issue 228 January 2019 UK £6.25 Europe €9.40 ROW $12.25
Pilgrims on the road
Pixies back to North America
Europe-wide campaign against touts Live Nation acquires Argentina’s DF Viagogo ‘breaches’ UK court order
Music has the power to unite people … and we are the lucky servants help make this happen. Herman Schueremans at Live Nation Belgium
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Essential reading for live music industry professionals across more than 80 countries worldwide
Perspective
14 Contents 4-12 World News Industry news from around the globe
14-19 Market Focus: Belgium Review of a touring market for international artistes
20 City Focus: Johannesburg, South Africa 22-31 Feature: The Secret Agent ITB agent Mike Dewdney likes to keep a low profile and stay under the radar, and it seems to be working for him.
20
32-33 Industry Events
34-35 Production News Developments in live show equipment and infrastructure 36-41 Tour Plans
Artistes, tour periods, agents
42 Festival News International festival activity
42 An Essential Additative The trials and tribulations of tour manager Terry Tucker and his crew
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It’s been many years since the internet enabled the refinement of ticket touting from dodgy characters moving up and down the queue outside a sell-out show, to operating through sophisticated websites to ply their trade on an industrial scale. Those who set-out to surreptitiously extract extra cash from music fans are driven by simple greed. They knew extra money is out there, so why not take it – after all, no-one has to buy an overpriced ticket, and some people are even grateful. However, the vast majority of people in this business appreciate the importance of the audience, which after all, provides the money to fund literally everything else – from venue costs, promotion, ticketing and artiste fees to agent and manager commission, production companies, bussing, trucking and more. It could be argued that, apart from the artistes, audiences are the most important people in live entertainment. So it is reassuring to see many of Europe’s most influential concert and festival promoters combine to fight ticket exploitation across the continent. The recent success of UK campaigners, along with legal actions taken in France, Germany and Italy, the closure of two major resale sites and direct action from artistes such as Ed Sheeran, have undoubtedly encouraged more people to join the fight. The money that will sustain the future of the industry will also come from those audiences and so they need to be treated with the utmost respect.
ISSUE 228: January 2019 AUDIENCE is published monthly from the UK by: Audience Media Ltd, 26 Dorset Street, London W1U 8AP, United Kingdom T: +44 (0)20 7486 7007 F: +44 (0)20 7486 2002 info@audience.uk.com www.audience.uk.com The opinion expressed by contributors to this publication are not always a reflection of the opinions or the policy of the publishers. Information on services or products contained within editorial sections does not imply recommendation by AUDIENCE. No responsibility can be accepted for errors or omissions. No part of this publication can be reproduced in any form without the written authority of Audience Media Ltd.
audience • issue 228 • January 2019
4 • World News
Newsbite CANADA Representative organisation Music Canada Live, which launched five years ago, has been renamed the Canadian Live Music Association (CLMA). Its more than 200 members include concert promoters, festivals organisers, booking agents, venues and live entertainment service providers. “Our new name and brand clearly reflect who we are and will strengthen our ability to advocate on behalf of our sector,” says CLMA chair Jesse Kumagai.” USA The country’s two leading publically-quoted companies finished 2018 on a high. Live Nation Entertainment shares on the New York Stock Exchange closed the year at $49.25, up $6.68 or 15.27 per cent from its close of $42.57 in December 2017. Its 52-week high was $58.26 while its low was $35.94. Madison Square Garden Company shares closed the year at $267.70, up 27.00 per cent from its close of $210.85 in 2017. Its 52-week high was $330.00 while its low was $205.22. GERMANY Pan-Europe ticketing giant CTS Eventim will form part of a consortium which has successfully secured a contract to collect German vehicle tolls. Better known for its live entertainment ticketing, the company will work in partnership with Co KGaA and Kapsch TrafficCom, having been successful in the European Union-wide tender process. The operating company will be joint venture in which each company will hold a 50 per cent stake. SINGAPORE Live Nation Entertainment (LNE) acquired Singapore-based promoter ONE Production, which specialises in working with artistes from countries such as Korea, Japan, and China-Taiwan. Working alongside Live Nation Singapore, the combined operation has first quarter shows with acts including Maroon 5, BTS and BlackPink.
Anti-touting campaigners join forces across Europe Europe
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ome of the continent’s leading concert and festival promoters unite in the formation of an organisation that seeks to fight ticket-touting and establish ethical mechanisms for eventgoers to resell tickets they cannot use. FEAT, the Face-value European Alliance for Ticketing, will lobby both national governments and the Euro- Scumeck Sabottka pean Union (EU) to introduce legislation to regulate the resale sector and educate music fans into only buying tickets from safe, authorised outlets. A not-for--profit organisation, FEAT will focus predominantly on the live music business and says it will “build alliances with the full scope of the live entertainment industry including performing arts and sport”. “The growth and effectiveness of grassroots movements against industrial ticket touting in the UK, France, Germany, Spain, Italy, Switzerland in recent years has been invigorat- Neo Sala ing,” says FEAT director Sam Shemtob, who is based in the UK and also heads Name PR. “The time has come for these movements to connect, collaborate and speak as one at a European level, where we know MEPs [members of the European Parliament] are listening.” FEAT founding members include Ireland’s Peter Aiken, MD of Aiken Promo-
tions; Germany’s Scumeck Sabottka, CEO of MCT-Agentur and Folkert Koopmans, CEO of pan-Europe festival organiser and promoter FKP Scorpio; and Spain’s Neo Sala, CEO of Doctor Music “Governments need to understand speculative ticket resale is an abusive and unethical practice that harms people, and they need to approve laws that make it virtually impossible,” says Sala. “We need legal tools that facilitate the immediate preventive close-down of websites that put tickets on sale without having been authorised by the organiser of the event.” Sabottka adds, “We need to get this right otherwise fans and artists alike will Sam Shemtob be robbed by thieves. If we all pull this together and get EU legislation to follow our lead, we can ultimately make it work.” Among organisations backing FEAT is the UK’s FanFair Alliance, whose campaign manager Adam Webb says, “Our campaign has shown that legislation and regulation can have a disruptive impact on exploitative Adam Webb secondary ticketing, and help foster a more
consumer-friendly approach to ticket resale.” In a joint statement, European Music Managers Alliance chair Per Kviman, based in Sweden, and Finlandbased vice-chair Virpi Imonnen, say, “In the last decade we’ve seen the live industry flourish, with revenues from concerts and festivals becoming the primary source of income for artistes and musicians. “But this has come at a price, and, spurred on by the rise of the internet, the secondary ticketing market has thrived, draining money away from fans, artistes and the industry. It is great that FEAT has formed to enable us to work together on a European level to share experiences and knowledge and help better the market.” FEAT is already involved in EU parliamentary discussions on secondary ticketing and the formation of a legal group to coordinate activities on ticketing regulation and with search engines. Other founding promoter members of FEAT include Greenhouse Talent’s Pascal Van De Velde (in Belgium and Netherlands), ICO’s Kim Worsøe (Denmark), Corida’s Olivier Darbois (France) and in Switzerland, Incognito’s Christof Huber, Wildpony’s Philippe Cornu and Opus One’s Vincent Sager. Festivals backing the initiative include Germany’s Hurricane (75,000) and Southside (50,000), and Switzerland’s OpenAir St.Gallen (30,000) and Summerdays (12,000).
City Focus See page 20
Johannesburg, South Africa
audience • issue 228 • January 2019
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World News • 5
Epic move Finkelstein sells his DF for Bravado Entertainment to Live Nation UNITED STATES
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leading independent promoter, Diego Finkelstein, has sold his DF Entertainment to Live Nation Entertainment (LNE), with whom he has partnered on many shows. Founded in 2015, the Buenos Aires-based company sold more than 500,000 tickets to events in 2018. “The demand for concerts and live events across South America has never been higher, and the local insight of Diego and the DF Entertainment team will help us connect more artistes and fans throughout Argentina than ever before,” says LNE co-president and CEO Michael Rapino. Diego Finkelstein Among concerts DF
promoted in partnership with LNE last year were Phil Collins and The Pretenders at Campo de Polo (cap. 30,000), Foo Fighters and Queens of the Stone Age at Velez Stadium (49,000), and Harry Styles at DirecTV Arena (9,300) in Buenos Aires, which sold-out a year in advance. It also launched the country’s biggest festival, with the US brand Lollapalooza (100,000), which counted Pearl Jam, Red Hot Chili Peppers, The Killers and LCD Soundsystem among headliners last year. “We choose quality before quantity, and we’re always focused on delivering the best possible experience for both artistes and the audiences,” says FinkelMichael Rapino stein.
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lobal merchandising business Bravado has acquired Epic Rights, whose clients include Kiss, Billy Joel, Aerosmith, Def Leppard, AC/DC, Eric Clapton, Celine Dion, Barbra Streisand, Sting and Britney Spears, Epic Rights CEO and founder Dell Furano, a pioneer of artiste merchandising in the 1970s when he established Winterland Productions with promoter Bill Graham he also founded Sony Signatures, which was acquired by Live Nation Entertainment in 2008. He then became CEO of Live Nation Merchandise before setting-up Epic Rights in 2014. Clients of Universal Music Groupowned Bravado include Eminem, Lady GaGa, Guns N’Roses, Justin Bieber, The Rolling Stones, The Who and Sam Smith.
Pixies play their own albums WORLD
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espite extensive touring last year, Pixies are set for a busy 2019 too, with a tour across North America beginning in March, and taking in venues such as New York’s Madison Square Garden (cap. 20,789) in New York, FedEx Forum (18,119) in Memphis and Portland’s Moda Center (19,980). The band are also playing some smaller venues, including Milwaukee’s Eagles Ballroom (3,500), the Tennessee Theatre (1,600) in Knoxville and Nevada’s Grand Theater (3,000). A highlight of the band’s 2018
COVER ARTISTE
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dates was five-nights at the UK’s Roundhouse (3,100) in London. “Last October, we sold out five Roundhouse shows with the band performing two of their classic albums - Come On Pilgrim and Surfer Rosa – each night,” says X-ray Touring agent Jo Biddiscombe, based in the UK. “We did this without any advertising, which goes to show the strength of the band’s fanbase.” To protect fans from exploitation by ticket touts, the band insisted on an all-inclusive fee of £50 ($60), a limit of four per person and names printed on each ticket. Pixies’ North American agent is Marc Geiger at WME Entertainment, while management is split between Richard Jones from Key Music Management in the UK and Heidi Ellen Robinson-Fitzgerald from Californiabased HerFitz PR. audience • issue 228 • January 2019
6 • World News
Viagogo facing criminal action over court breach “Its practices are an affront to audiences, to artistes and to the law.” This was supported by APPG chair Sharon Hodgson MP West, who says, “I’m disappointed, but not surprised, to find that Viagogo has not made any drastic changes to its unscrupulous practices that rip-off fans.” As part of the court order, Viagogo is paying for an independent review into its refund records dating back to January 2016. The company will have to contact customers itself and rectify any refund claims that it incorrectly rejected or only paid in-part. The court order also required it to fund an independent party to monitor its website over the next five years, to ensure it complies with the order.
