Issue 43 LIVE MUSIC INTELLIGENCE
An ILMC Publication. Sept 2012
TV
TAKING TV ON TOUR TALENT SHOWS ON THE ROAD
THE MAN WHO OPENED THE IRON CURTAIN
L ASZLO H EGEDUS MARKS 40 YEARS IN MUSIC
THE HIGH FLIERS
T URBULENCE
IN THE AIR FREIGHT AND CHARTER SECTOR ?
MARKET REPORT: THE MIDDLE EAST
T HE
IMPACT OF THE A RAB S PRING ON TOURING
NOT THE WAY TO PLAY THE GAME: KEITH HARRIS ROCK ‘N’ ROLL CAN SAVE THE WORLD: JUHA KYYRÖ THE ONLY WAY IS UP!: TOOMAS OLLJUM EMBRACING EUROPE: CHRISTIAN HALD BUHL
L to R: Mike Marquis, Mark Walker, Jason Edwards, Oliver Hoppe, Xing Wang, Arnaud Meersseman, Matthias Schnakenberg, Ben Shprits, Claire O’Neill, Ed Poston. This marks the fifth year that IQ has published its New Bosses list, where, thanks in no small part to our loyal readers (and our general harassment in prompting you to nominate the industry’s up and coming stars), we identify ten individuals who are making a difference in their particular sector or territory. This year’s contenders are stellar – from computer whizz-kids to agents and promoters thinking outside of the box and even an environmental campaigner; I think you’ll find the list compelling. As usual, the criteria for selection was simply that the participants should be aged 30 or under, have not been previously included in the list and are making a valuable contribution to
Mike Marquis (USA) Booking agent – Paradigm Agency
shape the future of the industry. No pressure there then. But the shortlisted contenders span continents, work across every genre and genuinely inspire confidence that the industry will be in safe hands for decades to come. And as these ten youthful ambassadors now stand a good chance to be in the running for the title of ‘Tomorrow’s New Boss’ at the Arthur Awards ceremony during ILMC 25 in March 2013, now is as good a time as any to get to know them all and pick their brains about the health of the business. Gordon Masson, editor, IQ Magazine
Age: 30
Starting off his career in 2001 at The Kenmore Agency in Boston, Marquis also worked as an independent promoter in the city. In 2005, he relocated to New York’s Ellis Industries and four years later made the switch to Paradigm.
Alternative Press Tour, Walk off the Earth, The Early November, The Dear Hunter. I am also involved with Photo Finish Records, where we have our eyes on a couple of new bands, hoping to sign them before the year ends.
How is the role of an agent changing?
As one of the ‘new bosses’, what would you change to make the business better?
You have to be more selective now when thinking about touring. When I started there were less bands and less traffic. You could develop a career simply by hitting the road for three years and repeating markets. Now things seem over-saturated and it’s tougher to make a real impact unless you have everything else firing alongside touring: label, radio, press, etc. What are you up to at the moment?
Working on fall tours: Mayday Parade & The Maine, The
24 | IQ Magazine Sept 2012
There seems to be a new breed of young ‘industry types’ who have zero patience. I would change that mentality and urge these folks to do their diligence. I worked as an assistant for years, cutting contracts, doing ticket counts and answering phones. That experience is the backbone of what I do. It takes years to gain knowledge in this business that you simply can’t read in a book, but it’s those skills that will make you stand out.
Mark Walker (UK) Promoter – Kilimanjaro Live Whilst at University in York, Walker started putting on shows at a local rock pub. After a stint booking in-house at Cardiff Barfly, he joined Live Nation and started to build a roster in the world of punk and emo. In 2007, he followed Stuart Galbraith to Kilimanjaro Live where he is now a national promoter for the likes of Katy Perry, You Me At Six, Alkaline Trio, Joe McElderry and Parkway Drive. What’s the best lesson you have learned in your career?
People never forget! If someone is an arsehole to you then you’re not going to forget it and you aren’t going to want to work with them further down the line. It’s important to remember why you got into this game in the first place and to stay grounded.
Age: 28 Tell us about your proudest achievement?
That’s easy! Finally bringing The Vans Warped Tour festival back to Europe! I grew up dreaming of going to the States to see the Warped tour and all the amazing bands Kevin Lyman had playing. Now I’m working with Kevin to make it happen over here. What is exciting you in the music business at the moment?
You have to come up with new ideas to make people want to come to your event. Obviously there will always be those people who just get the cheque book out to fend off the competition for artists but it’s the people thinking outside the box who are exciting.
Xing Wang (China) Chief technology officer – Caoker.com
Age: 28
Even at 28, Wang is a veteran of the online world. At the age of just 15 he was part of the Microsoft Whistler test team in China. Two years later he was chief technology officer of MYMNU, Beijing’s equivalent of Facebook, drawing oriental comparisons with Mark Zuckerberg.
audience. You don’t have to buy a physical record to listen to music anymore and so people prefer to spend money on live shows and music/cultural/entertainment events. At some point, this [the internet] will become a big push to the development of China’s music industry.
How important do you think it is for international acts to have an online presence in China?
How do you predict your business will develop in the next few years?
