VIP-News Premium - Feb. 2014

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PREMIUM > VOLUME 165 > FEBRUARY 2014

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VIP NEWS >

FEBRUARY 2014

McGowan’s

Musings

Right, I’m going to talk about the weather

and insane surfers would not attempt­to ride,

even though there are predictions of one of

again – I’m sorry, but it’s not just a matter of a

though they’ve had a good go at staying­on

the hottest­summers on record, the aftermath­

lack of imagination, I don’t know how it’s been

top of some of them. The floods have been

of the floods will still cause problems­as the

for you, but here on the big island it has been

so widespread that the views from satellites

ground in many areas is so super­saturated that

terrible. There have been waves not far short

of particularly the South and South West

it may well still be unstable.

of tsunami size, that even the most intrepid­

of the country must look as though major­ geographic­changes have taken place. The

Whilst

banks of so many rivers, including­the Thames

Environmental­Departments in the UK and

heads

of

have broken that insurance company’s banks

elsewhere get it in the neck for not being­

could well be the next to be broken!

prepared­for

rapidly

Government

changing

and

weather

patterns­ , those in other departments have

COLOPHON > VIP-News is published by: VIP-Booking 145-157 St John Street London Ec1V 4PW Managing Director: Ronni Didriksen rd@vip-booking.com General Manager: Peter Briggs pb@vip-booking.com Writer and editorial: Allan McGowan am@vip-booking.com Writer: Manfred Tari mt@vip-booking.com For advertising enquiries please contact: Peter Briggs pb@vip-booking.com +44 870 755 0092

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Even here in Brighton, though we don’t

actually­turned their attention to various

have a river to contend with (although

aspects­of our industry. In the UK more is to

there used to be one called the Fleet which

be done about the excesses of the ticket touts

I’m told still flows underground waiting to

with the set up of an investigative All Party

return­to the surface…!) we’ve had extreme

Group, we come closer to having something­

high tides, massive waves and the shingle

almost like a Music Export Office with the

beach has decided­to get out of the storms

second round of the Music Export Growth

by invading­the esplanade! Beach Huts have

Scheme, (read all about it in this issue!) and in

been scattered­for miles, and a famous local

France it looks as though the French language­

DJ was apparently spotted chasing his garden

radio quota system is to be dropped. In

decking­down the seafront – there’s some

Brussels­the new cultural support programme,

punning to be done here about decking and

Creative Europe, should provide some benefits

decks but I can’t be bothered – sorry Norman,

to the music sector – but will it be enough?

hope you got it all back!

See Manfred Tari’s article in this issue.

As far as the effects on the live music industry­

Guess what? It’s raining again, so having spent

are concerned it goes without saying that

last night in the company of two fine guitarists­

many shows have had to be cancelled as small

I might stay in and learn a third chord…The

venues­ , pubs and presumably concert­halls

whole of the VIP team, with new member

have suffered from the flooding – presumably­

Charlie (see this issue) will hopefully see many

we’ll find out more about that at next month’s

of you in London next month for the ILMC,

ILMC. It’s a good thing that this is not Festival­

but in the meantime Ladies and Gentlemen­–

season as many sites would be underwater­, and

The News!

VIP NEWS >

FEBRUARY JANUARY 2020 1414

Charlie Presburg

VIP-Booking Welcomes Charlie Presburg to the Team Allan McGowan am@vip-booking.com

Through his previous work with the highly

interests­, not the least music and football.

territories­. This is a very powerful resource

respected and informative trade publication­,

Charlie brings a professional network and

and can potentially help develop the way

Pollstar, VIP-Booking’s new Sales Manager

experience­with him that will be of huge

everyone in the live industry, from promoters­

Charlie Presburg is already well known, not

value to our business and I look forward to

to agents, venues to festivals, operates and

just to all of us in the VIP team, but also to

working alongside him in an environment

grows their business.”

many in the live music industry as a regular­

where we can all learn from each other as

contributor to events such as Eurosonic­and

we consolidate our efforts to reach the goals

ILMC. We’ve taken part in panels together

we set out to achieve.”

and Charlie has always been prepared to help out when I’ve needed accurate­information­

Charlie said, “Having spent over 20 years

for the News, so it’s a personal pleasure for

working in the live music media, making the

me to welcome him to the team.

move to VIP Booking seemed to be a very logical step for me and the time felt right.

