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Welcome to VIP-Magazine, another product of the rapidly expanding and sought after, VIP brand. After the success of our monthly e-news, we have decided to go one step further and deliver the news to all the key members in the live entertainment industry at every major event in the European music calendar. Readers of VIP-Magzine will be key decision makers in the live entertainment industry.
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THE NO1 INFORMATION RESOURCE FOR THE LIVE ENTERTAINMENT INDUSTRY
EUROPEAN FESTIVAL REPORT VIP-MAGAZINE BRINGS YOU A ROUND UP
ON SOME OF THE EUROPEAN FESTIVALSREAD MORE ON PAGE 12
DF CONCERTSLIVE ON ALL LEVELS
IN SCOTLANDREAD MORE ON PAGE 25
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VIP-MAGAZINEEDITION #08
SEPTEMBER 2011
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WELCOME TO THE VIP-MAGAZINE
Tragedies at festivals in the US and Europe during the summer
have once again reminded us of how vulnerable we are
and the magnitude of responsibility that rests on the shoulders of festival arrangers
and event planners to ensure the safety of audiences and employees at their events.
Questions will once again be raised as to who should be responsible for calling off events in
hazardous conditions and when disaster is imminent. Should this be the organizers,
artist representatives, local authorities or even meteorologists?
In this sad period we also have to remember that festivals bring a lot of pleasure
and joy into the lives of millions of people every year. In this issue of VIP-Magazine
we bring you an 8 page Festival Report on some of the European festivals.
Our deepest thoughts and sympathies go out to the friends and families
of those who lost their lives at the accidents this summer.
THE VIP TEAM®
vip-booking.com
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CONTENTS:
12
05 UK Concerts Took a Drop in 2010 After the Boom
06 The Artist Speaks – All Mankind
11 Business News – Music in Shares
12 Festival Report
20 Music industry mourns the loss of Jean-Francôis Michel
22 VIP SPOT – MyMusicMailer.com
24 Songkick Launches iPhone APP
25 DF Concerts – Live on All Levels in Scotland
28 ETEP 2.0 Looks East with CEETEP
30 Autumn Falls Festival
31 Artist avails
VIP-MAGAZINE 08 #2011
PUBLISHING: VIP-Booking | 145-157 St John Street | London Ec1V 4PW | Phone +44 (0) 870 755 0092Fax +44 (0) 870 622 1953 | E-mail: [email protected] | www.vip-booking.com
DIRECTOR: Ronni Didriksen | [email protected]
GENERAL MANAGER: Peter Briggs | [email protected]
AREA MANAGER (GAS): Stefan Gottwald | [email protected]
WRITER AND EDITORIAL: Allan McGowan | [email protected] & Manfred Tari | [email protected]
DISTRIBUTION: 3.000 copies of the magazine are distributed to professionals within the Live Entertainment Industry FREE OF CHARGE
PRODUCTION: Grefta Tryk | Markedsgade 41 | DK-8500 Grenaa | Phone +45 8632 2922 | www.grefta.dk
To reserve your ad call +44 (0) 870 755 0092 or send an email [email protected]. Read more online www.vip-booking.com
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VIP-BOOKING.COM - The No 1 Information Resource For The Live Entertainment IndustryHaving the right tools for the job is often the key to success. Through our ongoing communication with key Live Entertainment Industry Professionals, we have developed a range of services to meet the demands of agents, promoters, talent buyers, venue bookers etc. It’s no coincidence that we are now considered to be the No. 1 information provider for this thriving industry.
Allan McGowan · [email protected]
UK CONCERTSTOOK A DROP IN 2010 AFTER THE BOOM
According to the now annual music industry
report from PRS For Music, box office takings
for pop and rock concerts in the UK fell for
the first time in more than a decade in 2010,
with fans spending £844m on face value
tickets in 2010, down from £957m in 2009,
a drop of 12%.
But before we all panic and become used
car salesmen or the like, it appears that there
were however mitigating factors, so we can
relax – but only a bit, it never does to become
complacent! Part of the drop was blamed on
the fact that big selling acts including The
Rolling Stones and Take That did not tour last
year – which obviously they can’t – not every
year. Also some major artists, such as Kings
of Leon and Rod Stewart, opted to play in
arenas instead of stadiums as a result of the
economic downturn, PRS said.
Will Page and Chris Carey at PRS who put
these reports together with of course the
cooperation of the industry do very good
work and have provided a barometer for
the consideration of the overall state of
the industry – particularly the live business
which, in the UK, has not previously been
great at producing, considering and acting
upon, the relevant figures.
Reassuringly the report does not see the UK
business taking hits as big as those suffered
by the US live business in the last couple of
years – and even there the signs of recovery
seem good at the moment. The report
projects that revenues were likely to bounce
back this year thanks to tours by Rihanna,
Westlife and Justin Bieber, along with Take
That’s record-breaking stadium shows. This
summer, the band played to 1.8 million
people in the UK, and that tour is likely to
make a noticeable difference to the figures
for 2011.
As the report said: »It would be very tempting
to look at these numbers and jump towards
a knee jerk reaction that the live music
bubble has burst. We should not.« Festivals
»performed strongly« in 2010, while arenas
and mid-sized venues »held up«, it said. But
there was a »striking decline« in the number
of stadium gigs compared with the previous
year. »In 2010, a number of stadium- and
arena-filling bands were not on tour and
many of those that did tour opted to play
smaller venues in order to limit their risk,«
the report said. »This risk-averse behaviour
is rational in the current economic climate. It
feels as though the economic downturn has
caught up with the live music industry, and
promoters and bands alike have responded
accordingly.«
The PRS for Music report, taking into
account secondary ticketing income and
at-the-event spending estimated the worth
of the live music sector to be £1.48bn last
year. That is more than the recorded music
sector , with £1.24bn spent on CDs and digital
downloads in 2010 - an annual drop of 8%.
The report concludes, »Our view is that the
live music business is not entering a cycle
of boom and bust, but rather showing
signs of maturity and cooling to a more
sustainable growth path, after a period of
unprecedented growth.«
Take That
05
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Allan McGowan · [email protected]
Rich Beeston (vocals/piano) gives us some background on the band:
All Mankind is from a small town called Eastwood in Sydney,
Australia . The band consists of 2 brothers, Rich Beeston & Dave
Beeston, together with childhood friends Gavin Perkins & Dorny.
The band was formed in 2008. Since forming, the band have
gained a loyal fan base in Australia, but have had an inter national
outlook from the very beginning. The band put together 2 EPs
between 2009-2010. Songs from the EPs found their way onto
radio stations across the globe (Indie 103.1FM Los Angeles, WRXP
New York, MotorFM Germany, KNRK-FM Portland, OR, ABC Radio
Australia) while also gaining fans such as Mike Walsh, Music
Director Xfm (UK).
A number of tracks from the EPs also featured in prime time
Australian & US television shows. »Open Your Eyes« was featured
as the theme song in the TV promo for Emmy Award-winning ABC
TV show »Jamie Oliver’s Food Revolution.« In addition, their tune
»Hollywood Tonight« has been heard regularly on MTV’s »The
Hills.« The band’s song »Can you hear me« was also featured in
number 1 Australian show ‘Winners and Losers’.
The band have recently completed their debut album, ‘Simple
Desire’ . The first single from the new album, ‘Break the Spell’, has
recently been released independently in the US, UK & Australia .
Initially intended as a soft, promotion-only release, the single has
had unexpected success capturing early spins on tastemaker radio
and tv stations on three continents including Australia (ABC,
Channel V, MTV, RAGE, Nova, 2Dayfm, FOX, B105, SAFM, 929
Perth, MMM), USA (KROQ L.A., KNRK Portland OR, KTCL Denver,
WCNR Charlottesville VA, plus CHMA, KCRW, KFMA, KPNT, KTCV,
WEQX, WNRN, WXPN), Europe (Absolute Radio, MotorFM, Flux FM,
Delta Radio Germany), as well as stations in South America and Asia.
With attention from video games giant EA Sports, ‘Break The Spell’
will soon be featured in a top-selling game being released later in
the year.
Comments on our trip
Including: our experiences touring, and observations as a young
band looking to expand our international fan base (covering coping
with a long journey, differences from Australia, overall impressions
of start up level touring, has it been worthwhile, successes to
report , looking forward to coming back).
Rich, Dave, and Gav all have UK passports, with parents who were
born in the UK. From early on, the band saw the UK as a key place
to get to. All Mankind’s sound is strongly influenced by a large
amount of UK bands.
In early 2011, songs from our upcoming album ‘simple desire’
were shown to a booking agent in the UK. The booking agent,
Ben Hylands from IAA Touring, immediately contacted our
management , and suggested setting up the band’s first UK tour,
with a view to more tours in the future if things went well.
»We were really keen to just get on the road, play to as many
people as possible, and see if the UK crowds liked our music«
- Rich Beeston
We were aware that the first tour was always going to be smaller
shows than we are used to, but that is exactly how we had to start
VIP-News always attempts to present a
wide spread of views, experience and
opinions in it’s reporting on the live
music industry , but perhaps the least
heard voice in this and other business
to business publications is that of the
most central figure – the artist . In
particular we feel that it is interesting
to hear from artists that are in the
early stages of building their
careers , what are their views of their
interaction with our industry as they
take to the stage in their own countries
and abroad as they strive to become
noticed in this incredibly competitive
and over subscribed music business.
We will attempt to address this from
time to time by offering a forum to
artists from various territories to tell
their stories in their own words.
I became aware of the Australian act,
All Mankind when they appeared at
The Great Escape in Brighton, and then
I ran into them again in Inverness at
go North. I was interested in what was
the motivation and what was involved
in travelling around the world to
play small-scale venues in the UK. I
asked the band for some information
of how their career stands at the
moment and for their take on the
experiences of this trip. I’m grateful
for the informative and interesting
responses which follow:
THE ARTISTSPEAKS!
