electronic music? music in France in the last 3 between general discos and clubs There is a need for investment. years? with a specific techno/house New venues must work on the Electronic music touches a wider programming that we have quality of sound and setting, audience than before when it was identified in this survey? And how the types of sets, surprise events restricted to insiders in urban do you characterize it? able to host world renowned centers. It has now become The patrons of electro clubs are artists almost ad hoc. These are popular in the positive sense of more elitist and come for the challenges for tomorrow. the word. As President of different reasons. General discos What is happening in Paris CSCAD, I can tell you that in host an audience that comes to surpasses anything happening general electronic music is be entertained and needs to in the rest of Europe, even in currently evolving and that its meet outside of the usual bar Berlin or London. broadcasting venues will multiply closing hours in order to meet Southern countries obviously and evolve as well. They will people, even more so in have the ability to band together become innovative and provincial towns; whereas electro giant collective parties, multicultural, with a modern clubs attract customers who particularly outdoors thanks to identity. come to enjoy a musical event their climates. We will be rather than to meet people. It increasingly drawn to inventing ◆ How can a club retain its does not preclude encounters, exceptional events such as customer base on a weekly basis? but the musical interest forces Hors-Série at Gare Saint-Lazare, It is entirely connected to the club to consider mobilizing and taking over public areas. programming in a strongly events and innovative offers. competitive environment. When we do not practice ad hoc The ability of a club to attract programming, we would rather DJs and specific artistic scenes not open. And we should break is paramount. If I take the free from the club framework. example of the Rex, it has a very strong identity: customers know what to expect and are not deceived. We are a quality label, thanks to the expertise of the people in charge of programming.

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3.4 FESTIVALS

Festivals specialized in electronic music have Finally, from an economic perspective, France been evolving since their beginnings under has a specific festival structure. It fluctuates the framework of live shows. They wish to be between medium-sized to large-sized recognized as venues where artists produce festivals. However, the huge dance music an original work, even when it uses existing festivals that exist in the rest of Europe and in works as its base material. The underlying the United States, the most famous being claim is to definitively endorse the major Tomorrowland, created in Belgium by the cultural contribution that they provide on their Dutch operator ID&T in 2005 and now own grounds, without differentiating from belonging to the American SFX Entertainment, other modern music festivals, notably in terms and which hosts hundreds of thousands of of hosting and facilitation of administrative or participants and has been adopted in America security procedures, for which the and Brazil, these have not managed to enter requirements are still quite often higher than the French market. Cultural exception is still for festivals focused on other aesthetics. playing its role, in particular through the Evin Law of 1991 that, by strongly limiting Here again a parallel can be drawn with metal advertising of tobacco and alcohol, prevents music which proved, for example with the the large alcohol producers from entirely Hellfest and the exemplary and extremely funding such giant festivals, as is the case friendly behaviour of its audience, that the in the rest of Europe. Even though they mistrust it faced at its inauguration was not are multiplying, large French festivals, justified. Moreover electronic music festivals that dominate electronic events, are thus wish to definitively get rid of the residual much smaller than European or American repression attached to rave parties at the mega-festivals. The fact remains that one beginnings of techno in France in the 90s, of the challenges is to succeed in creating and to exhibit how well they respond to a balanced network of festivals in the current audience expectations and thus are national territory. privileged players in the evolution of contemporary society.