“We are extremely concerned about it and will take action as ontroversial secondary quickly as is possible – this is exticketing website Viagogo has tremely serious and we are building our case,” he told MPs been accused of breaching and others present. a court order, with legal acHe said that he tion to follow “as quickly as expected it to take possible”. around two weeks to Secured by the Competigather evidence of tion and Market Authority Viagogo’s breaches (CMA) last year, the order and that it would be a required Viagogo to overcriminal matter. haul its business model and Speaking to Audicomply with a range of conSharon Hodgson, MP ence, a CMA spokessumer protection legislation man says, “We are by 18 January. However, the company did not now undertaking our own checks of do this, as CMA executive director of Viagogo and, if we find breaches of enforcement Michael Grenfell told the court order, we will not hesitate an All-Party Parliamentary Group to take action. “This could include pursuing rapon Ticket Abuse (APPG) meeting, id action through the courts.” held at Parliament this month.
However, a defiant Viagogo spokesman says, “Further to the agreement we reached with the CMA, we have met the deadline and are now compliant. “All tickets on Viagogo are valid and it is perfectly legal to resell a ticket or give it to someone else if you want to.” While Viagogo, which moved its headquarters from London to Geneva in Switzerland several years ago, claims it is compliant, FanFair Alliance (FFA) campaign manager Adam Webb is incredulous. “Although a few minor changes have been implemented, some of which may add even more confusion for consumers, we would be astonished if the site is compliant with the terms of its court order,” says Webb.
Liberty Media eyes CAA investment
New festival organisation demands action on drugs
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edia and entertainment conglomerate Liberty Media Corporation is reportedly in talks to acquire a stake in Creative Artists Agency (CAA), according to the UK’s Financial Time (FT) newspaper. Liberty owns racing brand Formula 1, 71 per cent of multimedia platform SiriusXM and 34 per cent of Live Nation Entertainment, while CAA has more than 3,000 clients across film, sport and music, including Ed Sheeran, Beyoncé, Bruce Springsteen and Lady Gaga. Private equity firm TPG, which has a 60 per cent stake in CAA, is not involved in the discussions, according to the FT. The company took a 35
percent shareholding in CAA in 2010, when it invested about $166 million, raising its stake to a 53 per cent in 2014, an option to increase to 60 per cent. Other investors in CAA include China’s CMC Capital Partners, which took a minority stake in 2017 to open CAA China, followed by Singapore-based sovereign wealth fund Temasek, which also took a minority interest. Financial terms were not disclosed. Meanwhile, sports business blog JohnWallStreet.com, has suggested that Liberty is looking to offload Formula 1, which it acquired in 2016, after disappointing returns. Neither Liberty Media or CAA responded to an Audience request for comment.
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recently formed festival association in Australia has called on government to reform its drug policy after a spate of recent drugrelated deaths at event. The Australian Festival Association (AFA), formed in December, has written to policy-makers to demand action over drugs at festivals. “As festival promoters, the last thing we want is someone to be hurt under our care,” says an open letter from the AFA board, which includes promoters such as Adelle Robinson, Danny Rogers, Jessica
Ducrou Matthew Lazarus-Hall and Rod Little. “We need to be able to legally implement preventative strategies, not just reactive ones. We believe, and have evidence to support, that a combination of robust harm minimisation strategies will help Australians make safer choices and reduce the harmful impacts of drug use on festival-goers and the broader community. The letter asks territorial governments across the country to setup state-level music festival regulation roundtables to ensure a more joined-up approach to the issue.
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World News • 7
UK’s MyTicket now Irish competition watchdog fully owned by DEAG examines of MCD takeover GERMANY
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ive entertainment conglomerate Deutsche Entertainment AG (DEAG) has acquired the shareholding it did not own in ticketing platform MyTicket, making the business a fully-owned subsidiary. DEAG bought 24.9 per cent of shares from publishing company Axel Springer. “The acquisition of the shares in MyTicket will enable us to increase earnings per share over the next few years,” says DEAG CEO Prof. Peter Schwenkow. “In addition, we will continue to expand DEAG’s ticketing business and intend to expand further internationally.” MyTicket CEO Moritz Schwenkow adds, “This will enable us to market the events of the DEAG family and new, innovative formats in direct communication with our customers in an even more targeted manner.” Among DEAG majorityowned promoters are the UK’s Kilimanjaro Live, Switzerland’s Good News Productions and Peter Schwenkow Germany’s Wizard Promotions.
he country’s Competition and Consumer Protection Commission (CCPC) is looking into the takeover of Ireland’s dominant promoter MCD Productions by UK-based LN-Gaiety (LNG), a 50/50 joint venture between Live Nation Entertainment (LNE) and a company owned by MCD owner Denis Desmond and his wife Caro-
3Arena, Dublin
line Downey. Desmond is LNE UK’s non-executive chairman (see Audience 223). Stage 2 scrutiny by the CCPC will seek to determine whether the deal will lead to a substantial lessening of competition in the market. It is believed that the CCPC will consider the impact on the Dublin venue landscape, as MCD owns The Olympia (cap. 1,600), The Gaiety (2,000), The Ambassador (1,200) and The Academy (650), while LNE owns the city’s 3 Arena (cap. 14,000). “It is just part of the standard process for this sort of thing, they are just doing their job,” Desmond tells Audience. “We expect it to be resolved by late June, early July. We don’t expect any issues.” Neither the CPCC or LNE would comment as Audience went to print.
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audience • issue 228 • January 2019
8 • World News
Neil Warnock honoured for TEG expands its regional influence and restructures music and charity work with the Nordoff Robbins music therapy charity as its Board of Goveteran agent, founder of The ernors’ Fundraising Committee Agency Group (TAG) and now chairman for 43 years, helping it head of music worldwide at United raise more than £10 million ($13.1 Talent Agency (UTA), Neil Warnock m) from events. “I’m absolutely honoured and has been appointed a Member of the Order of the British Empire humbled to receive this prestigious (MBE) in the Queen’s New Year Hon- accolade,” he says. “The work that Nordoff Robbins does is so ours List. important and the changThe accolade, given es that they have made to for his services to muvulnerable and isolated sic and charity, will be peoples’ lives are immeaconfirmed at a ceremosurable. “ ny in the spring. Through the course Warnock worked his of his career, Warnock way up through the has represented artistes agency business, crethe Rolling ating TAG in 1981 and Neil Warnock including Stones, Pink Floyd, Johnny building it to span five international offices, with nearly Cash, Simon & Garfunkel, Dolly Par100 agents and a combined ros- ton, and Michael Jackson, as well as ter of more than 2,000 musicians, newer acts such as Nickelback, Kaspeakers and authors. He sold the tie Melua and Caro Emerald. He still represents Floyd’s David Gilmour business to UTA in 2015. He has been actively involved and Dolly Parton. UNITED KINGDOM
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romoting, ticketing and data group TEG has launched a new regional website listing tickets for events across the region, including Singapore, Australia and New Zealand. TEG CEO Geoff Jones said the launch is a “major development” for the region’s live entertainment sector. “Ticketek Singapore will bring a fresh approach to event ticketing in South-East Asia by allowing consumers and promoters to benefit from having an array of events on a single platform,” he says. “TEG will also bring extra live entertainment to Singapore and the
New show space at Budweiser Stage CANADA
entecLIVE.com
region promoted by our touring companies.” The site already lists tickets for regional shows by Eminem, Nickelback and Post Malone. TEG has also announced a management restructure that unites its ticketing, technology, marketing and product innovation teams into a single unit. “This restructure will ensure we become even more dynamic in an environment where the live economy is experiencing rapid changes in the way Geoff Jones customers want to search for, buy and redeem tickets,” says Jones. The company’s live music division TEG Dainty is headed by veteran promoter Paul Dainty.
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he operator of Toronto’s 16,000-capacity Budweiser Stage has created a new performance space at the outdoor venue. The Live Nation Entertainmentmanaged amphitheatre, located on the banks of Lake Ontario, now features the 300-capacity River Bar. “It is situated right when you walk in through the gates,” says the venue’s general manager Adrian Walker. “We put a stage in there and tend to feature up-and-coming acts earlier in the night, to encourage people to come down to
the main shows early. “We also do aftershow parties in there, which usually involve a band member from the concert doing a DJ set.” Among acts playing the venue are Imagine Dragons, Kendrick Lamar, Iron Maiden, The 1975 and Hootie & the Blowfish. “Last year we had a record show count of 53, our previous record was 43,” says Walker. It was known as the Molson Canadian Amphitheatre until it was rebranded in 2017, following a deal between Live Nation and Labatt Breweries of Canada.
517 Yeading Lane Northolt Middlesex UB5 6LN United Kingdom +44 (0) 20 8842 4004 sales@entecLIVE.com fb.com/Entec50
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audience • issue 228 • January 2019
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10 • World News
Secondary market hit by more court orders in Hamburg, has prevented promoter FKP Scorpio an injunction to prevent Viagogo selling tickets for its upcoming Ed Sheeran dates. The Switzerland-based resale platform is prevented from reselling tickets for four Sheeran concerts – in Hockenheim on 22 and 23 June and Hanover on 2 and 3 August. The ruling follows a similar ruling preventing Viagogo selling Rammstein tickets for their European stadium tour (see Audience issue 226), brought by MCT Agentur.
tickets at a mark-up of more than 25 per cent is “anti-competitive”. The ruling applies to cases romoters’ association BDKV has secured a legal where tickets have terms and conditions that prohibit resale. judgement to prevent Attorney Dr Johannes secondary ticketing Ulbricht, from the law firm website Ticketbande Michow und Ulbricht, who selling tickets, when it is led the proceedings for prohibited. BDKV, which it also managThe BDKV (Federal Ases, says, “The verdict finally sociation of the Concert eliminates a crucial grey and Event Industry, in English) received assur- Dr Johannes Ulbricht area in ticket sales. “It brings the organisers ances from the Hanover Regional Court on 21 January that a great step further in the fight it backs the position that resales of against the commercial secondary
market ticketing trade.” He says that it is important that touts are held responsible, rather than trying to blame the buyer. “It is also crucial that the secondary platform is fully liable in the event of a breach of the resale prohibition and cannot claim a fault on the seller’s part,” Ulbricht adds. “The Court examined the antitrust arguments and the submissions of the other side extremely carefully and has delivered a very satisfactory verdict.” Meanwhile a district court, also
Smidt honoured by EFA
LiveStyle adds Marine to AMF
European Talent Exchange Programme, which promotes European artistes across the continent. He also organises the EN conference programme. Other award winners include Germany’s Wacken Open Air (cap. 75,000); which won Best Major Festival, UK agent Mike Greek of CAA, who was named Agent of the Year; the Netherlands’ Mojo Concerts/Live Nation (Promoter of the Year) and Denmark’s 85,000-capacity Roskilde Festival; which won Line-up of the Year.
LiveStyle president Gary Richards. The company that emerged from iveStyle has appointed Justin the collapse of SFX Entertainment’s venture into the EDM secMarine as director of busitor, LiveStyle owns event ness development at its West brands such as TomorCoast concerts and festival rowland, whose original division, AMF Presents. Belgian event has spinMarine previously worked offs in Brazil and the US. at USC Events in Seattle as a Marine adds, “Watching talent buyer and marketing how LiveStyle has grown manager for three years, spehas been incredible and cialising in electronic music. Justin Marine when I was presented “With Justin’s experience and real-world knowledge of the with the opportunity to work for scene, he’s sure to be an exception- Gary and AMF, I didn’t have to think al addition to the AMF team,” says twice.”