All Mankind – Halfway Around the World and Back
Some comments from around the world include:Australian radio personality (and former Xfm UK
DJ) Byron Cooke from Australia’s Austereo (MMM,
2DAYFM): »Meet Sydney four-piece All Mankind.
I’ve just been played five tracks from the band’s
forthcoming debut album. These guys are legit.
They mean what they sing. The songs are huge and
the album is deep with radio singles. Expect them
everywhere, sooner than you think!«
US-based blogger Arjanwrites says, »With ‘Break
the Spell,’ this Sydney quartet delivers a grand,
emotive sound that easily matches the atmospheric
qualities of Keane and the propulsive, arena-sized
anthems of Coldplay.«
England’s Record of the Day states, »All Mankind
has the sound of being Australia’s next biggest
export «
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finally the acoustic guitar went silent. All of this happened very
quickly, and could have caused a complete meltdown. Dave
(drums) and Dorny (lead guitar) were the only ones unaffected ,
so they just kept riffing, and while they kept the audience
entertained on their own, the sound guy switched out all these
cables, and managed to get the sound back to full strength for us
to finish the song, and complete the set.
As part of Liverpool Sound City, we were invited to play an acoustic
set in the Presidential Suite of the Hilton Hotel, alongside a
couple of other Australian acts, Cloud Control & Seekae. When
I was a kid learning piano, the teacher would often set aside a
Saturday morning, where all the kids and their parents came to
the teacher’s house. The kids had to play a song or 2 each, in
front of all these people. This gig was a little like that, but with
amazing views over Albert Dock and the water. We had a lot of
fun playing that show in the end, as the crowd really got into
it. Fortunately my fears of screwing up the song mid-way and
having to start again (like I did sometimes at piano recitals), were
unfounded.
Dave Beeston (drums/backing vocals):
The Go North festival, I found, I was totally refreshing. Firstly
being set in Inverness, a place I’d never heard of before we had
been booked to play there, was just beautiful. It was small but had
a lot of character. With the river running right through and all the
great buildings and restaurant and pubs everywhere, the place was
buzzing. I found myself thinking this could be a great area to raise
a family and trust me, that’s the first time I’ve ever thought that! I
can honestly say that of all the places that we played on our tour
and all of the towns we have seen, Inverness is personally in my top
5. I loved it. Go North was a great festival too. There was a real vibe
about it that I enjoyed. The fact that it is a smaller conference in
a small but beautiful town led to a really relaxed atmosphere that
seemed to really put good focus on the music.
Our show at Hootenanny’s was one of the highlights of the
tour. The venue was fantastic, the audience was really great and
enthusiastic and it all came together to make a really great show.
I can’t say enough about how much I loved our time at Go North
and Inverness. Observations of a young band looking to expand
their international fan base and of course their experience.
Our tour of the UK in May - April was hard work but definitely a
worthwhile trip. As a band from Australia with no real presence
in the UK it was daunting to be going out to venues all over
Some of the outcomes from the tour:
- Having about 50 pieces of press, featuring the
band in lots of regional press across the UK.
- Getting the attention of a major UK promoter,
who is now working with us on a return tour.
- Making the playlist on England’s largest national
commercial radio station, Absolute Radio, as well
as on Q radio.
- Loads of new fans, who are keen to help promote
the band on return tours.
- Getting heard by a major European promoter
when we played in Brighton. They are now
booking us for a European tour in a few months
time.
- Some great reviews of the single and reviews of
shows in the UK press & online.
We are really pleased with how well the UK tour
has gone. We were expecting much less than
what we got, and were really blown away by how
positive the audiences were at each show. We
plan to return to the UK to tour a number of times
in the next 12 months, and really build up our fan
base, and our live touring experience across the
UK & Europe.
Dave Beeston (drums/backing vocals)
C
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Y
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Anzeige_VIPMag_ProSky_X4.pdf 1 09.12.10 10:43
in Australia as well. We were really keen to just get on the road,
play to as many people as possible, and see if the UK crowds liked
our music. We saw the tour as a sort of test - if the reaction from
crowds was positive, then we knew the UK would be a good place
for us to focus our attention longer term.
We were booked into 3 festivals - the Great Escape in Brighton ,
Liverpool Sound City, and Go North in Inverness, Scotland . Alongside
these were smaller club shows in London, Birmingham , Manchester,
and lots of other places. We also had a small side trip to Berlin, to see
how the German crowds responded to us.
One of the important things in the band is that we knew each other
as friends before we became a band. So, when we began the long
slog of travelling around, and staying in no-star hotels, it was pretty
smooth sailing amongst the four of us.
The reaction from crowds in the UK has been a little different
to Australia. I think that because the UK has such a long, rich,
musical heritage, people are really well educated in pop and
rock music history, and they have a really great appreciation of
songwriting and live shows. They can be more critical if you get
it wrong, but if you get it right, they are really nice at letting you
know you’ve done a good job. They’ll also come up and talk about
things like songwriting, and discuss vintage guitars and amps, and
at times it felt like everyone in the UK owned a guitar, because
people just knew so much about music and instruments.
During an overnight stay in London, our tour van was broken
into. Fortunately for us, we had taken all of our guitars and other
expensive gear inside for the night, so nothing of much value
was taken. The main problem with the break-in was that our GPS
was stolen. The GPS was our best friend and closest companion
on our tour, because otherwise we were getting completely lost
amongst all the numbered roads and one-way streets. So we went
straight out that morning and bought a brand new GPS, otherwise
the rest of the tour would have been a nightmare.
Some of the venues we played were actually pretty impressive.
The sound guys, and the level of gear at a 250 capacity venue
like the 02 Academy 3 in Birmingham, or another smaller room
like the Classic Grand in Glasgow really blew us away. There
were a number of these kinds of venues, where the quality of
production was far superior than we would have expected for such
small venues. It really was a great pleasure to play in these venues.
One of the shows was at a tiny little room, which probably
couldn’t hold more than 50 people. The sound desk & cabling
was not exactly perfect. At first we lost sound from the keyboard,
then the bass amp went down. Next the vocals disappeared, and
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England and Scotland and playing to people who have never heard
of you and in some instances didn’t at all care that you were there
- though we find this a good challenge to rise to. At every show we
had the mindset to play the best we could, to put as much energy
into our set as we could and win people over. It felt like we were
constantly able to do this everywhere we went and I am proud of
the fact we were on our game for every show.
As we went from venue to venue I was struck between the
difference of Australian venues and UK venues. So many of the
venues in the UK are put together with the intention of being
a live music venue. This might sound obvious but most of the
places we have played in Australia are pubs first and then someone
has thought »let’s put a PA in the corner and get bands to play
so we can sell more beer«. A lot of the time this does not lead
to vibrant, exciting places to play. Most of the places in the UK
felt like the thought was »lets set up a great venue for bands
to play and also put a bar in the corner«. A total reversal of
thinking and it was really exciting to see places like this; I wish
we had more in Australia.
Another thing that has struck me about the UK and how they like
their bands is that people want bands to be cool. It almost seems
like they look at bands and their image and decide if it’s cool and
then they listen to the music. In my mind it’s always just been »do
I like this song/album or not?« So it’s been a bit of an adjustment
personally. What I do think people respond to is authenticity. We
were able to bring this to everything we did in the UK and people
responded well and I think in the long term being authentic is what
will keep people engaged. On the whole the tour was great! We
all had a good time and all though some shows were downers, the
majority were fantastic and we can’t wait to head back to the UK
in August and do it all again. Hopefully this time we will have more
friends coming to more of the shows!
Dorny (guitar):
It was exciting to play at so many venues where so many great
bands started playing and visit town’s were great musicians grew
up. We come from a small town in Sydney know for producing the
Granny Smith apple but not for great music!
Visiting Birmingham thinking about a young Ozzy Osborne
roaming the streets seeing the things he would have seen and
what influenced him. Playing the Bull’n’Gate and Dublin Castle
and thinking about all the great bands that have played there and
would have loaded in the same way we did and taken a wizz in
the same toilets with the same smell! Bands would have driven the
same routes we drove from London to Brighton right up to Inver-
ness and stayed in the same hostel we stayed in and eaten at the
same roadside diners.
»It was exciting to play at so many venues where so many
great bands started playing and visit town’s were great musicians
grew up«- Dorny
Thinking about how they dealt with all these situations from the
high’s of having people come up saying we were one of the best
things they had seen in a long time and sound guy’s saying mixing
us was a pleasure to the lows of the van being broken into and
our crap being stolen, night after night of sharing beds and having
to make sandwiches for dinner cause we can’t afford to eat at
Weatherspoons .
I can honestly say I wouldn’t change a thing from this tour and feel
so lucky to get the chance to go to country with such a rich musical
history and future to play songs that we created together in an old
church in the suburbs of Sydney.
VIP-News will keep you informed on All Mankind’s future progress
in the UK and Europe, and we wish the band all the best!
As a follow up to this it could be good to find a UK or European
act going to Australia and we’ll get their comments. Let us know
if you’re working with a band with such a tour in the planning.wz
Dave Beeston Rich Beeston Dorny Gavin Perkins
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Halfyear Results from CTS Eventim
Lower revenue and profit results for the second biggest
concert company. For many years CTS Eventim had been
an investors’ darling, consciously pleasing shareholders
with rising revenue and earnings results. Still CTS Eventim
compared to Live Nation is highly profitable but has to deal
with the departure of FKP Scorpio as revenue contributor
and ongoing expenses due to the arbitration case with
Live Nation at the International Chamber of Commerce
in London.
The overall company revenue went down from 270.9 to
263.8 million Euro, the Earnings before Interests, Taxes,
Depreciation and Amortisation (EBITDA) decreased 5.4 %
from 43.6 to 41.2 million Euro. The EBIT even went down
minus 20.4 % from 37.9 in H1-2010 to this year’s result
of 30.1 million Euro.