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BOOKER X THE TALENT Name Pierre Blanc BOUTIQUE : Profession Producer of shows / tours Company The Talent Boutique PIERRE BLANC Booking Pedro Winter, Para One, Daniel Avery, Jamie XX, London Grammar, Metronomy, Benjamin Clementine, ◆ What is the influence of Django Django, Yelle… the multiplication of electronic Date of creation 2004 music festivals? Number of employees 7 Salary offers are better for Other activities festivals, promoters, festivals but it is hard to foresee business contributor the limits of this evolution. Today there are more festivals but that tends to dissolve the survival abilities for smaller programming is weaker each vision on development, or by initiatives (small venues, small year. To come back to Weather, creating festivals on our own or promoters…) a bit. During the the creation of the Hors-Série in collectives (We Love Green in great Ed Banger era, whose tours concept (an event at Gare Paris, L’Édition in Marseille). were managed by my then Saint-Lazare in Paris in associate, one could perform September 2016, Ed) is ◆ How do you manage your artists? anywhere in France. The risk interesting as a consideration All our artists, whether French or in the multiplication of festivals on the history of Weather. international, are declared under is to drain local scenes, as they Models associating clubs and the “part-time showman” status. are developed by the clubs festivals, such as Concrete and There may be additional billing throughout the year. Weather in Paris or Nuits Sonores systems for some artists that Facing competition from and Le Sucre in Lyon, are super we do not employ ourselves but festivals, club owners are less laboratories for the development with whom we have signed an prone to invest in new things. of artists. It is even more the case agent contract for exclusive We thus notice the development when they are joined by representation. These are often of collectives: everybody a booker (respectively Concrete artists producing records, becomes a bit of a promoter, Booking and A.K.A). sometimes having a label, it is more risky but it is the only composing movie soundtracks, solution. ◆ What are the implications for etc. in short they have a multi- you as a tour organiser? project management and the ◆ Will the development of festival The development of tours and ability to structure their business. offers be sustainable? the production of shows remain It can become interesting once Young audiences that have the core of the profession. But a certain level of activity has already attended several events there is a trend for horizontal been reached, but one must in the same hangar are looking diversification regarding what start “part-time”, for insurance, for something else. In Concrete, our artists can offer. It requires benefits, remuneration one is a yard away from the DJ. knowledge of the brands, finding statements, etc. In Weather, the DJ is on a remote partners, having a small club and stage but lacking the charisma of a good booker. We also take a band. These stages often participations in festivals, either benefit from a lighting show and through association with existing scenography, but it remains structures in which we can take random. Models have strongly actions at different levels evolved: festivals have to find (delegated programming as for their USP to retain their Plages de Rock in Grimaud) and audience, even though with which we share a common

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3.5 SUSTAINABILITY OF CULTURAL STRUCTURES

Structures hosting artists and electronic Between the first model, declining as a result music are the catalyst of their development of increased pressure on public finances, and organize into a fabric of various sizes and and the second, whose financial interests statuses. The sustainability of these cultural aren’t always aligned with long term cultural stakeholders is not guaranteed and a study development, voices are being raised of several existing models argues in favour demanding a third way. It calls for the of a need for the renewal of infrastructures. redefinition of economic models for cultural structures, responsible for the emergence of One may consider today that, ranging from new generations of artists and agents who the collective or the very small club, are the breeding ground for the future organized as an association or even an of electronic music. informal structure, to the event agencies for which electronic music is merely one activity The cultural response to current challenges among others, there are two major operating can be collective and embrace the innovation orientations. which is boosting the whole working A first model, a historically French cultural environment, the economy and more tradition, resorts to public funding through extensively the whole society. Tomorrow’s grant allocations from institutions or local solutions may lie in the ability to invent communities. A second model is organized new models: co-working, syndication of around very powerful economic stakeholders, micro-structures, hybrid public/private who buy venues, events, and artist catalogues, solutions through a rational brand integration concentrating the whole production chain and endorsement, neither completely funded, (Fimalac, Live Nation, Bolloré, Lagardère, etc. nor completely profitable. have recently arrived onto the cultural scene from the media world). Incubator ideas are under consideration in Lyon or in Paris, following what the Mila or the Gaîté lyrique have prefigured in Paris, but mainly dedicated to electronic cultures.