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urosonic Noorderslag (EN) co-founder and industry veteran Peter Smidt received the Lifetime Achievement Award at this year’s European Festival Awards, at the annual conference and showcase Peter Smidt event. Smidt began working for EN organiser Buma Cultuur in 1995, helped launch the European Tour Support Plan and co-founded the
Ovesen goes it alone UNITED ARAB EMIRATES
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homas Ovesen has departed AEG Ogden Middle East to go in-
dependent, following a restructuring of company’s executive team. He was chief operating officer for the company’s new Dubai Arena
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(cap. 17,000), due to open later this year. “With the Dubai Arena getting ready to open with what will be an amazing calendar of events, now is as great a time as ever for me to return to being a dedicated independent
buyer and promoter,” says Ovesen. Dubai Arena CEO Guy Ngata, say, “Thomas has been a key part of the journey so far as we begin the countdown to opening the arena.” Ovesen was previously with promoter 117.
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World News • 11
Live Entertainment Awards prepares for the big event Michow, executive producer of GERMANY the ceremony and president of promoters and agents vent organisers, association BDKV, which managers, agents and organises the event. venue operators will be “It was a good season among those honoured at for the festival organisthe 14th PRG Live Entertainers with a dry summer ment Awards. and, at last, one without The nominations are in the severe weather that for those across Germany, caused a lot of cancellaSwitzerland and Austria, Jens Michow tions and interruptions in with awards presented at a gala event held at Frankfurt’s previous years.” Among the categories are FestiFesthalle on 1 April. “The events business was large- val of the Year, Venue Tour of the ly steady in 2018,” says Prof Jens Year and Promoter of the Year.
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nternational not-for-profit organisation A Greener Festival (AGF) has confirmed the 35 recipients of its Greener Festival Awards for 2018. The awards are handed out to events from across 14 countries that demonstrate “conscientiousness with regards to sustainability and a reduction in environmental impacts in 11 areas, including transport, waste, power, water, and
Newsbite EUROPE UK-BASED Festicket has told investors who have injected £8.2 million ($10.5m) into the company, that it expects to deliver annual growth of 50 to 100 per cent. The content and discovery platform, which allows customers to source festival experiences, tickets, travel and accommodation, works with UK events such as Download (105,000) and TRNSMT (cap. 50,000). “Sixty-two percent of our customers are first time festival-goers,” says CEO Zack Sabban. Active across Europe, the company also has a US base in San Francisco.
Greener Festival Award winners
local area impacts”. “The festivals and events that we have had the honour to assess and award are helping to shape this transition, which has positive repercussions not only within the events’ operations but also through the message and example they put out into the world,” says AGF cofounder Claire O’Neill. Winners of the Outstanding award included Portugal’s bi-annual Boom Festival (cap. 33,333), Cambridge Folk Festival (14,000) in the UK, DGTL Festival (5,000) in the Netherlands and Norway’s Oya Festival (15,000). Meanwhile, Denmark’s Roskilde (85,000) was highly commended for its efforts. The awards ceremony was held at Eurosonic Noorderslag in the Netherlands on 18 January.
DRY JAN’S OVER! LET THE GOOD TIMES (ROCK ‘N’) ROLL
JUST A FEW OF THE SPECTACULAR EVENTS THAT GRACED OUR STAGE IN 2018: Animal Collective • Anne-Marie • B.A.P. • Beach House • Belle & Sebastian • Bondax • Black Coffee • Clean Bandit Courtney Act • Fever Ray • Infected Mushroom • Jack Septiceye • Jaguar Skills • Jay Park • Jeffree Star • MØ • Mos Def Raekwon & Ghostface Killah • Ray Blk • Rick Ross • Robert Glasper • RuPaul’s Drag Race • Submotion Orchestra The Dresden Dolls • Thee Oh Sees • The The
www.audience.uk.com
audience • issue 228 • January 2019
12 • World News
Elvis may have left the building, but … UNITED STATES
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ive Nation Entertainment (LNE) and Elvis Presley Enterprises (EPE) are teaming-up to bring yearround concerts to the 2,000-capacity Graceland Soundstage and the 464-capacity theatre inside the Guest House at Graceland Hotel in Memphis, Tennessee. Since opening in 2017, the shows there have been Elvis connected, but LNE plans a wider programme
with 50-75 shows this year, featuring artistes such as Bret Michaels, Allman Betts Band, Boz Scaggs, George Thorogood and the Destroyers, and Buckcherry, Stryper. EPE also has plans to build a 6,200-capacity arena next to Graceland, Presley’s former home, despite facing opposition from the City of Memphis, which claims the new venue would violate a non-compete agreement the city has with the FedExForum (cap. 18,119).
New year, new names UNITED STATES
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ust weeks into the new year and two venues have announced name changes. The 12,000-capacity Verizon Wireless Amphitheatre in Atlanta suburb Alpharetta has been renamed Ameris Bank Amphitheatre, following the Live Nation Entertainmentoperated venue signing a multi-year
agreement with Ameris Bank. Artistes playing the venue, which opened in 2008, include Santana, Jimmy Buffett, Train/Goo Goo Dolls, Luke Combs and others. Over in Washington, the Safeco Field (cap. 47,943) stadium, which opened in 1990, has been rebranded T-Mobile Park. Concerts at the venue have featured Foo Fighters, Pearl Jam, Zac Brown Band & OneRepublic.
Team follows Goebbels to Miller Choat and Rose Burgess have all now joined him at Miller. “Their knowledge of the music eteran international inindustry and insurance surance broker market will enable us Martin Goebbels and to hit all the right notes his team have begun with our offering to operating from Miller parties in the enterInsurance Services in tainment sector,” says London, having all James Hands, head of moved from broking giMiller’s accident and ant Integro. health business diviAs reported in Audision. ence (issue 227), GoebGoebbels has over bels departed Integro Martin Goebbels 40 years’ experience as in the summer, but was a specialist insurance required to spend three broker working with artistes, promonths on gardening leave. His team of Holly Leary, Pamela moters, agents and events. UNITED KINGDOM
V
Newsbite POLAND Insurance broker STBU has agreed a strategic partnership with UK-based insurance firm TicketPlan, with a view to the latter expanding across Eastern Europe. TicketPlan provides insurance for primary ticket sellers, such as promoters and venues, against major refund situations. “Poland has a rapidly growing live event and ticketing market and an increasingly affluent customer base,” says TickePlan CEO Graham Berg. “Cultural, regulatory and legal differences require a good, strong and reliable strategic partner and STBU weas able to fulfil all of those requirements.”
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market focus
Belgium • Bruges
• Antwerp
• Ghent BRUSSELS • Oulu
Liege•
The country, located at the heart of the European Union, has recovered from the dark days of terrorist attacks in 2016 and its promoters and venue operators have a sense of optimism for the coming year, apart from facing all the usual challenges. Tom Ambrose reports f 2018 was unable to deliver the success so many had predicted for the national football team, many in the live music business are at least looking forward to a strong 2019. As the base country for both the European Union and North Atlantic Treaty Organisation (NATO), Belgium and its capital Brussels have a special prominence in the world – compensation, perhaps, for being a colony of the Netherlands until 1830 and invaded by Germany in World War l and ll. It has a population of just over 11 million, with most settled in one of Antwerp, Ghent, Charleroi, Liege and Brussels. And depending on where you live, you will speak one of three officially recognised languages – Dutch (known locally as Flemish), French or German. In fact, even its political parties are divided by the language, with each party adhering to either French or Flemish. The current Prime Minister is Charles Michel, of the Frenchspeaking Mouvement Réformateur party. Following the terrorist attacks in Brussels in March 2016, which claimed 32 lives and injured at least 300 more, the city was placed in lockdown – essentially, a state of emergency. At the time, the notion of a broken city returning to normality must have seemed a distant prospect.
Population: 11.5 million
Language: French, German and Flemish
audience • issue 228 • January 2019
While the tragic events will never be forgotten, the nation has moved on and top promoters are reporting that the scene has never been so vibrant. The country’s leading promoter is Live Nation Belgium (LNB), which runs the 85,000-capacity, four-day Rock Werchter festival, headlined this year by Pink, Tool, Mumford & Sons and Muse. LNB is also owns July’s TW Classic festival (60,000), which features Bon Jovi and John Fogerty. “The live music situation in Belgium is healthy, as the number of music lovers who go the shows and festivals keeps growing,” says LNB CEO Herman Schueremans “Being a relatively small country, it is important that ticket prices and booking fees stay reasonably priced, in order that as many people as possible can afford the live show and festival experience.” Schueremans believes that audiences are being rejuvenated by an influx of youthful music fans, looking for an escape from an ever-divisive society. “Each year we promote more and more shows and all those shows sell-out,” he says. “People get older but keep going to shows. Young people go to shows at a young age
GDP per capita (US$): 43,323
Currency: Euro
to have their first live concert and festival experience. “Music has the power to unite people, contrary to fake news, politics and religions, and we are the lucky servants to help to make this happen by giving artistes and their teams the service to perform in perfect conditions and the audience to enjoy the shows and festivals in top conditions.” However, he still has concerns over the country’s ability to play host to the world’s biggest acts, with the ageing King Baudouin Stadium (50,000) the only stadium with a capacity of more than 30,000. “One worry is that we still don’t have a proper stadium, as Brussels’ plans to build a new one for Euro 2020 have been cancelled, and they still haven’t decided if and when they’ll refurbish the existing Stadium,” he says. “I hope there will be some positive news soon.” Despite this, LNB have organised shows by Metallica and Rammstein at the venue for July. LNB’s Rock Werchter has already sold 80,000 tickets and regularly is the best attended live music event in the country, with the help of festival tourists from neighbouring countries and further afar, as Schueremans explains. “The challenge we face is that we have a wide variation of festivals in Belgium and that,
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I
www.audience.uk.com
Market Focus • 15
Lotto Arena, Antwerp
Sportpaleis, interior in Antwerp
Forest National, interior in Brussels
Sportpaleis, aerial in Antwerp
Live Nation.” Another major challenge is a lack of suitable medium-sized venues, with existing venue networks not able to cope with the Herman Schueremans demand from promoters and audiences alike. “The lack of medium-sized venues is becoming quite a problem and Launched in 2005, it stages the popular clubs and theatres like between 250 and 300 shows Ancienne Belgique [1,800] are geta year and has an office in the ting busier and busier. It is becoming Netherlands. Founder and extremely difficult to secure dates at MD Pascal van de Velde says, these venues.” despite a successful 2018, Among Greenhouse Talentcompeting against LNB is promoted concerts are the always a big challenge. Backstreet Boys at both the Lotto “Last year was one of our Arena (5,218) and the Sportpaleis in best ever, so things are going Pascal Van de Velde Challenges Herman Schueremans Antwerp, Jason Derulo at the Lotto well,” he says. The country’s next leading promot“The challenges are the same as ever – compet- Arena and Katy Perry at the Sportpaleis, with er is almost certainly Greenhouse Talent, based ing as an independents against the monopolist, will also host shows by Britney Spears and in Ghent. year after year, we manage to make all those festivals – each with their own identity – a success, and that is something that we are very proud off,” he says. “At Rock Werchter, for example, the number of festival visitors from abroad is a constant element to the success of the festival.” Other shows that LNB is promoting include Drake at Antwerp’s Sportpaleis (23,359), which also hosts Post Malone and Bastille, as well as Bryan Adams at the Forest National (8,400) in Brussels.