Within the ticketing segment, CTS Eventim managed to
maintain its growth policy very well, even without a global
ticketing service deal with Live Nation. The revenue went
up from 81.5 to 104.1 million Euro, which is a plus of 27.7
%. Instead the results of the Live Entertainment division
of CTS Eventim went down 15.5 % from 192.8 to 162.9
million Euro.
Regarding the arbitration case CTS Eventim reported that
the first hearing took place at the end of July. The trial is
apparently supposed to last until the end of the year.
Due to 1:2 share splitting the share price of CTS Eventim
meanwhile is at 22.50 Euro.
BUSINESS NEWSMUSIC IN SHARES
Manfred Tari [email protected]
Halfyear Results from Live Nation
»2011 has shown solid performance for two quarters,
with improved results across most of our key financial
metrics, providing the basis for profit growth over the
full year,« is how Michael Rapino, CEO of Live Nation
described the company situation within the latest business
report of the world’s biggest concert company.
The revenue climbed this year in the second quarter (Q2)
up to $1.558 billion compared to last year’s revenue result
in the same period of $1.266 billion. The revenues gained
by company division Concerts alone jumped by about 25
% and reached the level of $1.082.2 billion as opposed to
$859.5 million.
The half-year turnover result for the ongoing business year
(H1) grew 21% from $1.99 billion up to $2.4 billion. In
almost every business segment Live Nation had been able
to report two digit figures growth rates.
However, almost unusually for Live Nation the company
also reported a net profit. Okay, only for Q2 where the
company earned $13.25 million instead of a net loss of
$32.78 million in Q2-2010, but still a profit. Taking a look
at H1 results still reveals a net loss of $35.2 million which is
still much better than a minus of $155 million in H1-2010.
Since the beginning of August the share price of Live
Nation went down from $11.4 to $9.38 when this article
went to press.
Sziget Festival makes Budapest a hot spot for festival tourism.
According to a press report issued by the festival the 19th edition
of the event attracted 77.000 people coming from 61 countries.
Particularly festival goers from the Netherlands turned the festival
site into a »Dutch island on the River Danube« the day before the
open air event started. The reason for this was the arrival of two of
three chartered trains.
While the Dutch community apparently came by train visitors from
France, Italy and Belgium arrived one day later by bus. In the press
release the Sziget organization declared that the festival: »has a
strong reason to claim the title ‘global village’… or even ‘global
town’, judging by the massive size of the venue and the number
of inhabitants.
Another new topic on the agenda of this festival was the
introduction of a so-called Festivalcard. The promoter decided that
during the event and on the site festival visitors could only pay
for goods with this card. As in some European football stadiums
where cashless payment systems are already in place, this enables
organisers to control the entire money flow and management
within their events.
The card is issued by Sziget Cultural Management Ltd. and is
also being used at other festivals by the company such as Budai
Gourmet , VOLT and the Heineken Balaton Sound. Unfortunately
cardholders won’t be able to transfer the balance on the card onto
the other festivals. For the cash free management Sziget Cultural
Management Ltd. had to install a complete network of card readers
and payment terminals known as Top Up Points. The maximum
amount of money that could be uploaded on this card is 240,000
Hungarian Forints, which is about 890 Euro. For every money
upload Sziget charges 100 Forints. To charge the card, festival
visitors can pay with cash or with bank or credit cards.
In addition to the festival card punters can also buy a Festival Watch,
another catchy cash gadget promoted as being »rain and shower
resistant and also beer and mud proof«. This specially designed
watch offers the same payment functionalities as the card and can
be purchased for 30 Euro. However, refunding will only be given at
the Top Up Points during the duration of the festival. For protection
in the case of loss or robbery of the card, festival goers have to
register the card or watch by a text message to a mobile phone
number or online at the website www.metapay.hu/fesztivalkartya.
Cashless payment systems on large-scale events such as Sziget
or Football stadiums became possible due to the invention of
socalled near field communication chips (NFC). These chips enable
the transfer of data in short range distance. Besides payment
functionalities these chips also can manage paperless ticketing,
access controlling or online streaming or downloads. Several smart
phone producers such as Blackberry, Nokia or Samsung meanwhile
offer cell phones that include such a chip. In the future these chips
could also be used as car keys.
But in terms of consumer satisfaction these kind of money
management devices have limits. In many cases it is just a bargain
for the card issuer who makes a profit on non- reimbursed funds.
Otherwise it is more likely that cardholders rather lose track of their
money spending within the system of cash free payments. Another
advantage for the card issuer is that with the installation of such a
system he controls the entire cash flow management of an event.
It also means that merchants on the site completely lose over-all
control of payment for their goods. Not to forget the difficulties if
a merchant charges you wrongly and your overpayment vanishes
into a virtual account…
Sizegt 2011 took place on August 8 to August 15. For further
information please go to the very proper website of this festival at
www.sziget.hu
A recent report from the BBC stated that a total of 31 music festivals
have been cancelled or postponed in the UK this year, and a surplus
of events has resulted in slower tickets sales than in previousyears.
In recent interviews both Michael Eavis and John Giddings have
ventured concerns about the current and future prospects for
festivals in the UK. Glastonbury founder Eavis is quoted in an
article in The Times regarding the future of probably the best
known open air event, saying, »It’s on the way out«. Eavis as-
sume that the festival has »probably got another three or four
years«. He considers that there are economic reasons but also
that, «there is a feeling that people have seen it all before.«
Like Eavis Giddings, organiser of the Isle of Wight Festival also
assumes that the UK-Festival faces difficulties: »There are just too
many events now in the UK and it’s impossible for them all to
survive . The market is saturated« he said in an interview with the
BBC earlier on in August. Melvin Benn of Festival Republic said in
the same interview session »There’s no question that tickets have
sold slower than they previously did. Money is definitely tighter.«
But Benn is more upbeat about the future, saying: »There will be a
million people that go to festivals this year. The idea that somehow
festivals are no longer popular is quite frankly ludicrous.«
Nevertheless Giddings adds: »It gets more difficult every year
because the UK music industry isn’t making new stars so you end
up with the same acts going round and round,« and concludes very
much like Eavis: »Muse are a fantastic act but you can’t have them
at a festival every summer.«
Previously in an interview with BBC6, Ben Turner said on behalf of
the UK Association of Independent Festivals (AIF) that: »Prices for
talent increases and increases and increases every single year.« He
furthermore added: »I think it’s something that agents, managers
and artists need to be more aware of, that these festivals that they
supposedly love, they need to show some support for that.«
Apparently slower and lower ticket sales for festivals are not only
a UK phenomenon. In Germany Rock Am Ring wasn’t sold out
this year after a record-breaking edition of the biggest German
festival in 2010. Also in our interview with Gunnar Lagerman of
the revamped Hultsfred Festival in Sweden he explained about the
difficulties in the Swedish festival market.
Still there are many festivals doing extremely well this year, (see
article on T in the Park in DF Concerts story in this issue.) but fac-
tors like higher fees for artists, rising production costs and the
overall economical climate are increasing challenges that festival
promoters have to deal with these days.
Manfred Tari · [email protected]
SZIGET REPORTS 77.000 CASHLESS VISITORS
FESTIVAL REPORT
FESTIVAL REPORTMAJOR UK FESTIVAL PROMOTORS
EXPRESS CONCERNS FOR THE FUTURE
Manfred Tari · [email protected]
#12VIP-MAGAZINE 08/2011www.vip-booking.com
#13VIP-MAGAZINE 08/2011www.vip-booking.com
Melvin Benn
#15VIP-MAGAZINE 08/2011www.vip-booking.com
#14VIP-MAGAZINE 08/2011www.vip-booking.com
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The Italia Wave Festival is a peripatetic (not often I get a chance
to use that word!) event, which moves to different sites in Italy,
taking the spirit of the original Arezzo Wave Love Festival with it. I
attended this fifth edition of the Italia Wave Festival 14-17 July in
Lecce, Puglia, being aware that for director Mauro Valenti and his
team, and for the many aware of the history of this cultural event,
that this was actually the 25th anniversary of the event that began
life in Tuscany in 1987, entitled ‘Provincia insonne’. Arezzo Wave
earned the name of »Italian Woodstock« over the years, attracting
thousands of young people each year.
Italian fans has not embraced the music festival as we know it now
in the rest of Europe, but Arezzo Wave, which became Italia Wave
on moving to Florence in 2007, then moving on to Livorno for the
next three editions, has a fine tradition. Remaining in the main a
free event presenting not only music but other cultural events it
has presented an impressive array of international acts including,
Mano Negra, the Leningrad Cowboys, David Byrne, Nick Cave,
Sonic Youth, Moby, Tricky, Ben Harper. Most of the major Italian
rock artists have passed through the Arezzo Wave.
Mauro Valenti and the team have also acted as ambassadors for
Italian music at many international events, acting as an Italian Ex-
port Office and being involved with the ETEP programme from an
early stage.
This first edition in Lecce however had its problems and did not
work out as planned, although the bill was fine, with artists such
as Lou Reed, Jimmy Cliff and Paulo Nutini performing fine sets with
a great production, the numbers were down, with only the free
night of Italian acts pulling a large crowd to the dauntingly large
Lecce Stadium. The smaller Psycho Stage was well attended during
the day, but for strangers to the City and the area like myself, it
was difficult to locate and more difficult to travel easily between
the sites. Although the area has some beautiful surroundings and
should be an attraction to tourists, not a lot seemed to be being
done to attract tourists.
I asked Mauro Valenti to explain what he thought had caused the
setbacks:
»I agree about the quality of the shows. Doing the festival in the
deep South of Italy was a huge risk. The poverty of this territory and
the Italian financial crisis together with a lack of curiosity toward
new things are the symbol of our country. We are the only Italian
festival at an European level and if next year we repeat our experi-
ment in Puglia, our decision will depend very much on local and
Regional authorities and how much they want to bet on the local
marketing of this territory and on how much they will be able to
contribute to becoming like Exit or other festivals loved and wanted
by worldwide music globetrotters.