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Name Vincent Carry Profession Director Company Arty farty / Sucre / Nuits sonores Date of creation 2003

ENTREPRENEUR ARTY FARTY VINCENT CARRY

◆ What are, in your opinion, ◆ How does an electronic music This is good news! the main evolutions of electronic festival maintain its originality? The scene is much less music in France in the last Both through its format and centralized and thus more 3 years? its programming. Re format, fragmented, with intense Electronic culture has become the ambition of Nuits sonores heartlands, notably in Lyon. both mature and very popular. has since the beginning been Very popular since it has never to break the union of time ◆ What are the challenges for addressed so many people, and place. We have cultivated tomorrow? while generally remaining highly a model of mobility, of journey, To ensure that truly independent sophisticated. of venue multiplicity, while cultural stakeholders are The battle for electronic culture favouring industrial or historical supported in their economic, is won every weekend in each heritage sites. Since then, territorial and social French city insofar as other we have never stopped development. Because in 2016’s aesthetics seem to have been reinventing ourselves, in cultural landscape, they are the taken by surprise by this particular by digging up new only insurance for the staggering phenomenon. locations and new concepts. preservation of diversity, general Mature since it seems that we On the programming side, interest, creativity and cultural have finally left the techno only a mix of total independence innovation for the next 20 years. monotheism and that electronic and intransigence can ensure This challenge won’t be met by music, which was starting to go originality. either the institutional cultural round in circles for the past 3 In this arena, we sadly feel more sector, way too busy with years, is about to find openings, and more alone. securing their assets and in particular towards world surviving the current (relative) music, queer culture, cross- ◆ What characterizes the new decrease in public funding, disciplinary artistic leanings, French scene? or by the capitalistic cultural music-image tie-ups, etc. It hasn’t reached its finest hour entertainment sector, investing but it attempts to defend itself, the creative sector not with sometimes with panache, a bit a preoccupation for general like France in the Euro interest, but with a hope of championships or the Olympics. profitability. Just like the media, Its main characteristic is intra- culture is an instrument of soft national: Paris has completely power. It is thus no coincidence lost the French leadership, that the large corporate groups contrary to what people that we all know are showing are trying to make us believe. interest.

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CONCLUSION

As the 3rd decade of our young millennium As a result these two segments operate along is approaching, while one may state without their own characteristics, which do not hesitation that cultures related to electronic currently overlap, even though one cannot tell music permeate and even transform all the whether this will still be the case in the future, societies around the world, one must also due to the highly evolutionary nature of these recognize that they cover various realities very young and connected cultures. In France, and practices. one observes that the economy of the techno/house world is, in the main, based Many musical styles coexist with more or less on live performance (festivals and clubs), permeability under the banner of electronic consumed by a growing audience, young, music, too encompassing to reduce its connected and educated. Its broadcasting practices and “tribes” to a uniform system. is on the contrary close to nil (across general While avoiding the opposite pitfall of a media and discos) and its sales are residual fragmentation to which the myriad of musical in an economy of mainly free streaming. styles may lead, one easily notes the Inversely, dance music generates many coexistence of two different, even authors’ rights through broadcasting in antagonistic segments: techno/house on one traditional media and discos, but is barely side, dance music on the other. The term EDM a presence in live performance in French has been carefully avoided throughout this festivals and clubs. While it displays good survey, in preference for dance music, not in economic health, it isn’t impossible for its order to dismiss it but because it has become recent and spectacular development to reach a banner for tensions and aesthetic divisions a plateau, let’s not talk of a bubble, as the that this survey does not aim at solving. recent stagnation of its sales and several Stylistic agnosticism has been chosen in unfortunate experiences with large order to present the electronic music international festivals tend to show. ecosystem with as much objectivity as possible, so that everyone may have One of the upcoming French challenges is the clearest understanding possible. the harmonization and sustainability of the national fabric of festivals and clubs, a genuine catalyst for the development of tomorrow’s artists in the long term.

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The other big challenge is of course If the millennium bug can be an ironic symbol connected to streaming. The digital for a difficult entry into the 21st century for disruption that brought about new forms of the music world in general, the power music distribution opens many possibilities, takeover by digital natives offers, for the first for as long as financial strength can be time in this new millennium, optimistic assured. There is better news on this front perspectives on modern societies. Electronic even though drawing up a reassuring music may be its best vehicle. roadmap on the subject would amount to a wild guess.