www.audience.uk.com
“Music has the power to unite people … and we are the lucky servants help make this happen.”
audience • issue 228 • January 2019
16 • Market Focus Beyoncé this year. Another promoter which has enjoyed a fruitful few years is Gracia Live, based in Antwerp. Founded former LNB chief executive Michel Perl in 2011, the company is relatively young compared to its rivals, although Perl is a true veteran of the industry. “Don’t forget Michel resigned from Live Nation in 2009 and we have started over again in 2011,” says Perl’s son Sam. “Although Michel has been promoting concerts since 1972 with Make It Happen and then Live Nation, where he was the chief executive for three years, our company is quiet a young one. “But ever since, we’ve seen a yearly growth Rock Werchter and have added challenges for ourselves to conWhen pressed on how Gracia Live continues to tinue growing. As fully independent, we need to for next month [February]. That is set to sell-out seven shows at Lotto Arena and seven at Forest thrive in a busy but relatively small market, Perl think outside the box.” National, which amounts to some puts some of it down to the personal attention Perl says the market is “generally they offer. 65,000 tickets overall. healthy” and this helps ensure suc“The big difference between us and “Our Lord of the Dance cessful concerts with artistes such any other promoter in Belgium is that tour through January and as Paul Simon at the Sportpaleis at any given concert Michel or myself February has beaten the last July, as well as shows with Bob will be present – we still believe it’s records of all previous ediDylan, Neil Young, Jamiroquai, ZZ important to be in touch with the tions – we’re playing 11 Top and Toto. promoter and not only his reps or his shows in 10 days, from But, for Perl, the secret to sucaccountant,” he says. which nine shows comcess for his business is to delve into pletely sold-out. markets which allow residencies, Herman Hulsens “We’re now going to Bart Quintens sometimes away from traditional Aiming high promote Cirque Du Soleil’s Blue Man contemporary live music productions. The majority of major international “We’re also focusing a lot on our big interna- Group in October at the Cirque Royal [3,500] in touring artistes who visit the country will play tional blockbuster shows, such as Disney On Ice Brussels.” at least one night at Antwerp’s 23,000-capacity
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Market Focus • 17
Sportpaleis, interior
“The only real competitor our venues have are Sportpaleis. Established three decades ago by Jan Vereecke the various outdoor festivals. The festival market and Jan Van Esbroeck, PSE Belgium’s Sportpaleis often coincides with the venue market – headliners playing their show indoors in our Group, also owns the adjacent Lotto venues earlier on in the season, before Arena and manages the Ethias Arena shining in the summer season on fes(18,000) in Hasselt and Forest National. tival stages. And, conversely, bands In addition, it operates established themselves at the festivals Stadsschouwburg (2,000) in Antwerp, and plan their own indoor tour later in Gent’s Capitole (1,600) and Hasselt’s the season.” Ethias Theater (2,000) and Van But he says it has not always been Esbroeck says it is flexibility that is key easy to attract big names to their to the company’s success. Peter Verstraelen crowning jewel, the Sportpaleis, after "Within our group, we are able to offer venues from 1,600 up to 23,000 capacity,” a dry spell late last year. “A lack of big touring acts left the Sportpaleis he says. “So, excluding for outdoor shows, we agenda a bit thin, especially in the fall of 2018,” he have the right venue for all of our artistes.”
notes. “Luckily, we have a couple of strong local acts and good promoters, it helps us having a strong foundation. “It is important to keep on developing this local market as it balances with the uncontrollable fluctuations of international acts and their touring plans.” Despite the mini slump, the venue is coming into 2019 off the back of its most successful period overall and Van Esbroeck continues to be positive. “The 2017/18 season was the best ever for the Sportpaleis Group. We enjoyed a couple of very successful runs of shows as well in the Sportpaleis, as well as in the Forest National in Brussels, which hosted a record-breaking 92 shows in one year. “We hosted over 600 shows overall and welcomed more than 2.6 million fans – it was a spectacular season.”
Home from home
Based in Morstel, Peter Verstraelen set up his own promoting business in 2008 after working with Herman Schuermans for six years and the fist incarnation of Live Nation ancestor SFX Entertainment, then at Clear Channel Entertainment (which acquired SFX). He books between 750 and 1,000 shows each year and also works in Luxemburg. Herman Hulsens, who works with Verstraelen, believes that there has never been such an
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18 • Market Focus
The Barn, Rock Werchter
appetite for international artistes. “The number of artistes playing Belgium, be it via our colleagues in other agencies or us, is huge,” he says. “Not only are we a country with a thriving live scene and an enormous festival calendar, but geographically we’re also on the crossroads between London, Paris, Cologne and Amsterdam so each tour bus passes Belgium multiple times. “As such, sometimes on one album campaign an artiste is performing too many shows in our little territory of 11 million inhabitants – that’s equal to the Greater London area.” But Hulsens points out that, as well as artistes from abroad, there is a strong and growing domestic market. “There is lots of support from media, venues and festivals,” he says. Manu Bruff Among international acts that Verstaelen promotes are Bad Religion, UK Subs, Mudhoney, Me First and the Gimme Gimmes and Booker T and the MGs. “Business is going well and I believe our strength is diversifying,” he adds. “Not in activities, as we mainly focus on booking and promoting and don’t organise any festivals, but in genres. “We work with artistes from around the globe in various genres, but also have a strong local
roster. I would say that 2019 is looking good for most of our artistes who are releasing new music, especially on the live side. “However, our media landscape is becoming more of a high-end pop music highway and there’s less interest from the media in genres like roots, reggae, world music, which is become a problem to work on an artiste’s long-term career in that genre.”
“We hope that Brexit will not trip us up.” “I’m not a fortune teller, but I am convinced that the future for shows in Belgium is looking good. The bookings for this year are going smoothly.” “Having a central geographical position in Europe is definitely a benefit. Additionally, we have a good reputation when it comes to organizing shows, both indoor and outdoor. Thanks to this, it is never difficult to convince artists to come to our country.” The right track He adds, “Belgian artistes seem to The overriding emotion emitting be getting more and more popular from Belgium at the start of and sell-out the largest venues in the the new year does appear country. Also, abroad, our artistes are to be one of optimism. really thriving.” Whether it is from the Meanwhile, Manu Braff on Brusselsglobal powerhouse that based promoter MB Presents, is Live Nation or smaller, believes the main challenge is for independent promoters businesses to keep their eye on the and agencies. ball. Agent Bart Quintens Jan Van Esbroeck “With the amount of high-quality set up his Artist Agency, based in Linter in 1993, with artistes includ- shows Belgium has, both in the arena and ing Dreadzone, Dub Pistols and Big Country club circuits and the fact that there are quite a few promoters around, I think it’s a healthy among his roster. He is one of many predicting another peri- market. With a nod towards the tragic events the od of success for both international artistes stopping off in his country, as well as domestic country has suffered in recent years, Braff praises the nation’s ability to bounce back and acts. “The large majority of our concerts are sold- insists there are happier days ahead. “There is a heightened awareness of course out and the past two years have been our best since the start of our agency in 1993,” he says. but the show must go on.”
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C i t y Fo c u s Johannesburg, South Africa Audience takes a look at the world’s major cities and venues most used by international artistes FNB Stadium A: Soccer City Avenue, FNB Stadium, Nasrec, Johannesburg T: +27 11 247 5300 E: jessica@stadiummanagement.co.za W: www.stadiummanagement.co.za Policy: Hire only Capacity: 90,000 In-house Concert Sound System: No In-house Concert Stage Lighting: No Past/forthcoming concerts: Guns N Roses, Lady Gaga, Linkin Park, Rihanna The Eagles, Justin Bieber, Metallica, Red Hot Chili Peppers, , Foo Fighters, One Direction
Carnival City (Big Top Arena)
Ticketpro Dome
Sun Arena at Time Square Casino
A: Cnr Northumberland and Olievenhout Road, Northriding T: +27 11 794 5800 E: josie@ticketprodome.co.za W: www.ticketprodome.co.za Policy: Hire only Capacity: 20,000 In-house Concert Sound System: No In-house Concert Stage Lighting: No Past/forthcoming concerts: Katy Perry, Pharell, Santana, OneRepublic, Lionel Richie, Armin Van Buren , Sam Smith, Lauryn Hill, Judas Priest, Andrea Bocelli.
A: 209 Aramist Ave, Waterkloof Glen, Pretoria, 0010 T: +27 860 846 377 E: beatrix.nolte@suninternational.com W: www.suninternational.com Policy: Hire only Capacity: 10,000 In-house Concert Sound System: No In-house Concert Stage Lighting: No Past/forthcoming concerts: Rudimental, Bryan Ferry, Ill Divo, The Script, Bryan Adams. Ticketpro Dome
Carnival City (Big Top Arena) A: Cnr Century & Elsburg Road, Brakpan T: +27 11898 7000 E: michelle.smith@suninternational.com W: www.suninternational.com Policy: Hire and self-promote Capacity: 5,000 In-house Concert Sound System: Yes In-house Concert Stage Lighting: Yes Past/forthcoming concerts: James Blunt, Simple Minds, Joe Cocker, Rodriguez, Bryan Adams, Foreigner, Jethro Tull, Kenny Rogers, Iron Maiden, Mark Knopfler.