As audiences’ attention returns to live shows and events, presenting international acts online in China will positively enrich the quality of online information and inspire Chinese audiences and event holders.
As the CTO of caoker.com, I also get involved in the creative side and the direction of the site. My main focus is to make the site successful in the next few years. As internet technology and the music industry develop, the demand of high quality content, information and user experience is increasing constantly. Caoker. com aggregates information and creative video content from both China and overseas. We are trying to make it a new generation music/creative portal website that aids communication and sharing of music and information between China and overseas countries.
What impact on the music scene is the internet having in China?
The internet has changed China’s music scene in many aspects. It changed people’s consumption pattern: records are less important as a media, and more like a souvenir for the
Arnaud Meersseman (France) Promoter and booking agent – Nous Productions Early aspirations of a career in foreign affairs were thwarted for Meersseman courtesy of a radio show he ran in Lyon, where he interviewed artists at gigs. Following an internship at Pi-Pole Agency in Montpellier, the boutique promoter ended up hiring him. Five years later, and anxious to move to Paris, Meersseman was offered a position by Salomon Hazot at Nous Productions, where he has been now for two and a half years. Is the internet making life easier in your every day work?
It has become easier to reach out and find new talent very early on. It’s also accelerated careers, allowing some unsigned acts to reach audience levels that some signed acts haven’t even reached. What’s your biggest achievement to date?
Most recently, the launch of our EDM event in the South of
Age: 30
France, Club Riviera Festival, selling more than 20,000 tickets for its first edition. If you could change one thing about the industry, what would it be?
I sometimes really feel things should slow down a bit. Money and venue size are expected to always increase in very short time spans. That creates a double issue: careers cannot be built properly as fan bases are very volatile; and it risks causing an inflationist bubble which if burst could have negative effects on the entire industry chain. Where would you like to be in five years time?
Still doing this job, but who knows, why not try other things? I’m a huge cinema fan, so maybe at some point I’ll take a look in that domain and see what is happening?
Sept 2012 IQ Magazine | 25
Jason Edwards (UK) Booking agent – 13 Artists Edwards began his career as a press officer at a Glasgowbased Sony label, before moving into club promotion in the city. He took on Dananananaykroyd and Pulled Apart by Horses for management which evolved into running his own management/booking/press agency until 2010 when he landed a job at 13 Artists. What are the major changes you’ve noticed in the industry?
I grew into the industry at the same time the likes of MySpace and iTunes were beginning to alter the way music was being discovered and consumed. The extent to which all of these outlets are completely dominating the more traditional ones (both in terms of media and retail) is totally unprecedented. I find it both hugely exciting and equally intimidating.
Age: 25 How relevant is technology/social media to what you do?
Massively. I hear about most new music through blogs or my friends tipping something on their social networks. Also, realising the value of advertising through YouTube, Google and Facebook has completely changed the way we look at marketing shows and tours and the associated budgets. Any low points? If so, what did you learn from them?
I’ve held a few grudges for a bit longer than I should have. You can’t do that really in this business. You never know who you’re going to end up either wanting to, or having to work with at some point. Ultimately, we’re all in this to ensure the success of the artists we work with – not for personal gains or one-upmanship.
Matthias Schnakenberg (Germany) Promoter and booking agent – Creative Talent Having enrolled in a training course to become an event manager, Schnakenberg spent some time working as a stage hand at venues such as the Schleyerhalle, Porsche Arena and Gottlieb-Daimler-Stadion. In 2008 he moved to Berlin and secured an internship at Creative Talent while he completed his training course. After a stint working freelance, Carlos Fleischmann offered Schnakenberg a permanent job in February 2010, as promoter and booking agent . What’s the best thing about your job?
It may sound trite, but the best thing about my job is to meet new people and work with bands which you otherwise would have never known or listened to. My musical ignorance gave way to an interest in different types of music. At Creative Talent I have the opportunity to work with great bands and artists across several genres.
Who are you working with at the moment?
Currently I’m promoting shows for Deer Tick, JEFF the Brotherhood, Machine Gun Kelly, Punch Brothers, Carolina Chocolate Drops, Ringo Deathstarr, Tamaryn, Radio Dead Ones and many more. What have been your most positive achievements?
I’m always happy when a band I work with ask for another tour. But this year’s Greenville Festival made me proud. It was the first time it took place and it was a lot of fun even though it involved working for over 20 hours each day. It’s definitely worth it when your boss says you did a really good job. What advice would you give to others through your experience in the business?
Be careful who you trust. Sad but true. It’s an important lesson to learn in the beginning. Never give somebody the chance to rip you off!
Claire O’Neill (UK) Co-founder – A Greener Festival; general manager – AIF Graduating from university with a 1st in music industry management, O’Neill’s early career was as new media manager at Media Records. She co-founded environmental operation A Greener Festival (AGF) and in 2008 she added general manager of the Association of Independent Festivals (AIF) to her résumé. Are attitudes towards environmental issues genuinely changing, or are budgets still the overriding concern?