The array of possibilities provided by digital cultures nevertheless promises many prospects for the future. All the assets are present to allow innovation in a country with a rich culture of dynamic start-ups. Cultural structures reinvent themselves through European networking and collaborative incubators. Breakthroughs in big data collection and micro-tracking give us a glimpse of better identification of and remuneration for musical works. The increasingly intuitive evolution of technologies simplifies creation and artist collaboration, even remotely. The era of connected objects finally offers new perspectives for distribution and broadcasting, the new proposals for collaborative music consumption or remote live broadcasting may already be shaping the behaviours of the future.

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WORKING GROUP

BRUNO JEANCHRISTOPHE BLANCKAERT BOURGEOIS

After having worked as a lawyer specialized Jean-Christophe Bourgeois joins Sony Music in author’s rights, Bruno Blanckaert takes over Publishing France (SM Publishing) in 1994 in order the reins of Grand Rex with Philippe Hellmann to create the Synchro and Marketing service within in the 80s. the company. In 1998, he also takes up the role of They decide together to open Rex Club’s Artistic Director. He develops a large artist programming to electronic music and to Laurent catalogue - from Kyo to DJ Laurent Wolf – all Garnier in the 90s, acting on an impulse by the while heading the Synchro service, in close Christian Paulet, director of Rex Club and his collaboration with the Euro-RSCG BETC agency successor Fabrice Gadeau. In parallel to this for five years in order to build a brand image for activity, Bruno Blanckaert, after having served Orange around various synchronizations of the as Secretary General of CSCAD (Artistic Cabarets Beatles. In 2004, Jean-Christophe Bourgeois is and Discos Trade Association) becomes its promoted to General Manager. In this position, he president in the early 90s. remains responsible for the Synchro and Marketing Within CSCAD, Bruno Blanckaert and Rebecca services and keeps on signing and developing Le Chuiton, general delegate, manage to unify artists with an international dimension such as Zaz. the sector and to obtain the recognition of the role In 2010 he adds the role of A&R Director, and importance of discos, cabarets and concert Continental Europe, as which he coordinates halls as venues with a cultural mission, ensuring European artistic services and favours the touristic outreach of Paris and of France collaborations between authors/composers from (French Touch). Bruno Blanckaert has been different territories as well as their cross-border the administrator and treasurer of Cinémathèque development. Jean-Christophe Bourgeois now Française alongside Costa Gavras for several years. holds the position of General Manager for Sony/ATV – EMI Music Publishing France. In addition to the exploitation of the market leading catalogue he oversees, he ensures the development of the repertoire, signing with global artists such as Yann Tiersen, Gesafellstein, Yuksek, and Kadebostany, as well as establishing partnerships with local (PlayOn, NRJ publishing) or foreign (Reverb Music, Reservoir Publishing) stakeholders. He also continues his collaboration with artists he has been supporting since their debuts such as Zaz, Kyo, and Fredrika Stahl. Outside of his activities for SM Publishing, Jean- Christophe Bourgeois is president of the Variety Commission at Sacem. He has also been a teacher at l’EDHEC (Lille) since 1998 and is currently heading the “Entertainment” program as part of the Master of Science, Creative Business delivered to 3rd year students.