The Teatro at Montecasino
Sun Arena at Time Square Casino
audience • issue 228 • January 2019
A: Montecasino Blvd, Fourways, Sandton, 2055 T: +27 11 510 7000 E: bryan.hill@tsogosun.com W: www.tsogosun.com Policy: Hire only Capacity: 1,870 In-house Concert Sound System: Yes In-house Concert Stage Lighting: Yes Past/forthcoming concerts: Janet Jackson, Annie Lennox, Jason Mraz, James Morrison, Imogen Heap, Tori Amos, Karen Zoid, Mango Groove. www.audience.uk.com
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22 • Feature
The Secret Agent
Agents all have their own particular way of working and almost all learn by watching some veterans at work. But most of the job is learned through experience and rumour has it ITB’s Mike Dewdney likes to be seen as one who quietly and efficiently goes about his work, under the radar. Johnny Black reports
Feature • 23
M
ike Dewdney is, by anybody’s reckoning, one of the world’s more respected live music agents, so it’s understandable that he made his presence felt from his earliest days. Born in the Kent town of Pembury in England, on 17 June 1966, he was barely a monthand-a-half old when he was sat down in front of the TV during the historic England vs Germany football World Cup. “I started crying,” he tells me, “which caused my mum to miss the famous goal.” Although football has since become one of his driving passions – he’s an ardent Liverpool Football Club fan – it is music to which he has dedicated his career, serving as the international agent for artistes as diverse as Pearl Jam, Tori Amos, Kasabian, The Deftones and Rage Against The Machine. “I had piano lessons as a kid,” he reveals, “but I didn’t take well Kasabian at Hard Rock Calling to it, although I’ve always loved soon after with Absolutely music.” He knew then that he’d prob- by Madness, and in February ably never become a success- 1982, he attended his first live gig, Depeche Mode at ful musician, but he Canterbury University would soon discover Student Union’s The a fascination for the Venue (cap. 1,200). business side of mu“There was probably sic, for all those often only about a 1,000 peounseen elements ple there,” he rememthat, if executed bers. “Their light show properly, can conconsisted of fluorescent tribute to making an Salamon Hazot tubes behind them, artiste successful. all different colours. I His love of music grew at school where, in thought it was fantastic.” At his next outing, a Psychedelic 1981, he bought his first album, Present Arms by UB40, followed Furs show in The Dome (1,600) in
Brighton, he inadvertently found second year lad came and sat himself mingling with the band with us new boys in the hall of backstage. “Don’t ask me how,” residence. I asked him, ’What are the best clubs to he laughs. “We parked join?’ and his words the car behind The of wisdom were, ‘Join Dome, showed our the Entertainments tickets and somehow Committee - you’ll get got backstage.” into everything free.” Having experienced So I joined and that his first taste of life bewas it. From then on I yond the cheap seats, just got more involved he became fascinated and in 1986 I became by the machinations Jorfan Berliant the Ents Officer and I of putting shows together, “but the reason I’ve gone was on my way.” At Sheffield he booked Erasure, on to become an agent is that, when I went to Sheffield Poly, a Deacon Blue, Aswad
CONGRATULATIONS MIKE ON 30 YEARS OF AMAZING SHOWS AND WORKING TOGETHER. FROM GEOFF, DAVE M, DAVE C AND ALL AT DF CONCERTS & EVENTS. DF Concerts & Events +44 (0) 141 566 4999
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audience • issue 228 • January 2019
24 • Feature and more, but perhaps most significantly, he started meeting agents, promoters and others who would become lifelong friends. “Simon Moran, who now runs SJM Concerts, did one of his firstever shows with me at Sheffield - Cabaret Voltaire [28 February 1986] – I remember counting out the money on the night in cash. He took his settlement away in a Tesco plastic carrier bag.” Moran, of course, is now one of the industry’s biggest players, with SJM not only promoting hundreds Geoff Ellis of shows annually, but he also co-manages artistes such as The Stone Roses, Courteeners and Blossoms and owns a stake in venue chain Academy Music Group. He well remembers that first encounter with Dewdney. “A Tesco carrier bag?” he ponders. “That’s probably right. There was a Tesco’s directly opposite where
I lived. Mike was already a great guy to deal with back then. He thinks long-term which is one reason why so many of his clients stick with him.” Dewdney quickly attracted so much attention that he didn’t even complete his course at Sheffield, being lured into the London music business scene in 1987, first to ABS Agency and then three months later, to Dan Silver’s Value Added Talent (VAT), where he worked on acts such as Depeche Mode, Erasure and Spear Of Destiny. Two years later, he was head-hunted again, this time by Rod MacSween, co-founder of ITB, who remembers, “I needed a right-hand guy to assist with bookings on my acts and Mike did a magnificent job.” This move required a dramatic change of musical direction for Dewdney. “He hadn’t looked after any hard rock acts before,” recalls
Mike Dewdney and Deftones at Download
YEARS CONGRATULATIONS MIKE ON YOUR INCREDIBLE SUCCESS OVER THE PAST 30 YEARS. IT HAS BEEN A PLEASURE TO BE A PART OF IT FROM THE BEGINNING! FROM SIMON AND ALL AT
audience • issue 228 • January 2019
www.audience.uk.com
Feature • 25 MacSween, “but a good agent ITB,” he points out, “but the grass should be able to deal with any is not always greener over there. A lot of people think musical style, any genre.” you achieve everySo Dewdney dived in thing by waving a at the deep end, bookcheque book, but I’m ing hirsute heroes like not guided by that. Thunder, Saxon and “If someone wants Magnum. “All of my acts to pay you a fortune, really loved to deal with then you’re going to him,” says MacSween. be at their beck-and“Thirty years later, he’s Naoki Shimizu call 24/7. What’s the one of the best agents in the world, and a very important point of that? If you don’t enjoy it, you’re not happy.” element of ITB.” For his part, Dewdney says, “Rod gave me some very good Fond memories advice. I always remember him Dewdney’s down-to-earth phitelling me, ‘If you’ve got a dif- losophy has stood him in good ficult call to do, just do it. Don’t stead, and is much appreciated sit on it.’ He was right. If you don’t by those who do business with tell people things, they’ll him, but he also find out some other way.” knows how to party That an agent of when the occasion Dewdney’s stature has reallows it. mained at ITB for 30 years Andy Copping, might cause an occasional president of UK raised eyebrow among touring for Live those who wonder why Nation in the UK, he has never struck out on fondly remembers Simon Moran his own. one such incident, “I’ve had offers to move from “Back in 1990, I was DJ-ing a
Mike Dewdney’s artistes Angels & Airwaves Bell X1 Black Rebel Motorcycle Club Blink-182 Brandi Carlile Dan Wilson Deftones Down Eels Fountains of Wayne
The Fratellis Grumble Bee Joe Jackson Jon Fratelli Kasabian Kula Shaker Little Steven & The Disciples of Soul Lonely The Brave Lower Than Atlantis
night at Rock City in Nottingham on the eve of the Monsters of Rock Festival. The evening had gone on and the music had shotoff in all directions. Seeing Mike with promoter Paul Roberts from Phil McIntyre Entertainments moving across the dance floor on their knees singing, ‘Heigh ho, heigh ho, it’s off to work we go’ [imitating Snow White drawves], was a masterclass in being drunk and disorderly!” Similarly, president of Live Nation Spain Robert Grima recalls, “spending a weekend with Mike at Reading Festival, about 25 years ago, where we became so stoned that we got a severe
Matchbox Twenty New Found Glory Night Riots Rob Thomas Stone Temple Pilots Team Sleep Tom McRae Tori Amos The White Buffalo
attack of the munchies, the hunger came into our bellies, which we solved with a huge overdose of doughnuts. That was such a funny night, but I don’t think he does that sort of thing any more. He’s a family man now.” This is true. Dewdney lives with his wife, Rosie, two children and three dogs in Tenterden, Kent. “It’s gorgeous and tranquil,” he enthuses. “I grew up with trees and grass around me, and I’m willing to do the commute [64 miles/104kms] . With today’s technology I can work on the train, do e-mails and so on.” As well as his love of football, he keeps in trim with
Happy 30 years in the biz, Mike! To a stand-up guy who always got right to the point. Much respect and affection from Naoki Shimizu and your friends at Creativeman.
www.audience.uk.com
audience • issue 228 • January 2019
26 • Feature
Mike Dewdney and Mo Green
What others say Scumeck Sabottka, MCT Agentur, Germany “I can’t remember exactly when I first met Mike, but it seems a very long time ago. He is fast, he is fair, he has foresight and he is witty. He’s a joy to work with, and knows that there is a whole lot of grey, and not just black and white.” Stefan Matthey, Good News, Switzerland “The first act I worked on with Mike was Mr Big in the mid-‘80s, since when I have done virtually all of his acts, including Blink-182, Kasabian and Eels. Mike is one of the good guys. He is always willing to listen to you as a promoter. When you call him, he will pick-up the phone. When you send email, he replies. No bullshit.” Michael Chugg, Chugg Entertainment, Australia “My working relationship with Mike goes back to the late-‘80s, since when we worked together on Faith No More, Eels, Black Rebel Motor Cycle Club, Deftones, Blink-182, Angels And Airwaves and more. Mike loves live music and cares not only about his acts, but also promoters. He’s feisty, funny, has quick comebacks and I just love his accent.” Geoff Meall, Coda Music Agency, UK “Mike’s a top man, always a straight shooter - someone you can have a conversation with about life in general, instead of just work. He’s one of those rare agents whose assistant [Mo Green] continues to want to work with them longer than a year.”
Folkert Koopmans, FKP Scorpio, Germany “It was probably around 15-20 years ago that I first worked with Mike. In a few words, he is human, fair, and straightforward. For example, once he had to cancel a headliner for one of our festivals and we simply moved them to the next year. As my expenses for the replacement were higher, I managed to re-negotiate the fee for the following year.”
Paul Debnam, PSI2, Austria “He is definitely a Dewd Dude and I have had a great working relationship with his acts since the early ‘90s. The ones we still work on together are really diverse, from Tori Amos to Eels and Black Rebel Motorcycle Club. There’s always a good artiste/agent/promoter understanding which is a rare thing to see these days.” Andy Copping, Live Nation UK “Mike understands his artistes and the level of business they are at better than most. He understands the business on all sides and then gets what is needed.” audience • issue 228 • January 2019
tennis, volleyball, running the occasional marathon and skiing trips in the Alps. “Sport can focus you a bit more. It enables me to back away from a situation and think, how can I address this better? How can I make this work?” Live Nation France vice-president (VP) Salomon Hazot has worked with Dewdney since he started at ITB, on acts including Living Colour, Rage Against The Machine and Sonic Youth. Hazot confirms that Dewdney’s healthy lifestyle extends even into his work. “Often, he arrives in town and, instead of demanding a car, he’ll ask me how long it would take to walk to the gig. I’ll say, ‘No, Mike, it’s too far.’ And he says, ‘Oh, you don’t know me.’ I remember him turning up late for one gig because he had walked for two hours to get there.”
Strong relationships
Dewdney and Hazot’s business relationship is rooted in a level of friendship that goes deeper than just dollars and cents. “On 13 November 2015, I had Eagles Of Death Metal at Le Bataclan in Paris,” remembers Hazot. “So I was there when that
dreadful terrorist attack took place. The following day I was due to do The Deftones, so Mike called me and I was so glad to hear his voice on the phone. He was very understanding, and that was what I needed on a night like that.” George Akins, MD of UK-based entertainment group DHP Family and owner of Rock City (1,900) says, “I’ve worked with Mike since 1994 on acts including Black Rebel Motorcycle Club, Deftones and Megadeath. When I was very young, trying to make a name for myself, he made it easy for me to get involved and do some shows when some of the other established agents wouldn’t give me the time of day. I’ve always loved working with Mike.” Another who considers Dewdney a benefactor is John Witherspoon, a founding partner of the Austin-based Galactic Music Group in Texas. “I was at The Shaw Theatre [400, London] in 1992 to see Tori Amos, when Mike asked if I wanted to fill in as tour manager for a few shows.” Witherspoon went on to become Amos’s manager and still fulfils that role. “Mike is really the only agent I know who can walk into Catering, no matter the size of the gig, and get warm greetings from the caterers, the crew, the artistes and, of course, the promoters, no matter how tough he has been on them. He’s universally liked.” Another lasting connection made in those early days was with Steve Strange, co-founder of UK-based X-Ray Touring. “My relationship with Mike goes back to the late ‘80s when I was booking shows at The Limelight [500] in Belfast,” he reveals. “I promoted several shows there for Mike. I’ve never worked with anybody who can juggle balls as well as he does. “When you rang Mike there was always someone else holding on the other line, because he never stopped. He was like a human booking machine.” Geoff Ellis, CEO of DF Concerts in Scotland, has always been impressed by Dewdney’s ability to remain unflappable in a crisis. “Not only was Mike an integral element in rescuing the very first T In The Park festival [1994], www.audience.uk.com
28 • Feature nearby railway line. At the same moment, a Portaloo blew past Robin. “Both gigs had to be cancelled immediately, before crowds started arriving. I got on the phone to Mike and he was great, no panic, just got on with the job.”