We had to use the only available locations of the city, even if far
away one from each other in order to realize all our proposals. We
had to face many inconveniences that one could call boycotts…
The Province of Lecce told us officially that they would guarantee to
finance us with a certain amount of Euros, but then they changed
their mind and by today they have given only 75% of what they
had promised.
Guarantees of connections and shuttles never realized, and the po-
lice did not remove the illegal vendors of food and drinks outside
the stadium. If their prices were lower than ours probably people
would buy from them rather than from our own concessions.
Despite all of the above, we were determined to do our 25th fes-
tival, maybe we were doped by the music! I think that the unique
performances in Italy of Paolo Nutini and Kaiser Chiefs and the
concerts of Jimmy Cliff and Lou Reed were flowers in the desert of
this country. In September we will think about what to do now that
we have had time to consider, for the moment we really thank you
and everyone for having been with us.
Despite this year’s disappointments there were high points and I
certainly don’t think we have seen the last of Italia Wave, or the
Arezzo Wave spirit!
The Italia Wave Festival is a peripatetic (not often I get a chance
to use that word!) event, which moves to different sites in Italy,
taking the spirit of the original Arezzo Wave Love Festival with it. I
attended this fifth edition of the Italia Wave Festival 14-17 July in
Lecce, Puglia, being aware that for director Mauro Valenti and his
team, and for the many aware of the history of this cultural event,
that this was actually the 25th anniversary of the event that began
life in Tuscany in 1987, entitled ‘Provincia insonne’. Arezzo Wave
earned the name of »Italian Woodstock« over the years, attracting
thousands of young people each year.
Italian fans has not embraced the music festival as we know it now
in the rest of Europe, but Arezzo Wave, which became Italia Wave
on moving to Florence in 2007, then moving on to Livorno for the
next three editions, has a fine tradition. Remaining in the main a
free event presenting not only music but other cultural events it
has presented an impressive array of international acts including,
Mano Negra, the Leningrad Cowboys, David Byrne, Nick Cave,
Sonic Youth, Moby, Tricky, Ben Harper. Most of the major Italian
rock artists have passed through the Arezzo Wave.
Mauro Valenti and the team have also acted as ambassadors for
Italian music at many international events, acting as an Italian
Export Office and being involved with the ETEP programme from
an early stage.
This first edition in Lecce however had its problems and did not
work out as planned, although the bill was fine, with artists such
as Lou Reed, Jimmy Cliff and Paulo Nutini performing fine sets with
a great production, the numbers were down, with only the free
night of Italian acts pulling a large crowd to the dauntingly large
Lecce Stadium. The smaller Psycho Stage was well attended during
the day, but for strangers to the City and the area like myself, it
was difficult to locate and more difficult to travel easily between
the sites. Although the area has some beautiful surroundings and
should be an attraction to tourists, not a lot seemed to be being
done to attract tourists.
Mauro Valenti explains what he thought had caused the setbacks
THE ITALIA WAVE FESTIVAL CONTENDS WITH ADVERSITY:
FESTIVAL REPORT
»I agree about the quality of the shows. Doing the festival in the
deep South of Italy was a huge risk. The poverty of this territory
and the Italian financial crisis together with a lack of curiosity
toward new things are the symbol of our country. We are the only
Italian festival at an European level and if next year we repeat our
experiment in Puglia, our decision will depend very much on local
and Regional authorities and how much they want to bet on the
local marketing of this territory and on how much they will be able
to contribute to becoming like Exit or other festivals loved and
wanted by worldwide music globetrotters…
We had to use the only available locations of the city, even if far
away one from each other in order to realize all our proposals. We
had to face many inconveniences that one could call boycotts…
The Province of Lecce told us officially that they would guarantee to
finance us with a certain amount of Euros, but then they changed
their mind and by today they have given only 75% of what they
had promised.
Guarantees of connections and shuttles never realized, and the
police did not remove the illegal vendors of food and drinks outside
the stadium. If their prices were lower than ours probably people
would buy from them rather than from our own concessions.
Despite all of the above, we were determined to do our 25th
festival , maybe we were doped by the music! I think that the
unique performances in Italy of Paolo Nutini and Kaiser Chiefs and
the concerts of Jimmy Cliff and Lou Reed were flowers in the desert
of this country. In September we will think about what to do now
that we have had time to consider, for the moment we really thank
you and everyone for having been with us.
Despite this year’s disappointments there were high points and I
certainly don’t think we have seen the last of Italia Wave, or the
Arezzo Wave spirit!
Allan McGowan · [email protected]
#17VIP-MAGAZINE 08/2011www.vip-booking.com
Allan McGowan · [email protected]
The FKP Scorpio promoted M’era Luna attracted 20.000 visitors
this year, down on the 24.000 one year ago. Primarily promoted
as festival for Dark Wave and Gothic this festival put on musically
different acts such as Atari Teenage Riot, Apocalyptica, Hurts or
Patrick Wolf.
With the Deichbrand Festival in Cuxhaven FKP Scorpio added
yet another festival to its portfolio. As Pollstar recently reported
FKP together with former promoters and founders of the festival
Scorpio formed a new company ESK Events & Promotion GmbH.
The Deichbrand festival has operated since 2005 and is located
in an industrial zone in Cuxhaven. FKP Scorpio launched the new
company in June 2010, the directors are Folkert Koopmans, Marc
Engelke and Daniel Schneider.
The festival hit financial trouble in 2008 into after the festival site
suffered from damage due to bad weather, a situation repeated in
2009. This year the event pulled 18.000 visitors and a production
volume of about 1.5 million Euros according to the local newspaper
Cuxhavener Nachrichten. Cuxhaven is located in Northern
Germany and the festival side is located directly by the sea. For
further information please check www.deichbrand.de
WACKEN 2011ONCE AGAIN75.000 TICKETS
SOLD
#16VIP-MAGAZINE 08/2011www.vip-booking.com
The Wacken festival celebrated its 22nd edition this year. According
to the promoter ICS Festival Service GmbH, the event was actually
visited by 85.870 people - although this official estimate also includes
artists , crew and guests.
For this year’s event the promoter undertook several new
environmentally friendly efforts. Entitled »Metal 4 Nature« the
program utilised 3 additional so called »Trash Mobiles« – pick up
trucks that drove on the camping sites to pick up waste. On the site
itself there are 5 more waste collecting points. Also the promoter
installed 4 km of power cables on the site and therefore was able to
reduce the previous amount of 93 diesel generators.
Glass bottles are banned completely from the entire festival site. The promoter
offer free PET-bottles to visitors asking them to decant beverages into these
bottles. This resulted in an 80 % reduction in cuts. Together with the chari
tion by dropping off cups to Viva Con Aqua teams on the site.
In a previous VIP-News edition we reported that together with the
University of Osnabrück and the support of RegionNord Büro and Deutsche
Bundesstiftung Umwelt (DBU) Wacken had developed a sustainable
program to reduce the soil compaction of the festival site.
The event itself took place from July 31 to August 2. The pre-ticket sales for
the next edition started on August 8, The first confirmed acts for 2012 are
Ministry , Hammerfall , U.D.O, Amon Amarth, GammaRay , Cradle of Filth and
the German band Scorpions.
For more information please check www.wacken.com
20.000 VISITORS FOR M’LUNA AND ONE MORE
FESTIVAL FOR FKP SCORPIO
FESTIVAL REPORT
#19VIP-MAGAZINE 08/2011www.vip-booking.com
#18VIP-MAGAZINE 08/2011www.vip-booking.com
Liam Gallager & Stefan Lehmkuhl
26 it sucks. Now we had
alcohol served all over the
infield, people where not as drunk as
it used to be, no accidents or fighting, whatever.
It was a very positive atmosphere.
So, what is on your agenda for 2012?
– It’s a little bit early to say, but we will do an even better
festival and a bigger audience.
For further information please check
www.hultsfredsfestivalen.se
Hultsfred Festival – The Comeback of a Festival?
Last year the
Swedish festival market saw the departure of not one,
but two of its major festivals, Hultsfred and the Arvika. But at
least the Hultsfred festival was rescued and re-appeared on
the market with the backing of the biggest European festi-
val promoter, FKP Scorpio. Former Hultsfred-manager Gunnar
Lagerman was persuaded to abandon his beloved tomato-
plants in order to return to his position as boss of Hultsfred
again. VIP-News spoke with him.
Mission impossible completed?
– Well, we’ve started six feet under but we succeeded very well with
this festival. In a very short time we’ve had to build a line-up, the
media was not so positive as usual but I would say we’ve made it
anyhow.
How many visitors did you finally have?
– About 11.000 people in the end, which is almost three times more
than the festival had on account last year.
How did the pre-sales do this year?
– They were slow; most of them were sold during the last two
weeks. Many people still were afraid of buying tickets because they
thought it might be cancelled again.
Did last year’s ticket buyer get their money back?
– No… and that is definitely six feet under. We started unfortunately
too late with a campaign whereby last year’s ticket-buyers could buy
three tickets for the price of two. Something that we could maybe
have done earlier, if we had more time… I mean, we only decided in
Mid-January to go on with Hultsfred and that was already very late.
How were the media reactions?
– Well, most of the media didn’t believe that this was going to
work.
So, there was a large amount of scepticism everywhere?
– Yes, but we managed to have a really good program, so last month
some of the media finally changed their minds but it was too late.
The program was pretty much pop and dance and not so much
rock-acts…is that your new booking-policy at Hultsfred?
– Well, to an extent, we would
have taken on more rock-acts but we couldn’t get them
when we started with the booking.
Who took care of the booking?
– I have done all of the bookings.
So FKP Scorpio mainly looked after the logistical stuff?
– Yes. We had several things that we looked after here in the Swedish
office but when it comes to the practical things FKP Scorpio took
care of it. Among others we worked together with Klangpiraten, a
man power supplier that works closely together with FKP Scorpio.
Did you sell tickets abroad this year or was it mainly a Swedish
audience ?