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VINCENT MICHEL CARRY PILOT

A stakeholder on the independent musical scene A music aficionado, Michel Pilot begins his career from 1988 to 1997, Vincent Carry becomes at 16 in Blois as radio host on radio Val de Loire, a cinema, culture and politics journalist in 1997. with the liberalization of the FM band in 1981. He becomes the director of Arty Farty in 2002 He presents “Le hit des clubs” that leads him to and creates the Nuits Sonores festival in 2003. join the nightlife world. After discovering DJing Its first edition gathers about 16,000 participants in Greece in 1985, he comes to Paris where, after in the heart of the City of Lyon. a short time at France Inter, he becomes director of A decade later, it gathers over 130,000 participants. FG radio, during the prosperous years of the techno station, from 1990 to 1994. In 2007, Vincent Carry becomes coordinator for Lyon’s candidacy to the title of European Cultural Then he creates his booking agency Out Soon, Capital 2013. One year later, he becomes artistic which introduces him to the greatest DJs while advisor for the Gaîté lyrique project in Paris, three organizing rave parties from 1992 to 1995. He then years prior to the venue’s inauguration in March joins the Omnisons label distributed by Polygram 2011. Also in 2011 Nuits Sonores is officially later taken over by BMG in 1998. In 2000, he granted a label and supported by the European creates Technotuner web radio, whose success will Union, allowing the implementation of the European paradoxically shut it down, due to the then Lab project, an international forum dedicated to prohibitive bandwidth costs. He then takes charge the future of culture. In 2013, he creates the Culture of digital technologies for the distributor Nocturne, Next society and Sucre, an independent cultural as well as for the Jazz comic collection. Thus venue set on the rooftop of a 1930s building, the naturally when Nocturne closes in 2004, he joins Sucrière. The following year, he aligns Arty Farty publishing house BD Glénat, where he is in charge with the Parisian organization Alias to give birth of the events sector until 2011. to a new production enterprise called AKA. Additionally, being very close to Jack Lang, 2015 sees the launch of We are Europe, a large who he met in Blois, he has become his permanent cooperative European project, supported by the advisor for electronic music, from the very first European Union, grouping 8 festivals and forums deliberations about Techno Parade in 1996. in a three-year exchange and co-creation program When Jack Lang wishes to bring electronic music driven by Arty Farty. into the Institut du Monde Arabe that he has He is currently working on the Hotel 71 project, been directing since 2013, Michel Pilot aligns a creative hub that will launch in 2017. with Surprize (Concrete, Weather Festival). He joins the structure in late 2014 and is now its Secretary General and advisor to the president Aurélien Dubois.

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CHRISTIAN TOMMY DE ROSNAY VAUDECRANE

Holding a Master of Private Law degree following From DJing around the world to event organization, studies at Paris XII Diderot and Paris I Sorbonne, Tommy has been an activist with a passion for and an MBA specialized in “luxury brand marketing electronic music for more than 20 years. He starts and international management” (Sup de Luxe/EDC his career as a DJ in 1993, and then forms the band - Paris), Christian de Rosnay joined ADAMI in 2000 BudBurNerZ in 1997, producing around twenty where he held positions of legal consultant, acting singles and 6 albums. Performances in the biggest general counsel and deputy general counsel for events follow and the band quickly becomes international affairs. a reference in French hardcore techno. In 2007 he creates, with Grégoire Corman, His unquenchable desire for spreading the virus RIGHTBACK, a society specialized in the collection of alternative electronic music leads him to of related rights. organizing events with the Party Uniq collective He is also the founder of the ETENDARD which he creates and through which he will MANAGEMENT company, specialized in artist organize about one hundred events between 2005 management (Justice, Kavinsky, Sebastian, and 2015, notably the Megarave nights at Élysée Dj Pone, Woodkid, etc.). Montmartre, Le Grand Méchant Beat at Glazart and many other projects at La Java, at Cabaret Sauvage, in provincial cities and in Belgium and Spain. In 2010 Tommy is elected co-president of the Technopol association alongside Henri Maurel, renowned electronic music activist and founder of Radio FG. His involvement in music becomes political and he will hold the association presidency with a will for change and development, through in particular the creation of Paris Electronic Week, the first French events publication dedicated to electronic music professionals. In September 2016, he also becomes Program Officer at Gaîté Lyrique, after supporting the new team selected by Ville de Paris throughout a 10-month tendering process. Tommy also holds the post of Group General Director of communications and marketing at Revolution 9.

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ACKNOWLEDGEMENTS

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PHOTOGRAPHIC CREDITS

GRAPHIC DESIGN BelleVille 2016 Cover photography © Tendance Floue – Gilles Coulon 1369_SACEM_ETUDEMUSIKELECTRO_COUV_dos5_Eng.qxp_Mise en page 1 17/01/2017 17:48 Page1

ELECTRONIC MUSIC IN FRANCE SURVEY