Striking out
Mike Dewdney being presented with a gold album for Rage Against The Machine at Pinkpop
when Cypress Hill famously refused to appear after being badly treated at UK customs, but, says Ellis, “In December 2006, we booked
Kasabian to headline Hogmanay [New Year’s Eve], not just in Glasgow, but also in Edinburgh. Then I got a call at about five o’clock from our rep Robin Scott,
to tell me the wind was getting dangerously strong. While he was on the phone I watched the trampoline in my back garden blow over the fence and onto the
Inevitably, as he became more established at ITB, Dewdney started to attract his own artistes. “I had introduced him to a lot of management companies,” says Rod MacSween, “but after a few years of assisting me he was able to start attracting artistes of his own. For example, Mike has been responsible for building up Kasabian from day one. That was an act that he found himself.” By this time, Dewdney was also expanding his sphere of operations from the UK out into Europe. “I remember Rod telling me, ‘It’s not a problem. It’s just like the UK but bigger.’ You have to take the distances into account, but otherwise, it’s true.”
CONGRATULATIONS MIKE ON 30 YEARS IN THE INDUSTRY HERE’S TO ANOTHER 30! ALL THE BEST FROM YOUR FRIENDS GEORGE, AMY, ANTON & ALL AT DHP FAMILY
audience • issue 228 • January 2019
www.audience.uk.com
Feature • 29 ”The best ingredient one can have in a work relationship is One European promoter who trust, and that’s what he delivquickly saw the benefits of work- ers. I cannot really come up with ing with Dewdney was Jan Gille anecdotes about Mike, because they are mostly generated by of Live Nation Sweden. “Early in 1992 Mike called and drama and there is no necessity told me that I just had to book for drama with Mike.” Evidence of Dewdney’s global a gig for a band that was going to be very big. On Mike’s advice reach comes from associates I booked them at the Kool Kat including Los Angeles-based Club [800] in Stockholm. Tickets Revelation Management, whose Jordan Berliant, were released on the day of the co-founder concert and there were quadru- says, “I have shared Black Rebel Motorcycle Club with Mike since ple queues around the block. “Without any doubt, this was 2014 and he’s a great agent, very one of the classic gigs that peo- attentive to details. “Everything he does is in serple are still talking about! The vice to the band’s career, and band’s name? Pearl Jam.” the bigger picture. He For Switzerland’s ensures that the kinds Montreux Jazz Festival of gigs they’re doing too, Dewdney has are reflective of the proved a valuable assoculture that the artiste ciate, placing acts there is representing.” including Tori Amos, And on the other side Black Rebel Motorcycle of the world, in Japan, Club, Deftones, Lauryn Creativeman president Hill and Kasabian. Steve Strange Naoki Shimizu rates “Things work out in a quiet way with Mike,” says fes- Dewdney among his most valued tival’s booker Michaela Maiterth. collaborators.
The Trust factor
www.audience.uk.com
What others say Nick Hobbs, Charmenko, Turkey “Having worked with Mike since at least 2001, I can say he is pushy, doesn’t beat around the bush, doesn’t let anything get by him, but is also very human and likeable at the same time. If there’s a problem he listens and tries to help. An agent has to drive a hard bargain and he does, but he doesn’t screw you to the wall; it’s a tricky balance, but he gets it about right.” Rune Lem, MD, Live Nation Norway “Mike is always a pleasure to work with. He has such a sense of humour, we’ve been delivering witty one-liners to each other for decades, and he’s such a great personality that you want to do his acts just because you like him. We started working together shortly after he joined ITB, and have done Tori Amos numerous times, John Mayer, Deftones, Eels and Little Steven.” Steve Zapp, ITB, UK “When I was at Primary Talent I got excited about a new act, Black Rebel Motorcycle Club, that I thought I’d discovered, only to find out when I called, that Mike was already their agent.” John Cornwell, SJM Concerts, UK “Mike gave me my first break when I joined SJM. We did a show with Blink-182 in September 1999 at The Borderline [280] in London and they went on to become one of the biggest acts that I’ve worked with over the years. They were the first act I got to arena level, and it was absolutely through Mike.” Jeps Salfischberger, Mojo Concerts, Netherlands “In 2010 I booked Blink-182 with Mike on the Lowlands [65,000] festival and they were planning to bring a very big production, with a mechanical drum riser that rose very high. We spent a lot of time getting things organised for that and then, on the day of the show, the riser broke down but Mike remained calm through it all and the show went ahead.”
“He and I devoted ourselves to breaking Kasabian in Japan since their debut,” he recalls. “Mike has
an eye for successful artistes. I remember a showcase performance for a splashy newcomer
audience • issue 228 • January 2019
30 • Feature
What others say Anders Wahren, Roskilde Festival, Denmark “Our first booking together was Black Rebel Motorcycle Club for Roskilde 2013. Mike’s dry humour, combined with a sincere interest in the people he is talking to, makes him good company in person and one of the agents that is actually funny to write emails back and forth with.” Andre Lieberberg, Live Nation Germany “I’ve been working with Mike since 2002 and he is a real Mensch and a loyal business partner, once you have proven yourself capable of getting the job done. He’s smart, funny and great to hang with. When we felt bad about a Rock am Ring deal and mentioned that it left a bad taste, he offered to bring some sweets to the festival, to make the taste go away … classic Mike.” Dave McGeachan, DF Concerts, Scotland, UK “Mike and I have had a great relationship, working with the likes of Kasabian, who played King Tuts [300] in 2004, and have since done numerous arena sell-outs in Scotland. He always seems to know the right next step for a band, and pushes for the very best deal, but takes the promoter’s role into consideration. He’s also humorous, kind and wears shorts no matter what the weather.” Willem Venema, Double Vee Concerts, Netherlands “We always get the right deal with lots of sell-outs with only good and brilliant acts, and some even better than that. Mike is always in a good mood, and I will never forget his face when he was presented with a gold album for Rage Against The Machine at Pinkpop.” Robert Grima, Live Nation, Spain “Having worked with Mike for almost 30 years, I can say he opened up a lot of opportunities. He gave me Florence + The Machine when they were becoming huge, and in the early days we worked on Eels and Deftones. We have worked together on Kasabian, Stone Temple Pilots, Kula Saker, Black Rebel Motorcycle Club. He’s one of the nicest people in the business.”
audience • issue 228 • January 2019
that a lot of agents were very how to take the rough with the interested in signing. I saw Mike smooth. One of his ITB colleagues, sethere among them but he didn’t nior agent Steve Zapp, seem very impressed. points out that it was Guess what, that band Dewdney who, “taught didn’t break.” myself and a number With such acclaim, it of young agents that might seem as if Mike there are ups and Dewdney can do little downs in this business wrong, but he’s among and that to develop the first to point out rhino skin is really that nobody succeeds important. all of the time. George Akins “By that, he meant to “I remember in 1999, when there was a solar eclipse not take things too personally happening, which was going that was really helpful advice for me back in the day.” to be visible from A decade later, Cornwall [in southDewdney remains on west UK], we committop of the heap, guidted Kula Shaker to a ing the fortunes of 31 major event called The acts at ITB. Celebration Of The “Is it that many?” he Lizard on Goonhilly asks. “I never count Downs. But then every them up like that. As man and his dog also long as I feel I have decided to put events Rod MacSween enough time to work on, and the scaremongers started predicting it would them all, it’s fine. If I can’t do that, I’ll tell them they’re better off gobe a disaster.” The Celebration flopped, but ing somewhere else.” Fortunately, it seems, he can. Dewdney had learned by then
www.audience.uk.com
1989
2019
from Barry, Rod and all the gang at ITB x
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32 • Events
Events 13-17 Feb
24-29 Mar
International Live Music Conference
Music Expo
The largest business gathering of international promoters and agents in the universe.
Convention with daily forums, discussions and evening showcases at West Hollywood music venues.
UK, London www.ilmc.com
USA, Missouri www.folkconference.org Aims to nurture and empower the international folk music community - traditional and contemporary through education, advocacy and performance.
5-8 Mar
Folk Alliance International Conference
8-17 Mar
2-5 Apr
SXSW
Prolight + Sound
USA, Austin www.sxsw.com
21-24 Feb
Millennium Music Conference
USA, Harrisburg www.musicconference. net Four days of keynotes speeches, panels, workshops and mentoring, plus a trade show.
11-13 Feb USA, Los Angeles www.pollstar.live
Winter Music Conference 100th Anniversary USA, Miami Beach www.wintermusicconference.com
Conference and networking event for live entertainment professionals.
An event for light, sound and production in the entertainment and music industry.
25-28 Mar
Panels, seminars, workshops and demonstrations, exclusive poolside DJ sets and the International Dance Music Awards.
Pollstar Live!
Germany, Frankfurt www.prolight-sound.de
Artiste showcases in a week-long conference, attracting industry professionals, including promoters, agents and managers
20-23 Mar
9-12 May
Brazil Music Conference
Brazil, Sao Paulo www.brazilmusicconference.br
The official gathering for Electronic Music talent and trade in Latin America.
AES Convention
Ireland, Dublin www.aes.org/events/146/
28 Feb-2 Mar
by:Larm
Showcase and conference promoting the Norwegian music industry, attracting around 1,800 delegates and featuring 500 acts.
25-31 Mar
Tallinn Music Week Estonia, Tallinn
5 Mar
A weeklong celebration of talent, curiosity, creativity, freedom and equality.
UK, London www.ilmc.com/ipm
The Great Escape Festival
A three-day music conference and festival showcasing new music from a variety of genres.
tmw.ee
ILMC Production Meeting (IPM)
9-11 May
UK, Brighton www.greatescapefestival. com
Entertainment and music industry light, sound and production event .
Norway, Oslo www.bylarm.no
USA, California www.musexpo.net
One-day pre-ILMC event focussed on the production side of live music events.
6-12 May
Canadian Music Week Canada, Toronto www.cmw.net
Comprehensive music industry conference and show case festival, covering sectors including live and recording.
The details shown above have been compiled from information provided to Audience and whilst we make every reasonable effort to ensure accuracy, we cannot be held responsible if data is incorrect.
Tallinn Music Week (TMW) Festival for Tomorrow’s Music, Arts and Ideas Tallinn, Estonia, 25 - 31 March 2019 tmw.ee
audience • issue 228 • January 2019
TMW Music Festival
TMW Creative Impact Conference: “Culture & Creativity, the engine of new economy“
TMW City Festival: City Stage, Talks, Arts, Design, Tastes, Urban Space
Thu 27 March - Sat 30 March
Fri 29 March - Sat 30 March
Thu 27 March - Sat 30 March
One of the most influential new music festivals in Europe, acknowledged for its diverse multigenre line-up of fresh talent from the New Wave of Russia to the Nordic pop along Estonia’s own ingenious flair.