– Mainly Swedish, we’ve had a connection to the Hurricane festival,
which then brought a bus of Germans up to Hultsfred.
And how was the media reception afterwards?
– Well, I mean, some said we’ve done good, some said the area
wasn’t crowded, of course the area could have taken 20.000 people
and we had heavy rain the first day, like 16 hours….we could have
had a better start, yes.
How has the collaboration with the local city council worked out?
– It worked very well. I mean, we planned to work out the festival-
area in six weeks, in the end we built the area in six days. And it
worked out very well, in terms of practicalities it was probably the
best festival ever. I have the feeling that 95% of those who bought
tickets for this year will come back next year. I believe in the past
four, five years there might have 60% of newcomers, which of
course is a problem for a festival.
Do you know much about the audience, were they younger than
before, were they a different audience?
– No, we definitely had an older audience than before.
Do you know the average age?
– Not yet for sure, but there were probably more like 24 year olds
rather than 19 as it used to be. We managed to get the license for
serving beer all over the infield. In Sweden as you may know It used
to be the situation, that you have to fence areas where you can drink
your beer. That’s the case at most festivals in Sweden, and that is
something that maybe is okay when you’re 20 – 22, but if you are
Manfred Tari · [email protected]
The 14th edition of the Melt! Festival reported a sold out edi-
tion with 22.000 visitors. This festival is very special indeed.
Located in the very far east of Germany the Melt! has become
one of the most credible open-air pop events in Germany and
has managed to attract one third of its audience from abroad.
Melt! Is a festival where even veggie and organic food is no
longer an exception. No, at Melt! these kind of visitor friendly
amenities are part of the standard repertoire and among oth-
ers just another asset to keep its visitors happy.
VIP-News spoke with Stefan Lehmkuhl about the efforts
made to ensure the sustainability of this in many ways, very
different festival.
What is different at Melt! 2011 compared to previous years?
– Not too much, we’ve sold out much earlier, about one and a half
months before, at the end of May.The rest didn’t change too much,
we have the same stage-setup, many more LED-Lights, not only to
save more energy, also to make it look more stylish and I think the
stage-designs are pretty well done this year.
You are setting some remarkable standards with Melt! when it
comes to environmentally friendly concepts for open air events. How
do you proceed with these kinds of activities?
– Last year we already focused on the mobility concept for Melt!. We
maintained this concept featuring train & bus transportation offers
and discounted ticket prices on Deutsche Bahn. We offer bicycles
to hire here, which is very eco-friendly to get an idea of the region.
This year the biggest news in regards of green music, and that is a
really great thing, is that in cooperation with Ferropolis and the solar-
industry company Q-Cells, we installed solar-panels on the roofs that
we have here. So most of the energy we use here this year is coming
from our own solar panels, it is sun energy and I think that is a big
thing for a festival. That’s not only for Melt!, that is something that
is for all shows that will take place here in the future on our site.
You are also involved in Metropolis, the company that actually takes
care of the bookings for the Ferropolis site. What are your plans for
the site?
– We are working on improving the amount of events taking place
here, this year we had not too many concerts, mainly industry-
events, some sports-events and theatre productions. For next year
we’re working on improving the number of concerts and we will
establish some of our own formats for next year. Some different
festival formats for totally different audiences, especially for regional
audience. So I think next year we will have about 6 weekend events
from Melt to Splash, some rock festivals, events dedicated to German
Schlager, folk music and maybe even comedy.
Any follow-ups in terms of the consequences that love-parade
caused for the German live-industry?
–Yes, officially there is a much bigger awareness of security-concerns
here with Melt! I mean Ferropolis is a pretty safe venue anyway as
it is built for events and therefore fulfils high security standards. So
here at Melt we didn’t have big knock-on effects from love-parade,
but our own awareness to even look into things and keep a closer
eye on the movements of crowds on each floor. The program of the
festival is the most important thing that helps to steer the movement
of the crowd on the site.
For further information please check www.meltfestival.de
Melt! A Class Of Its Own
Gunnar Lagerman
FESTIVAL REPORT
#21VIP-MAGAZINE 08/2011www.vip-booking.com
#20VIP-MAGAZINE 08/2011www.vip-booking.com
Founder of the Bureau Export De La Musique
Française and head of the European Music
Office, died at the age of 69 on 23 July in
Paris.
With the death of Jean Francois Michel not
only the French but the whole European
music community lost one of its most ardent
advocates.
Even if the definition of lobbyists is
sometimes considered a critical term, Jean
Michel represented the exception in this
type of profession. Almost incomparable,
Michel seemed to work like no one else for
the good of the music industry, first in France
and later at the European level. He was
definitely not one to make a big fuss about
himself; on the contrary, Michel was more
of a subtle diplomat who worked in the
background. Right up until recently, Michel
was still taking care of business, working
on the various projects he often started or
was involved in, too many to mention in this
obituary. Yes, Michel was a functionary, but
a functionary that impressed by his integrity,
his perseverance, reliability and foremost by
his personality.
Although Michel never presented himself
as an industry power player in the public
spotlight , he was always behind the scenes
moving miraculously big things. He was the
opposite of power-hungry power brokers
being too unselfish, which distinguished
him. As the foster father of the Bureau
Export De La Musique Francaise he had
already developed structures in the early
nineties which much of the French music
industry still benefits from today. He was one
of the very few persons with an institutional
background that for the first time provided
access to public funding for popular music
artists and the business behind them.
Funding which was previously reserved for
public cultural institutions . He succeeded
in creating actually quite transparent and
equally fair conditions for all eligibility
criteria .
Jean Francois was also a staunch supporter
of the European ideal. Even on the politically
sophisticated parquet in Brussels, where he
operated besides professional bodies such as
CIESAC, IFPI or IMPALA, he opened up doors
for the support of pop music . He opened up
minds in a highly bureaucratic environment
for music issues. He belonged to those who
managed for the first time to raise awareness
among the rank and file in politics and the
administration for the profession and the
art of popular music . Together with Otto
Donner, the former chairman of the Finnish
copyright collection society Teosto he set up
the European Music Office. He succeeded
in even convincing the EU Commission
to promote the European Border Breaker
Award, the one and only popcultural project
on the official agenda of the EU. He was
also an important pioneer and supporter
of the European Talent Exchange Program
of the Dutch Buma Cultuur foundation
and Noorderslag Foundation in the political
world of Brussels.
The death of Jean Francois is unfortunately a
very sad occasion on which to value his work
and his legacy. Much of what he has done
for the music industry in France, in Europe
and even in Africa is not self-evident. He was
a musical cosmopolitan, very open-minded
and remarkably free of vanity, someone who
has actually selflessly created things and
championed causes that can be considered
as truly sustainable and meaningful, even in
the fast-paced music industry.
A close associate, who met him the day
before his death, reports that Jean-Francois
Michel was still concerned with upcoming
projects and plans. He was still full of hope
and confidence that these projects will grow
positively. With this in mind, it is probably
quite likely that he certainly wished that
his colleagues and former and current
employees will be able to continue his work,
Music industry mourns the loss of Jean-Francois Michel
maintaining the meaning and spirit of the
admirable attitude of Jean-Francois Michel.
The funeral took place on 30 July in
Normandy . In September there will also be
a commemorative ceremony at the Eglise
Saint-Eustache Church in Paris.
Statements and Comments on the loss of Jean-Francois Michel:
Maria Agnes Beau,BAM! Global Music Services
So much to say about Jean-Francois,
especially after working for 12 years with
him launching the French Music and
European offices. A true visionary; one of
his greatest talents was to gather the most
diverse people around a table to set up very
improbable but necessary co operations: he
created the first joint venture between the
French government and the music industry
which worked as a model and led to the
European Music Office and Diversites. I can
remember that what led me to work with
him was when he gathered French and US
cops and rappers in Harlem in the very early
90s... and it worked!
Emmanuel Legrand, Journalist
Jean-Francois was a friend and someone I
knew I could rely on. I’ve known him since I
started in journalism in the mid-80s. He was
then running the FCM. We started working
on projects together when, alongside a few
partners, I had the crazy idea to celebrate
the bicentennial of the French Revolution
on July 14, 1989 in New York with French
artists. Jean-Francois backed the project
immediately and helped us go through the
hurdles of the financing. The event was a
success and helped him »sell« the idea to the
music industry and the French government
to set up the FMO.
We have since seen each other as regularly
as our schedules allowed. I always enjoyed
our encounters. We always had projects to
discuss, but once the order of the day was
over, we would engage in long conversations
about »tout et rien« as the French say,
»everything and nothing«, over tasty food
and a good bottle of wine.*
*Taken from legrandnetwork.blogspot.com.
Peter Smidt, Buma Cultuur
He was a pioneer in the development of the
cooperations in favour of European music .
He was one of the first ones lobbying the
EU-commission and explained to them
the relevance of European repertoire .
Jean-Francois Michel was for me a very
inspirational person and it was very
impressive to see that he worked with a
long term vision regarding collaborations
that are of benefit for music.
Christof Huber,General Secretary Yourope
Jean-Francois was a charismatic fighter
for the European idea to let music cross
borders . He was a great leader for the
European Music Office. We have taken the
news of his death with great sadness. He
will be missed!
HigHligHts in der Kulturbrauerei wäHrend der berlin Music weeK
vom 07. bis 10.09. 11begrüßt die
Kulturbrauerei die
berlin Music weeK
die Kulturbrauerei als Multiplikator, Hotspot und trendsetter!