Improving efficiencies, minimising waste, etc, can all save money for organisations. Since AGF began there’s much wider spread knowledge, acceptance and supply for the environmental improvement of events. With droughts, floods, extreme winds, increasing fuel costs and waste disposal, environmental management is an essential part of our lives, whether we’re ‘green’ or just in the business of staying alive. What things can people do to cut their carbon footprint?
Use refillable bottles/cups instead of disposables. Turn off drinks
26 | IQ Magazine Sept 2012
Age: 24
Age: 29
fridges when not in use. Choose sites with good public transport access and encourage lift-share. Explore and utilise the most sustainable and efficient power sources. Reduce production miles by seeking local supply. Ban non-recyclable disposables and wasteful giveaways. Liaise with local environmental organisations when using outdoor space... the list goes on. What would be your pitch to persuade a festival organiser to join AIF?
Many of our members comment on how being a festival organiser can be a lonely business. By joining AIF you are in the unique situation of sitting with fellow festival organisers on a regular basis and tapping into that invaluable resource of experience around the table. Coupled with market research, supplier discounts, free training & seminars, marketing and promotion opportunities and a strong representative voice to industry and government… what are you waiting for?!
Ben Shprits (USA) Booking agent – AM Only While studying at NYU, Shprits undertook internships across different areas of the industry. Convinced that management was the path for him, he asked Wayne Forte at Entourage Talent Associates to be his acts’ agent. Forte persuaded Shprits to become an agent and after eight years at Entourage, Shprits left in March this year to join dance music agency AM Only. What advice would you have for anyone trying to break into the business?
Learn to do everything, meet everyone, find good mentors, ask questions, stay humble and always give 100%. EDM is currently massive, has that benefitted acts on your roster?
Without a doubt. AM Only represents some of the most recognisable names in electronic dance music. The recent boom in the popularity of the genre has made household names of once underground icons. DJs who may have only played clubs or
Age: 29 raves are now playing mainstream festivals to tens of thousands of fans. As one of the ‘new bosses’, what do you think needs to change in the industry?
Service charges aka “(in)convenience fees” need to be brought in check. For example, a $60 (€48) ticket on Ticketmaster can easily cost a fan $72 (€58). Fan-club ticketing is helping to circumvent some of these fees, but with a 10% cap on allotments to fan clubs, 90% of fans still have to deal with hefty surcharges. How do you compete with bigger companies?
AM Only recently formed a joint venture with Paradigm so I guess we’re a big company now too. But I’d say the key to competing is to work harder, pay attention to the details, stay creative and care about the wellbeing of artists as mates and not just clients.
Oliver Hoppe (Germany) Managing director – Wizard Promotions Konzertagentur After freelancing for his father’s company while at university, Hoppe consulted at brands and music agency Miracle Music and Entertainment before working at LEDAVI Emotional Brand Building in Berlin. Now having travelled full circle, he’s back shaking things up at Wizard. What are you working on at the moment?
Creating more of a service than just being a promoter. This has always been one of Wizard’s strong points and I’m trying to increase this on various levels, as we want to create a unique experience for every band coming to Germany – aside from a professional production environment and state-of-theart promotion. What are the biggest current challenges in the live music market in Germany?
Mainly it’s an oversaturation of the market combined with a
Age: 28
steady increase in prices in the middle of an economic downturn. Next year we will be looking at around ten stadium tours coming through Germany. I’m confident that many [of those tours] will have a serious setback. What is your proudest achievement so far?
Not getting into a fistfight with my father and, first and foremost, bringing the amazing Lucy Rose to Germany this fall. Has your family name made a difference to your career?
It’s almost impossible to talk to music industry people who do not know my father (especially in Germany), so it would be absurd to say it didn’t have any influence. Some things are easier, and some things are harder. Prejudice brings some people to underestimate or not respect you, but in the end I think I can convince everyone that I am my own man.
Age: 27 Ed Poston (UK) Executive, writer/publisher relations, Europe - Broadcast Music Inc Poston started promoting gigs as a teenager and, following a relocation to London, took on additional roles of artist manager and tour manager. As founder of TheLiveList emerging acts promotional service, his profile rose and he caught the eye of Kobalt Music Group where he worked until 2010 when he moved to BMI.
of everything we do. I continue to work with artists and managers on a day to day basis and it is apparent from previously managing acts and seeing others do it effectively that having the artists’ best interests at heart and getting a feel of how best to deal with each individual, is extremely important.
How different is BMI from working at Kobalt?
How is technology changing the royalties landscape?
Quite different. My time at Kobalt was very good and I learned a great deal that is still vital to what I do every day, however my role at BMI is much broader creatively, which has really opened up my skill set and allowed me to work on different levels with people across the industry.
How consumers and licensees use music as a result of changes in technology has had a mixed impact on the copyright and royalty collection side of the business over the last few years. New technology and services can create new challenges, but they have also opened up new right types for collection and could provide answers as to how the industry evolves over the next few years. However, the key remains to license effectively and work as a united front across the industry in order to maintain the copyrights that protect our artists and songwriters.
Does your experience managing acts help in your current role?
Any experience of understanding the needs of an artist is always positive; after all they should be at the centre
Sept 2012 IQ Magazine | 27