Music industry ABC / inspiring pop-culture talks / impact of arts and creativity on economy / diverse and gender-balanced expert panels
Free city stage concerts / public talks / arts and design programme / restaurant specials
www.audience.uk.com
34
Production News Newsbites Garrix’s new balanced approach THE PHILIPPINES Danish microphone manufacturer DPA has appointed Music & Audio Solutions & Services (M&A) as its distributor. Its products will now be available through outlets run by one of the country’s largest pro-audio distributors, Audiophile Components. thanks to a partnership between the two companies. M&A has worked with brands such as Korg, Vox, Smarvo and Lava Cable since it was founded in 2007. WORLD Ben Dexter, front-ofhouse engineer for Anne-Marie, who has performed with Ed Sheeran and Clean Bandit, chose DiGiCo SD12 consoles for the singer’s first international tour. “We needed to find a console that would accommodate our everincreasing channel count, while having a small footprint,” he says. The tour visits venues including New Zealand’s Spark Arena (cap. 12,000) in Auckland, Australia’s Metro City (2,000) in Perth and Germany’s Tonhalle (2,000) in Munich. NORTH AMERICA Californianbased branch of French audio manufacturer L-Acoustics has appointed former head of US touring John Rocha as director of product management. Marcus Ross now becomes head of application, touring, USA & Canada. Artistes using L-Acoustics systems include Bastille and Evanescence.
WORLD
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hile industrial chic and an LED “plus” sign remained from dance music artiste Martin Garrix’s previous tour, lighting designer Gabe Fraboni abandoned the asymmetry of that outing for his latest string of concerts, going for a symmetrical look. He also wanted to draw the audience into the action and designed the show around a grid suspended over the crowd, with lights mounted on a telescopic tube, lowering them to just above their heads. Fraboni chose nearly 300 fixtures by Czech Republic-based manufacturer Robe, including 80 MegaPoints, 166 Spikies and 52 LEDBeam 150s, for a tour which opened in the Netherlands’ Amsterdam RAI (cap. 12,900) and will move on to Australia’s Flemington Racecourse (120,000) in Melbourne, South Africa’s Expo Centre (25,000) in Johannesburg,
Robe fixtures on Martin Gartrix © Alive Coverage
and America’s Omnia Night Club (4,250) in Las Vegas. “Robe is my default brand of moving light right now,” says Fraboni. “The products are so versatile and the range so diverse that it fulfils everything I need.
“The audience reaction the first time the MegaPointes came in from the pods each night was phenomenal,” he says. The automation system was supplied by Unlimited Productions and sourced by production manager Bert Kelchtermans.
Nashville ‘energised’ for NYE UNITED STATES
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crowd estimated at between 175,000 and 200,000 attended Music City Midnight in Nashville, to see artistes including Keith Urban, Peter Frampton and Brett Young at the annual New Year’s Eve celebration. Erik Parker of Chris Lisle Lighting Design says his focus was two-fold – to energise the crowd while creating a spectacle that would look “fantastic” on camera for live broadcast by NBC. “For the stage, my goal was to create a
big look for the people at the front as well drop” feature, which marks the moment as those hundreds of yards back,” says of midnight. Parker. “For the site, we wanted to add energy and create that New Year vibe throughout the whole audience.” He asked Bandit Lites, which has supplied the event for 12 years, to provide more than 1,300 fixtures for the concert, site lighting and the “Music Note Nashville’s New Year’s Eve
We will help revolutionize your business. audience • issue 228 • January 2019
www.audience.uk.com
Production News • 35
Sisters add maximum colour to Rebel Hearts EUROPE
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rojection plays an important role in the visuals for First Aid Kit’s Rebel Hearts tour, says lighting designer Franki McDade, with much of the content boasting a cinematic feel, whether animation or live footage. The band, featuring Swedish sisters Klara and Johanna Söderberg, use a backdrop of crushed taffeta fabric, adding to the texture of the
imagery, and creating a central focal point for the lighting to work around. Selecting lights to bring maximum colour to the stage, McDade asked UK-based Colour Sound Experiment to provide lighting and video equipment for shows, which include the UK’s O2 Academy Brixton (cap. 4,900) in London, Finland’s Old Ice Hall (8,200) in Helsinki and Sweden’s Malmo Arena (15,500). The company provided 24 GLP
Leonid Agutin uses dLive for 50th RUSSIA
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ith an array of supporting musicians including guitarist Al Di Meola, provision for a live DVD and the need to record audience ambience, sound engineer Robert Boim needed an desk with unlimited mixing possibilities and ease of use, for the 50th anniversary concert by singer Leonid Agutin. He chose to use the dLive series of consoles by British manufacturer Allen & Heath for the concert, held at Moscow’s Olympic Stadium (cap. 30,000).
Leonid Agutin pictured from front-of-house
“dLive was an obvious choice for this show,” says Boim. “It has superb sound, a fast, simple interface, very low latency and unlimited routing options. I’ve stopped using all external dynamic processing plugins – now I keep all dynamic processing inside the system and my mix is even better.” He used a dLive S7000 for frontof-house (FOH), with an S3000 as a dedicated FOH surface for the guest artistes’ engineers. Monitors were controlled by two C2500 surfaces, located either side of the stage, handling mixes for the musicians, orchestra and choir. Additionally, each console was accompanied by a laptop running dLive Director for further control options.
Impression XBar 20s to delineate the screen, while Robe Megapoints created colour gradients working alongside the projections. “The original idea was to have the XBar 20s concealed on the floor, but the more I used them, the more they integrated themselves into the general sightlines,” she says. For London, a large glitter ball was suspended above the middle of the auditorium, lit with four Claypaky
Scenius Unicos positioned at frontof-house (FOH) and on a flown truss with the mirrorball. By not using follow spots, she explains, the stage stayed balanced and complementary to the projections, delivered by two of Colour Sound’s Barco HDF W30 Flex projectors stationed at FOH, while the two sisters were key lit with ETC Source Four profiles and fresnels on the front truss.
Nexo covers all venues EASTERN EUROPE
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ouring with a 40-piece symphony orchestra in a range of venues, Smokie needed a sound system flexible enough to cover expansive arenas and smaller theatres. Playing venues including Pro Rental work with Smokie the Czech Republic’s Tipssound range.” port Arena (cap. 13,150) in For an arena show, the Smokie PA Prague, Hungary’s Papp László Budapest Sportaréna (12,500) and Slove- was set-up with 12 sets of STM M46 nia’s Hala Tivoli (4,000) in Ljubljana, main and B112 bass modules, plus the band’s front-of-house (FOH) two downfills of the STM M28 douengineer Sean Greenaway chose an ble 8” cabinets, and a total of 24 STM STM Series modular line array audio S118 subbass cabinets. The largest venues added side-fill system by manufacturer Nexo, supplied by Czech distributor Rental Pro. arrays of nine STM M28s. Front fill “We encountered some quite dif- came from additional M28 cabinets, ficult rooms acoustically,” says Green- and a full complement of stage monaway. “Yet with the system set-up, itors, for the musicians, with main the Rental Pro team managed to en- band members using in-ear monisure the whole of the arenas’ listen- tors. Greenaway mixed on a Yamaha ing areas were covered with the full PM5D monitor console.
bsite! e w w e n see our .com s y r n e h n www.joh Specialist Suppliers to the Entertainment Industry
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Backline Rental Amplification Brass & Wind Cymbals Drums Effects Flightcases Grand Pianos Guitars & Basses Keyboards Music Stands Organs Percussion Synthesizers Transformers Vintage
audience • issue 228 • January 2019
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Tour Plans Artistes
A guide to Artistes, Tours and Agents
Period/Territory Contact details
Subscribers to Audience can submit their artistes for free listing in Tour Plans, subject to available space and at the discretion of the publisher. Send your info to: sean@audience.uk.com
Adam Naas May-Aug Clotaire Buche, Junzi Arts Worldwide T +33 61 7153 539 Clotaire@junzi-arts.com Al Stewart & May Paul Charles, Asgard Agency The Empty Europe T +44207 387 5090 pc@asgard-uk.com Alma May-Sept Alex Bruford, ATC Live Europe T +44 20 7580 7773 alex@atc-live.com Alice Jemima Mar-Sep Zac Peters, DMF Music Europe T +44 01392 437744 zac@dmfmusic.co.uk Ana Moura May David Flower, SASA Music Europe T +44 20 7359 9232 rab@sasa.demon.co.uk
Don McLean © Keith Perry
Bobby McFerrin Jul Gunter Schroder, The Kurland Agency Europe T +1 617 254 0007 gunter@thekurlandagency.com Billy Ocean May-Sep Rebecca Drouet, Europe The Leighton-Pope Organisation T +44 20 8741 4453 becky@l-po.com
Artistes
Period/Territory Contact details
Buju Banton Jun-Aug Isabelle Messer, Georg Leitner Productions Europe T +43 1 914 86 15 imesser@glp.at Canned Heat May-Sept Sabine Trunzer, Kultopolis Europe T +49.6861.9399827 agentin@kultopolis.com
Body Type May-Sept Alex Bruford, ATC Live Europe T +44 20 7580 7773 alex@atc-live.com
Chassol May-Dec Clotaire Buche, Junzi Arts UK, Europe T +33 61 7153 539 Clotaire@junzi-arts.com
Blackmores Jun-Jul Alec Leslie, ALE Consolidated Night Europe T +44 1829 730488 alecconsol@aol.com
Christopher Cross May-Oct Paul Charles, Asgard Agency Europe T +4420 7387 5090 pc@asgard-uk.com Cliff Bennett & May-Sep Mark Lundquist, Mark Lundquist Concert The Rebel Europe Promotions Rousers T +44 14832 24118 mark@marklundquist.com Conner May-Sep Alex Bruford, ATC Live Youngblood Europe T +44 20 7580 7773 alex@atc-live.com D Day Darlings
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Serena Catapano, SAS Entertainment T +44 7871 075 072 serena@sas-ents.com
Don McLean May-Oct Paul Charles, Asgard Agency Europe, Australia T +44 20 7387 5090 pc@asgard-uk.com
Bobby McFerrin
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May Worldwide
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Capacity 330
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The Premier Entertainment & E vents venue in Rossendale, L ancashire
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Recently installed In-house concert sound & Lighting (Including £40k D&B Q Series Line Array*)
New stage extension