12 nationen versammeln sich in 6 locations und präsentieren
innerhalb von 5 tagen ein sagenhaftes Programm!
tickethotline: 0 18 05 – 57 00 00 www.eventim.deweitere infos unter: www.kesselhaus-berlin.de
Mittwoch, 07.09.11nOrdic nigHtfeat. lauri Ylönen (the rasmus)
support: Felix Zenger und tove styrke
neMis – new Music in sweden
feat. this is Head, dolly daggers, You say France and i whistle,
state Of grace und tantrum to blindin cooperation with
Kick-start und export Music sweden
samstag, 10.09.11MOVe it! die 90er PartY
suMMer sPecialmit den host dJ´s söhnlein b & dJ Michel (energY berlin) sowie dJ !Holg (Move it)
Freitag, 09.09.11Metal HaMMer
award sHOwlive on stage: die apokalyptischen reiter,
caliban, Primal Fear, audrey Hornemit awardverleihung und
anschließender aftershowparty mit dJ iron anz (Metal Hammer redaktion)
donnerstag, 08.09.11FrencH
cOnnectiOn feat. loane, axel and the Farmers,
general elektriks und Fortunemit freundlicher unterstützung
des institut Français und des bureauexport
tHe great escaPe
presents: dry the river, choir Of Young believers, lucy swann und i am Oak
JEAN-FRANCÔIS MICHEL
#23VIP-MAGAZINE 08/2011www.vip-booking.com
#22VIP-MAGAZINE 08/2011www.vip-booking.com
VIP-Booking.com has recently expanded its services by launching
MyMusicMailer.com - a new online promotion tool directed
towards artists within the live music industry. Thus VIP-Booking.
com has moved beyond being a business-to-business resource
reserved for entertainment industry professionals only, as
performing artists are now given the opportunity to access parts
of the VIP network database and thereby distribute and promote
their own music.
According to Ronni Didriksen, founder and director of VIP-
Booking.com , MyMusicMailer.com has risen as a natural develop-
ment of VIP-Booking.com’s already existing services. Previously,
chosen subscribers of VIP-Booking.com were given the opportunity
to present and distribute their artists’ material to other professionals
in the VIP network database through VIP-Showcase.com. This
proved to be a success and contributed to the rising demand for
such a service – not only amongst professionals but also amongst
performing artists.
»The concept of MyMusicMailer.com is quite
simplew, Ronni says, »When you register on
MyMusicMailer.com you get access to part
of the VIP-Booking.com database which
is Europe’s most comprehensive internet
database containing information on more
than 10.000 venues and agencies all over the
world. When registered, you create an EPK
(Electronic Press Kit), where you can upload
your picture, audio/video and biography and
email it directly to the venues, festivals or
management companies of your choice«, he
explains.
It´s free to sign up, but MyMusicMailer.com
charges a symbolic fee for each EPK sent.
According to Ronni this is partly to ensure
that artists are selective about whom they
contact and thus that the professionals don’t
experience an overload of EPK’s that are not
relevant to them. »Choosing to send an EPK
NEW SERVICE FOR MUSICIANS
to the entire network without being selective
would be costly and the fee would no longer
be symbolic«, he says.
Ronni has – as he is busy running the
thriving VIP-Booking.com - chosen to leave
the marketing of MyMusicMailer.com to his
two new employees – Marie Weiergang and
Laura Skriver, who have taken on the job
with great enthusiasm.
»We are spreading the word about MyMusic-
Mailer.com«, Marie says, »and I truly believe
in the concept, because MyMusicMailer.
com really is the perfect tool for musicians
to distribute their music to the live music
industry and to get through to the right
people – and besides that, there are currently
no existing services like it in Europe, so there
is an actual need for this kind of service
amongst musicians«, she says.
Laura agrees »This tool makes it so much
easier for musicians to be independent and
promote themselves, because it provides
them with the needed information and
connections that otherwise takes lots and
lots of hard work and not the least time to
acquire. Besides that it’s very easy to search
and navigate the database – you just select
and connect – it’s that easy! In that way
musicians who subscribe to MyMusicMailer.
com are given a head start«, she says.
According to Marie, what separates My-
MusicMailer.com from other sites, such as
MySpace and others alike, is the fact that
MyMusicMailer.com lets you distribute your
EPK directly to venues and agencies. The
receiver gets all information in one
presentation and the EPK has a very
professional appearance – it’s a
classy yet simple presentation
of the artist and their music ,
she says.
Ronni points to the fact
that the role of the record
labels is diminishing
in terms of breaking
new artists . The record
labels no longer have the
same recourses and funds
available for promoting
new talent as they used to.
Therefore there is a need for a
service like My MusicMailer.com
for artists, who want to make an
effort themselves and get their music out.
»As US music blogger Bob Lefsetz said at a
conference recently: »It’s no longer about
content, it’s about distribution « Ronni adds.
»I’m confident that both the professionals
within the live music industry as well as the
artists will welcome our initiative and make
it a success«, he says.
LAUNCHES!
MyMusicMailer.com is a tool that enables artists to DISTRIBUTE their music to more than 6.000 venues and agencies worldwide at the click of the mouse!
MyMusicMailer.com
The team behind MyMusicMailer.com – ready to shout it out!
#24VIP-MAGAZINE 08/2011www.vip-booking.com
DF CONCERTS
DF was founded in Dundee as Dance Factory
Concerts, and is one of Scotland’s three
major promoters. For a time DF was majority-
owned by Irish promoter Denis Desmond’s
Dublin company, Gaiety Investments , but
in April 2008 Desmond sold his company’s
67% holding to US entertainment giant Live
Nation, which acquired the stake through
LN-Gaiety Holdings, its UK joint venture
with Desmond. Geoff Ellis and promoter
Simon Moran retained the remaining 33%
shareholding in DF and the Company
still retains the image and ethics of an
independent promoter, operating from club
level right through to major festivals. The
Company owns and manages legendary ,
and imaginatively named Glasgow club,
King Tut’s Wah Wah Hut, promotes major
international acts, such as Take That, AC/
DC, The Eagles, Coldplay and Jay-Z around
the country and is responsible for one of
Europe’s leading open air events, T in the
Park, plus The Edge Festival (originally T on
the Fringe) which combines forces with the
Edinburgh Comedy Festival to bring Music
and Comedy together at the Edinburgh
Festival Fringe.
The current CEO of DF Concerts is Geoff Ellis ,
originally from Manchester, he joined DF in
1992 to run King Tut’s Wah Wah Club which
had opened in Glasgow’s St Vincent Street
two years earlier, his office is still above the
club. Since then King Tut’s has become one
of the most popular music venues in the
country. Geoff Ellis told VIP-News about
the history and the present success of the
Venue.
»Since opening in 1990 our ethos has been
to use King Tut’s Wah Wah Hut as a platform
for unsigned and up and coming bands as
well as showcasing some of the hottest
talent from around the globe. Artists such
as Radiohead, Coldplay, Snow Patrol, The
Killers, Florence and the Machine and Oasis,
who were famously signed at the venue in
1993, all played in King Tut’s in the early part
of their careers.«
Currently the Club is absolutely central to the
‘Your Sound’ initiative to promote unsigned
acts in Scotland and King Tut’s Records . Both
of these ventures form an essential part of
DF’s overall plan to develop the music scene
in Scotland.
Ellis considers it a testament to the hard
work and professionalism of the King Tut’s
team that many bands continue to return to
play in the venue, including some that are
now headlining their own stadium shows
and festivals. For the venue’s 20th Birthday
LIVE ON ALL LEVELSIN SCOTLAND
Every now and then VIP-News will take a look at the activities of some of Europe’s
best known promotion- companies-. Many of these enterprises - are involved with
a much wider range of events than you might think, and are extremely busy people!
In this issue- we take a look at the activities - of Scotland’s DF Concerts.
Allan McGowan · [email protected] McGowan [email protected]
Live music web service Songkick has launched a new iPhone and
iPad app which will allow users to track their favourite bands,
browse live listings by location, and share concert plans, all via their
portable devices.
At launch, the app scans the user’s music library to find artists to
track (the scanning screen is worth downloading the software for
on its own), but probably most interesting is the ‘what gigs are
happening near me tonight’ function which, although an obvious
service to offer, is pretty cool nevertheless, benefiting, of course,
from all the listings on the main Songkick platform.
Confirming the app launch, Songkick founder Ian Hogarth told
reporters : »We’re on a mission to make sure music fans never miss
another concert by one of their favourite artists. The Songkick
Concerts app makes it easy for music lovers to know when their
favourite bands are coming to town, quickly check out ticket
options , and share concert information with friends on Facebook
and Twitter«.
SONGKICK LAUNCHESiPHONE APP
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Sign up at - www.vip-booking.com
Get VIP-News directlyin your inbox
®
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Manfred Tari · [email protected]
the Manic Street Preachers and Paulo
Nutini returned to perform and Biffy Clyro
presented the venue with a birthday cake.
King Tut’s prides itself on the level of service
it provides both bands and customers with
food (always important in Scotland!) being
a very important part of the business. The
venue’s chefs are dedicated to maintaining
very high standards when feeding touring
artists or providing seasonal menus for
the customers. This has led to another
extension of the business with the recent
development of King Tut’s Catering, which
provides catering services to a wide range of
clients from weddings and corporate events
to crew and artist catering at other venues
including the O2 Academy and S.E.C.C.
Ellis continues, »King Tut’s Wah Wah Hut
staff have always had a great camaraderie
with many becoming close friends over the
years. I think this has a big impact on the
welcoming atmosphere the venue has. DF
Concert’s own King Tuts Wah Wah Hut and
our staff continually work with those in King
Tut’s as part of a wider team. We all know
each other and some of our current staff
in the DF office previously worked in King
Tut’s. In fact, I met my wife when she was
managing the venue!«
The Club was recently nominated as the UK’s
Best Small Venue by music magazine NME.
Ellis told VIP what he thought of this. »Being
at the forefront of live music in Scotland
whilst remaining an exceptional venue for
our customers is something we take great
pride in. I am very proud of everyone at King
Tut’s Wah Wah Hut and pleased with this
recognition, which follows on from similar
awards from Radio 1 and Radio Clyde.«
FESTIVALSThe Edge Festival takes place throughout the month of August,
and is a series of over 40 gigs, taking place across various venues in
Edinburgh alongside the Edinburgh Comedy Festival, part of one of
the most famous Arts Festivals in the world, in a move which brings
together two of the strongest forms of entertainment,
Highlights of this year’s edition include The National, Jimmy Eat
World, Example, Wiz Khalifa, Gomez, The Vaccines, Panic! At
The Disco, Morcheeba, Tim Booth, Guillemots , Newton Faulkner,
Heather Peace, Charlie Simpson, Admiral Fallow, Willy Mason,
Jackie Leven and king of comedy show Jackass , Steve-O.
Speaking on the morning of the programme launch, promoter
Dave Corbet said: “We’re delighted to be joining forces with the
Edinburgh Comedy Festival this year and are pleased to be in
such good company. Music and Comedy have always been great
bedfellows and from the feedback we’ve had previously, people
attending the festival like to build an evening of entertainment so
what better than to catch a comedy show AND attend a gig?
DF has also involved itself with shows outside the music industry,
such as Glasgow On Ice and Radiance Glasgow’s inaugural festival
of light. And it steps outside of Scotland every now and then,
having worked on outdoor events in Prague, Berlin, Val d’Isere and
Moscow , and staged music and extreme sports festivals in Valencia
and Versailles.
The promoting business is not always an easy business and
profit margins are not what they were in the heydays of the 70’s
and DF has like many had its problems at times, like going into
the red in 2008 when trying to establish The Hydro Connect
Festival - the antidote to T in the Park, a boutique gathering
on the grounds of the Duke of Argyll’s Inveraray Castle ,
but the Company bounced back and continues to build. DF
has certainly built a reputation, and it continues to involve itself in
industry issues with Geoff Ellis serving as an executive member of
the Concert Promoter’s Association in the UK.
www.gigsinscotland.com
This is our Festival: We pledge allegiance to T in the
Park and believe in being good citizens.
Everybody needs good neighbours ; we pledge to
look after each other.
It’s all about the T Community Festival staff are here
to help. Have fun but stay safe.
Bin it; Rubbish belongs in the bin. We’ll make sure it
gets there.
A Tent is for life not just for T; We’ll take it home
and re-use it.
DF Concert’s own King Tuts Wah Wah Hut Festival Director, Geof Ellis
2009 and 69 in 2008. Most of the arrests were for misuse of drugs,
theft and breach of the peace.
In his role as Festival Director, Geoff Ellis said, “We were delighted
with the behaviour of the fans throughout T in The Park. Even a
deluge of rain on Sunday failed to dampen the great-natured and
carnival spirit of the crowd. Event Commander Chief Superintendent
Craig Suttie and his team led the way with the community style
policing of his officers and it worked superbly well. This, along with
the excellent work of the stewards, made this one of the best – and
safest – T in the Parks ever.”
The Festival’s Citizen T initiative introduced last year also played its
part. An innovative programme that encourages people to look out
for their neighbours and the environment around the festival site,
Festival goers are encouraged to sign up to the Citizen T manifesto,
which is based around the following five-points:
Geoff Ellis commented: “Citizen T generates a feeling of being part
of one big family – it harnesses the already legendary campsite
atmosphere and is an initiative which has been embraced by our
audience. We will certainly be looking to expand on this again next
year.”
Following this outstanding festival weekend, T in the Park’s early
bird tickets for the 2012 edition sold out once again, proving that
demand for the festival remains as high as ever. T in the Park 2012
will take place from 6 – 8th July as usual at Balado, by Kinross for
the festival’s 19th year.
#26VIP-MAGAZINE 08/2011www.vip-booking.com
#27VIP-MAGAZINE 08/2011www.vip-booking.com
T in the Park is definitely DF’s flagship event, being responsible for
more than half of the company’s turnover. It was acknowledged in
the Scottish Parliament some years ago that the event contributed
some £13 million to the country’s economy. The risk that Ellis and
his partners took when they staged the first event in 1994 when
the event drew an audience of 18,000 a day has paid off, and
now attracts more like 80,000. Main sponsor , Tennents, the brewer,
signed a five-year extension to its sponsorship in 2009.
This year’s edition was considered one of the best yet, perhaps the
best ever, in terms of atmosphere. The 18-year-old festival closed
on Sunday 11th July, after full-on performances from some of the
greatest acts in the world including arguably, six headliners: Arctic
Monkeys, Coldplay, Foo Fighters, The Strokes, Beyonce & Pulp, as
well as outstanding sets from the likes of Swedish House Mafia,
Primal Scream, Plan B, The Script, Slash, My Chemical Romance,
Tom Jones and Tinie Tempah.
T in the Park also offered music from Scottish Opera, covering
a variety of genres . The festival also supported home grown
grassroots talent through its T-Break initiative and the best of up
and coming UK talent through BBC Introducing.
The Festival remained trouble free; crime figures were down with
53 arrests being made between Thursday’s opening night and top
billing Foo Fighters closing the event at midnight on Sunday. This
figure compares with 64 arrests at the same time last year, 59 in
#29VIP-MAGAZINE 08/2011www.vip-booking.com
#28VIP-MAGAZINE 08/2011www.vip-booking.com 2010
Allan McGowan · [email protected]
With the help of the recent grant from
the European Commission ETEP (European
Talent Exchange Program*) has announced
a new development and expansion as ETEP
2.0. The new version will welcome the
involvement of eight new festivals from
Central Eastern Europe (CEE) joining ETEP
in 2012, and it is planned that ETEP 2.0 will
grow from 60 participating festivals in 2011
to 100 in 2015.
Together with in total 13 CEE-ETEP festivals
in the CEE region and around 26 media
partners, Eurosonic Noorderslag and co-
organisers Sziget and Exit Festival will
develop a scheme for the circulation of
CEE artists and repertoire in Central Eastern
Europe at the festivals and in the media,
called CEETEP (Central and Eastern European
Talent Exchange Program). By working
together the organisers and their media
partners will help more CEE artists perform
across borders within Central Eastern Europe
and via shows at Eurosonic Noorderslag in
the Netherlands throughout the whole of
Europe and beyond.
Fruzsina Szép from Sziget Festival says: »A
long wish and a plan that has developed
during former Region Conferences in
Budapest is finally taking shape by placing
CEE talents on the European musical map.«
Ivan Milivojev from Exit says: »CEETEP has
started, festivals confirmed, media joined, I
can feel the stir of a new project being born
out of great idea. Bands will start to circulate ,
I am delighted that all this happened at EXIT
festival, to see this potent and beautiful
cooperation at work. CEETEP has started.
You`ll certainly hear more about it.«
Peter Smidt from Eurosonic Noorderslag
says: »With radio stations and media from
all countries confirming their participation I
am confident CEETEP will have an impact for
talent in the CEE countries. This is another
step in better circulation of European
repertoire in Europe.«
At the first CEE-ETEP (CEETEP) meeting in
Budapest in May this year the following 13
festivals agreed to work together on this
project : Coke Live Festival – Poland, Podoha
– Slovakia, Rock For People – Czechia,
Taksirat – R. Macedonia, T-Mobile INmusic
Festival – Croatia, , B’estfest – Romania,
Exit – Serbia, Wilsonic – Slovakia, Sziget –
Hungary , Heineken Opener Festival – Poland,
Positivus Festival – Latvia, Spirit Of Burgas –
Bulgaria, and Woodstock Festival – Poland.
Certainly it appears that the Festival
promoters are taking the lead in trying
to develop both acts and industry in the
Eastern markets , many of them also promote
at small and mid level venues, and it seems
that their motives are not only to fill the
venues and attract bigger audiences to their
festivals , but to open up the possibilities for
local talent to play in neighbouring territories
and eventually into Western Europe.
Girts Majors of Latvia’s Positivus Festival told
VIP-News at The Great Escape in Brighton
this year, »Besides organising Positivus, the
biggest music and arts festival in the Baltic
states, with a capacity of 20,000+ festival
goers, as promoters we have been operating
for 8 years now focusing on Western artists
concerts in Riga. The 1990’s saw the dawn
of the music industry in Latvia . At the
moment/ currently recorded music business
has almost ceased to exist. Most of the
business is foreign artist live shows and
majority of them being arena- level . Some of
the Western artists have enjoyed the highest
ETEP 2.0LOOKS EAST WITH CEETEP
attendance of their shows exceptionally
in Riga. Clublevel shows are rare and
undeveloped due to infrastructure problems.
The good sign in recent years is that some of
the local artists have also managed to secure
sold out arena-level shows. Our plan for the
near future is to focus on 2,000 capacity
gigs. We’re about to open and run our own
venue like that in Riga.
Piotr Miazek of the Zloty Melon Concert
Agency, and a representative of Woodstock
Festival Poland told VIP-News , »I would like
to say that we are proud to be taking part in
the CEETEP program. It is our deep conviction
that music made in Poland and elsewhere in
this part of Europe is just as good as in the
western music, and that our talent pool is
just as big. It would be great to hear Polish
radio stations playing good quality music
from Romania, Hungary, Serbia , etc.
Thanks to the kind hospitality of the Exit
Festival,VIP-News attended the second
CEETEP meeting in Serbia at which the
following mediapartners of the 13 CEETEP
festivals joined the program: MR2-Petőfi Radio
– Hungary, KOMMPOT Communication
– Hungary, Neston – Hungary , First
Macedonian net portal – Macedonia , Radio
103 – Macedonia, Antyradio – Poland, Czech
Radio - Radio Wave – Czech Republic, Radio
101 – Latvia, Metropotam portal – Romania ,
Radio Belgrade 1 – Serbia, Darik Radio –
Bulgaria , 24 hours news paper – Bulgaria ,
Croation Radio – Croatia.
Laurent Marceau, Head of Eurosonic/Radio
Plus at the European Broadcasting Union ,
told VIP-News, »Hope for the best and
prepare for the worst… I don’t know who
said this but this cannot apply to the CEETEP
programme. Joining forces between festivals
and (public) broadcasters makes real sense,
it contributes to cross-border distribution of
music, and that’s simply great, full stop. This
scheme has a great future!«… A sentiment
that we at VIP greatly support – Watch this
space!