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30 minutes north of Manchester
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Excellent motorway links
*semi-permanent, Available on request
audience • issue 228 • January 2019
www.audience.uk.com
Se Eu e yo ros u a on t ic
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Tour Plans Artistes
A guide to Artistes, Tours and Agents
Period/Territory Contact details
Flats & Sharps May David Flower, SASA Music Europe T +44 20 7359 9232 rab@sasa.demon.co.uk Fofoulah May David Flower, SASA Music Europe T +44 20 7359 9232 rab@sasa.demon.co.uk Gangstagrass Jun-Aug Matt Bartlett, Midnight Mango Europe T +44 1458 211117 mb@midnightmango.co.uk Gabriel Rios May-Sept Alex Bruford, ATC Live Europe, UK T +44 20 7580 7773 alex@atc-live.com George Clinton May-Sep Parliament/ Europe Funkadelic
Nina Pernica, Georg Leitner Productions T +43 1 914 86 15 npernica@glp.at
GONG May-Aug Ryan Balch, The Leighton-Pope Organisation Europe T +44 20 8741 4453 ryan@l-po.com Grace Jones May-Jul Georg Leitner, Georg Leitner Productions Europe T +43 1 914 86 15 gleitner@glp.at Hannah Sanders May-Oct Chris Wade, Strada Music & Ben Savage Europe T + 44 1377217662 info@stradamusic.com Jools Holland May-Aug and His Rhtym & Europe Blues Orchestra Joe Satriani
Nick Peel, Miracle Artists T +44 20 7935 9222 nick@miracle-artists.com
May-Aug Wayne Forte, Entourage Talent Associates Europe, South T +1 212 633 2600 America & Australia booking@entouragetalent.com
Lisa Ekdahl
Artistes
Period/Territory Contact details
Julia Jacklin May-Aug Alex Bruford, ATC Live Europe T +44 20 7580 7773 alex@atc-live.com King’s X May Nick Peel, Miracle Artists Europe T +44 20 7935 9222 nick@miracle-artists.com Kool & The Gang May-Jul Georg Leitner, Georg Leitner Productions Worldwide T +44 121 454 7020 wlaurer@glp.at Lady Sings May-Jun Tim Jennings, Big Bear Music The Blues UK T +44 121 454 7020 tim@bigbearmusic.com Love with Jul-Aug Glenn Povey, Event Horizon Johnny Echols Europe, UK T +44 7841 594677 glenn.eventhorizon@gmail.com Lisa Ekdahl May-Nov Paul Charles, Asgard Agency Europe T +44 20 7387 5090 pc@asgard-uk.com Lisa Fischer May Gunter Schroder, The Kurland Agency Europe T +1 617 254 0007 gunter@thekurlandagency.com Masia May-Aug Henry McGroggan, Europe Central European Organisation T +48 22 894 60 35 henry@centraleuro.org
Lady Sings The Blues
audience • issue 228 • January 2019
Maya Youssef May-Aug David Flower, SASA Music Worldwide T +44 20 7359 9232 rab@sasa.demon.co.uk
www.audience.uk.com
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Tour Plans Artistes
Period/Territory Contact details
Manfred Mann’s May-Jul Alec Leslie, ALE Consolidated Earthband Europe T +44 1829 730488 alecconsol@aol.com Manny Charlton May-Dec Alan Cottam, Alan Cottam Agency Band Europe T +44 1254 668 471 alan7000uk@yahoo.com Marcus Bonfanti May-Jul Sabine Trunzer, Kultopolis & Band Europe T +49 6861 939 9827 agentin@kultopolis.com Michael Chapman May Europe
Chris Wade, Strada Music T +44 1377 217662 info@stradamusic.com
MISIA May-May Henry McGroggan, Central European Europe Organisation T +48 22 894 60 35 henry@centraleuro.org Musical Youth
May-May Worldwide
Serena Catapano, Cat Music Management T +44 7871 075 072 info@catmusicmanagement.com
Old Man Aug Eddie Barcan, Splendid Events Luedecke Europe T +44 7584 221821 eddie@splendidevents.org.uk Orbital May Dan Silver, Value Added Talent Worldwide T +44 207 704 9720 dan@vathq.co.uk REWS May-Aug Matt Bartlett, Midnight Mango Europe T +44 1458 211117 mb@midnightmango.co.uk
The Bizare World of Fran Zappa
Artistes
Period/Territory Contact details
Ritchie Jun Blackmores Europe Rainbow
Alec Leslie, ALE Consolidated T +44 1829 730488 alecconsol@aol.com
Roberto Fonseca May David Flower, SASA Music UK, East Europe T +44 20 7359 9232 rab@sasa.demon.co.uk Rod Clements May Chris Wade, Strada Music & Rab Noakes Europe T +44 1377 217662 info@stradamusic.com Roy G Hemmings May Mark Lundquist, Mark Lundquist Motown Show Europe Concert Promotions T +44 14832 24118 mark@marklundquist.com Sass Jordan
May Europe
Hilde Spille, Paperclip Agency T +31 24 323 9322 hilde@paperclip.agency
Shakin’ Stevens
May-May Worldwide
Rebecca Drouet, The Leighton-Pope Organisation T +44 20 8741 4453 | becky@l-po.com
Soak May-Oct Alex Bruford, ATC Live Europe T +44 20 7580 7773 alex@atc-live.com Spratleys May-Aug Japs Worldwide
Ryan Balch, The Leighton-Pope Organisation T +44 20 8741 4453 ryan@l-po.com
Shob May-May Jeff Aug, Maximum Bookings Europe T +49 177 642 4221 info@MAXIMUMBooking.com
Soak
audience • issue 228 • January 2019
Sister May-Jul Georg Leitner, Georg Leitner Productions Sledge Worldwide T +43 664 111 5177 wlaurer@glp.at
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Tour Plans Artistes
A guide to Artistes, Tours and Agents
Period/Territory Contact details
Skalpel May Ania Marzec, Central European Europe Organisation T +48 22 894 60 35 ania@centraleuro.org Stella Donnelly May-Sep Alex Bruford, ATC Live Europe T +44 20 7580 7773 alex@atc-live.com Stone May Mark Lundquist, Mark Lundquist Europe Concert Promotions T +44 14832 24118 mark@marklundquist.com absagency@mac.com Steve Lukather Jun-Jul Alec Leslie, ALE Consolidated Europe T +44 1829 730488 alecconsol@aol.com Symphony X May-Jun Nick Peel, Miracle Artists Europe T +44 20 7935 9222 nick@miracle-artists.com 10cc May-Aug Steve Parker, Miracle Artists Worldwide T +44 20 7935 9222 steve@miracle-artists.com 10cc’s Graham Oct-Nov Steve Parker, Miracle Artists Gouldman & his Europe, UK T +44 20 7935 9222 Heart Full of Songs steve@miracle-artists.com Tedeschi Trucks May Wayne Forte, Entourage Talent Associates Band Europe T +1 212 633 2600 booking@entouragetalent.com
Stella Donnelly
Artistes
Period/Territory Contact details
Tipitina May-Jun Tim Jennings, Big Bear Music Europe T +44 121 454 7020 tim@bigbearmusic.com Seán McGowan May Zac Peters, DMF Music Europe T +44 1392 437744 zac@dmfmusic.co.uk The Skull May-Jun Bauke Algera, Maximum Bookings Europe T +49 177 642 4221 info@MAXIMUMBooking.com The South May-Aug Dan Silver, Value Added Talent Europe T +44 207 704 9720 dan@vathq.co.uk The Spitfires May Zac Peters, DMF Music Europe T +44 1392 437744 zac@dmfmusic.co.uk
Ten Years After May-Sept Sabine Trunzer, Kultopolis Europe T +49.6861.9399827 agentin@kultopolis.com
Toploader May Mark Lundquist, Mark Lundquist Concert Europe Promotions T +44 1 4832 24118 mark@marklundquist.com
The Bizarre World May-Oct Paul Charles,Asgard Agency of Frank Zappa Europe T +44 20 7387 5090 pc@asgard-uk.com
Tommy Emmanuel May-Nov Sabine Trunzer, Kultopolis Europe T +49.6861.9399827 agentin@kultopolis.com
The Fizz May Ryan Balch, The Leighton-Pope Organisation Europe T +44 20 8741 4453 ryan@l-po.com
UFO May-Aug Nick Peel, Miracle Artists Europe T +44 20 7935 9222 nick@miracle-artists.com
The Jacksons May-July Georg Leitner, Georg Leitner Productions Worldwide T +43 664 111 5177 wlaurer@glp.at
Xander & the May-Aug Alec Leslie, ALE Consolidated Peace Pirates Europe T +44 1829 730488 alecconsol@aol.com
The Normads May-May Rob Berends, Paperclip Agency Europe T +31 24 323 9322 rob@paperclip.agency
www.audience.uk.com
The details shown above have been compiled from information provided to Audience and whilst we make every reasonable effort to ensure accuracy, we cannot be held responsible if data is incorrect.
audience • issue 228 • January 2019
42
Festival News
Woman-only camp offers safe space
UNITED STATES
A
camping area just for “women, women-identifying and non-binary individuals” has been revived for the Bonnaroo Music and Arts Festival (cap. 100,000), following a successful pilot scheme at the Tennessee event two years ago. Organisers say SheRoo will act as “a place to relax with other women, make friends, and partake in new, women-centred experiences”. Curated by the producers of the
Mothership Women’s Festival in Los Angeles, the pilot took place at the 2017 event. “We sprinkle the experience with icebreakers and community builders, for participants to make new connections,” Mothership founder Laura Wise tells industry website Billboard.com. “We want all women and non-binary individuals to feel welcome in the SheRoo space.” The initiative follows a report last year by Teen Vogue highlighting the issue of sexual harassment
at another major festival, Coachella (99,000). This year’s Bonnaroo takes place between 13 and 16 June, with headliners including Childish Gambino, Post Malone and The Lumineers. Tickets cost between $279 and $349.
Bonnaroo Festival
Plant returns to land of ice and snow Primavera embraces the ‘new normal’ ICELAND
F
orty-nine years since Led Zeppelin’s first performance in the country, founding member Robert Plant is returning to headline Secret Solstice, in the capital Reykjavik. Plant and his Sensational Shapeshifters band will be one of the headliners at the 12,000-capacity event, which takes place from 21 to 23 June.
Secret Solstice
Other acts confirmed include Rita Ora, Martin Garrix, Morcheeba, Foreign Beggars, Pussy Riot and Mr G. “For five years, Secret Solstice has brought together diverse line-ups featuring powerhouse and emerging acts, exclusive glacier and lava tunnel parties, and a luxury music festival experience,” says a spokesperson for the festival. Last year’s artistes included Stormzy, Bonnie Tyler, Slayer, Steve Aoki, Clean Bandit and Gucci Mane. Ticket range from 15,990 krona ($133) for an early-bird pass to 29,990 krona ($250) for VIP access.
SPAIN
B
arcelona festival Primavera Sound (cap. 35,000) is promoting an equal gender line-up for this year’s event. Under the banner The New Normal, headliners include Solange, Tame Impala, Cardi B, J Balvin, Erykah Badu, Future, Janelle Monáe, Nas, and Rosalía. “Primavera Sound is the holy grail
for artistes and audiences when it comes to European festivals and we wholeheartedly support the balance of males and females on the bill this year,” says Jamie Stockwood, head of The Zeitgeist Agency in the UK, which has been engaged to promotes the festival’s values. Primavera Sound takes place from 27 May to 2 June, with tickets priced from €150-€215 ($172$246).
Primavera Sound
Tour Manager Terry Tucker’s Touring Tribulations
audience • issue 228 • January 2019
by Newman-Parker
www.audience.uk.com
HOME OF LEGENDS The Johan Cruijff ArenA, formerly known as Amsterdam ArenA, is one of the leading Stadiums within Europe. Being the host for AFC Ajax, the Dutch National Team, concerts of world’s leading artists, EDM event Amsterdam Music Festival and four games of the UEFA Euro 2020 tournament. The dynamic ambience, retractable roof, HD WiFi & 4G
etwork,centrallocation,goodaccessibilityandsufficient n parking space make the Johan Cruijff ArenA a unique location for any event. The spacious ArenA can be divided in many smaller areas to make it suitable for all kinds of events, concerts and festivals. We can host between 10.000 and 68.000 visitors in various settings.
T/ +31 020 311 1306 E/ sales@johancruijffarena.nl w/ johancruijffarena.nl