*ETEP 2.0
Eurosonic Noorderslag will work together
on more exposure for the selected ETEP
acts with the following partners: European
Commission / Sena Performers / Buma
Cultuur / EBU. And with Co- organisers:
Yourope / Initiative Musik Gmbh / European
Music Office (EMO) / Festival Exit / Festival
Sziget / Bureau Export de la Musique
Française (Burex) / Catalan Institute for
the Cultural Industries (ICIC) / Fondazione
Arezzo Wave Italia (FAWI) / Finnish
Music Information center (FIMIC) / Music
Information Centre Austria (MICA) / Music
Centre Flanders / Music Export Norway /
Wallonie Bruxelles Musiques (WBM).
With the exchange and support of new
European music in Europe being one of
the main goals of Eurosonic Noorderslag,
the special European Talent Exchange
Program (ETEP) was introduced in 2003.
Each year ETEP brings together the leading
European festivals, radio and other media at
Eurosonic Noorderslag and stimulates them
to ‘exchange ’ a selection of artists. Since the
start of the ETEP program in 2003 a total of
1330 shows by 489 European artists were
presented at the 60 ETEP festivals (2003 –
2011) .
The updated ETEP website will be online
in September 2011. www.etep.nl
A large and diverse group of artists will
be offered the opportunity to perform
at the major European ETEP festivals.actS on feStivalSBennicasim festival (es) Erlend Øye And The Full Effect, Black Box RecorderForestglade festival (at) KrezipFrequency festival (at) Xploding Plastic,Glastonbury festival (uk) Junior SeniorGroovequake (at) Partice Gurten festival (ch) Patrice, AnoukHaldern Open Air (de) Libertines, Kaizers Orchestra, Xploding Plastic, SpinvisHultsfred festival (se) Fingathing, Schneider TM, Junior SeniorHurricane festival (de) AnoukLes Mediterraneennes festival (fr) Ojos de BrujoLowlands festival (nl) Ska P, Ojos De Brujo, Schneider TM, Slovo, Kaizers Ochestra, Apparat Organ QuartetMarktrock Leuven (be) Krezip, Van Katoen, Mo’Jones, Zuco 103Open Air St. Gallen (ch) Patrice, Ska-PParkpop festival (nl) Ska-P, An PierléPinkpop festival (nl) Junior SeniorProvinssirock festival (fi) Junior SeniorPukkelpop (be) Heideroosjes, Spinvis, Slovo, Apparat Organ Quartet, Ska-PQuart festival (no) Junior Senior, Black Box RecorderRheinkultur festival (de) Kaizers OrchestraRock Werchter festival (be) Anouk, Zuco 103, KrezipRoskilde festival (dk) Fifty Foot Combo, Slovo, Ojos De Brujo, Kaizers Orchestra, Xploding PlasticSziget festival (hu) Ojos de Brujo, Slovo
total 34 feStival in 14 countrieS
ebu radioStation inputGarish ORF/FM4 (at)Neeka / Sukilove VRT/Studio Brussels (be)Perry Rose RTBF/Radio 21 (be)The Raveonettes / Junior Senior DR/P3 (dk) Slut MDR/Sputnik (de)The Flaming Sideburns YLE X (fi)Dionysos Radio France/Le Mouv’ (fr)Nyers MR (hu)Apparat Organ Quartet RUV/RAS2 (ice)Verdena RAI/Radio Due (it)Zapzoo 100.7 (lux)Chair Teleradio (mo)Laidback Luke NPB/3FM (nl) Xploding Plastix NRK/P3 (no) Blasted Mechanism RDP/Antena 3 (pl)Sonia SK/Radio Rock FM (sl)Sidonie / Ojos de Brujo SER/Los 40 Principales (es)Parker / Mando Diao SR/P3 (se) Magic Rays RSR/Couleur3 (ch)Miss Black America BBC/Radio 1 (uk)
ShowS per act An Pierlé (be) 1 Anouk (nl) 4 Apers, The (nl) 1 Apparat Organ Quartet (ice) 2 Black Box Recorder (uk) 2 Erelend Øye and the Full Effect (no) 1 Fifty Foot Combo (be) 1 Fingathing (uk) 1 Heideroosjes (nl) 1 Junior Senior (dk) 5 Kaizers Orchestra (no) 4 Krezip (nl) 3 Libertines, The (uk) 1 Mo’Jones (nl) 1 Ojos de Brujo (es) 4 Patrice (de) 3 Schneider TM (de) 2 Ska-P (e) 4 Slovo (uk) 4 Spinvis (nl) 2 VanKatoen (nl) 1 Xploding Plastix (no) 3 Zuco 103 (nl) 2
totalS 53
Results etep 2003
34 33photo huricane festival
THE EUROPEAN MUSIC CONFERENCE AND SHOWCASE FESTIVALwww.eurosonic-noorderslag.nl
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JANUARY
2010
2009 brought us a new record!214 shows with 75 european artists from 18 countries performing at 54 etep festivals in 20 countries; a grand total of 965 shows by 346 european artists since 2003....
Fruzsina Szép from Sziget Festival
#31VIP-MAGAZINE 08/2011www.vip-booking.com
VOLVOE Territory: Worldwide (except Germany) Period: 2011 Agency: Real Media Music Agent: M.Kostrec Phone: +44(0)7526171555 E-mail: [email protected] Homepage: www.myspace.com/volvoe
Aardvark Asteroid Territory: Europe Period: All Year Agency: Parrot Music Agent: Juan Albert Phone: +34 661 87 87 95 E-mail: [email protected]
Ultimate Earth Wind & Fire Territory: World Wide Period: General Agency: Sport Star Management Agent: Carsten Hilding Larsen Phone: +45 4071 7722 E-mail: [email protected] Homepage: www.sportstarmanagement.dk
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Skid Row
Firehouse
This year’s Autumn Falls Festival will take place from Monday
November 21st to Sunday November 27th. After the successful first
edition the Brussels indoor music festival will extend from three to
seven nights. The mission is still the same: presenting quality live
music to passionate music fans and concert goers.
European booking agency and Benelux promoter TOUT-
PARTOUT will once again cooperate with a selection of
renowned Brussels concert venues. Ancienne Belgique,
Botanique , Cirque Royal, Magasin 4 and VK* have already
confirmed their participation. More to be confirmed. Last
year’s edition accounted for three sold out nights, 6200 visitors and
took place over 10 different venues which welcomed a total of 41
international acts. Some of the names on the bill were Lambchop,
Beach House, Caribou, Junip, Factory Floor, Atari Teenage Riot,
Olafur Arnalds and Baths.
This year a limited amount of early bird tickets will be available
giving access to every possible Autumn Falls show for 50 euro.
Info : http://www.autumnfalls.be
AUTUMN FALLSFESTIVAL EXTENDS2 ND EDITION IN BRUSSELS
Allan McGowan [email protected]
#30VIP-MAGAZINE 08/2011www.vip-booking.com
KLIMMSTEIN Territory: WORLD Period: ALL-SEASON Agency: KBK Agent: HEINZ PREISCH Phone: +49 89 4110940 E-mail: [email protected] Homepage: www.klimmstein.at
Skid Row Territory: Eastern Europe / Europe Period: 01/04/2012-30/04/2012 Agency: ARM Entertainment Agent: Dana Strutz Phone: 1-651-483-8754 E-mail: [email protected] Homepage: www.skidrow.com
Giuseppe Moffa Territory: worldwide Period: generally available Agency: Maffucci Music Agent: Canio Rosario Maffucci Phone: +39.339.4858107 E-mail: [email protected] Homepage: www.italianworldmusic.com
Martin Turner’s Wishbone Ash Territory: Europe excl. UK, NL, BE, G, E Period: October/November 2011 Agency: Kultopolis GmbH Agent: Markus Sollner Phone: +49-6861-939980 E-mail: [email protected] Homepage: www.kultopolis.com
Spellbound Dazzle Territory: Europe Period: Sept 2011 to summer 2012 Agency: Dr. Music Management Agent: Miriam Guigueno Phone: +49 2331 1274625 E-mail: [email protected] Homepage: www.dr-music-promotion.de
Tamburellisti di Torrepaduli Territory: worldwide Period: generally available Agency: Maffucci Music Agent: Canio Rosario Maffucci Phone: +39.339.4858107 E-mail: [email protected] Homepage: www.italianworldmusic.com
GROOVE ARMADA Territory: Europe / Worldwide Period: Worldwide 2011Agency: WME - William Morris Endeavor EntertainmentAgent: Steve HoganEmail: [email protected]: www.groovearmada.com
Dub Syndicate (feat. Adrian Sherwood & Style Scott) Territory: Europe Period: November-December 2011 Agency: Paperclip Agency Agent: Rob Berends Phone: +31 24 323 9322 E-mail: [email protected] Homepage: www.paperclip-agency.com
Firehouse Territory: Europe Period: 01/02/2012-31/03/2012 Agency: ARM Entertainment Agent: Dana Strutz Phone: 1-651-483-8754 E-mail: [email protected] Homepage: www.firehousemusic.com
Ghetonia Territory: worldwide Period: generally available Agency: Maffucci Music Agent: Canio Rosario Maffucci Phone: +39.339.4858107 E-mail: [email protected] Homepage: www.italianworldmusic.com
LA Guns (feat. Phil Lewis & Steve Riley) Territory: UK - Newcastle, Leeds, Manchester, Liverpool Period: 28/09/2011-29/09/2011 Agency: ARM Entertainment Agent: Dana Strutz Phone: 1-651-483-8754 E-mail: [email protected] Homepage: www.laguns.net
Thieves Like Us Territory: GAS Period: generally available Agency: Solar Penguin Agency Agent: MichËl Dion Baltin Phone: +49 (0)69 25626960 E-mail: [email protected] Homepage: www.solarpenguin.de
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