3

General Manager Peter Briggs commented,­

I have been aware of VIP for a long time

“I have known Charlie for many years as

through the other work that I have done and

our paths have crossed at many of the

I see great potential for its services­in the UK

trade fairs and conferences we attend every

and European live music and events industry­.

year. He has always come across as being

I look forward to working with the VIP

a very genuine person – an attribute that

Booking­team and hope to be able to help

we value highly at VIP-Booking - and we

develop and grow its European subscribe­r

soon found that we shared several common

base as well as reach new markets­and

3

VIP NEWS >

FEBRUARY 2014

Maarten Quaghebeur

The Business in Belgium and Beyond Allan McGowan am@vip-booking.com

Belgium is home to a population of around ten and a half

Of course Belgium is really well known for its festivals - for a

million people, so not a big country, but there’s a very

relatively small country there are a lot, but although this brings

active music market, with an abundance of festivals­, a

a lot of international acts to the country, are these events good

good number of long established venues and as seen at many of the showcase events an increasing­number of interesting acts. Following my visit to the Glimps event in Ghent late last year, I spoke to organiser Maarten

for Belgian talent? Also how is the rest of the live market, such as clubs and small venues?

– The number of good festivals in Belgium is indeed high. It’s crazy how many possibilities the audience and the bands have to play on a tiny piece of land. Let’s say this is both a blessing and a curse. As

Quaghebeur, who also runs the Boomtown event and

the level of production and organisation in the country from the club

management company Rockoco:

venues­and most of the festivals is quite high, bands are generally really­shocked when they start touring abroad. So, let’s say Belgian

Could you tell us a little about your background in the business?

artists are a bit spoilt. On the other had it’s really tough to earn

– Maarten Quaghebeur: During my theatre studies at the Arts School

enough funds to build up a real international career from Belgium.

in Gent 17 years ago I became intrigued by some talented musicians.

A small market gives a small income. But... young Belgian bands

The fact that there was no real strategy or support for developing

and their entourage seems to know that now and they start to look

Belgian musical talent on a national and international level triggered

directly­at playing abroad and getting away from the small Belgian

me even more. I started a music management agency together with a

market. It gives them artistic freedom; they try to make something

friend. The band we managed won the most important music contest

different and are not afraid of some experiment.

in the country. That was the start of an interesting journey through

music and politics. We started with managing more bands and

I’ve been impressed by the Belgian acts that I’ve seen at the

created­Boomtown: a discovery festival for pop and rock music­during­

various showcase events over the last couple of years, there

the Gentse Feesten. The festival brought a new élan to the event.

seems to be something of a ‘new wave’ of talent emerging.

Today Boomtown offers four stages (two indoor and two outdoor­)

Would you agree with this and do you think there are particular­

ranging from 300 persons to 7000 in capacity.

reasons at this time?

– There is talent and there is ambition. This has many reasons but

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The showcase festival Glimps was another step in our search for

I do believe that the fact that we have had Studio Brussel, a good

creating­new possibilities for Belgian artists: a showcase festival

national radio station, playing interesting music for a long time and

and conference in our own country featuring interesting acts from

that Belgian musicians and their audience have been able to see

Belgium­in a mix with fresh talent from the other European countries.

loads of great international artists live in the club circuit and on the

When looking back it’s simple: I’ve been looking for the best ways

festivals means that Belgian musicians have seen a lot of interesting

to develop new and interesting Belgian acts in a good way and I’m

experiments­. They have a broad view and that results in them daring

looking­forward to keeping on doing that.

to create something different from the rest.

VIP NEWS >

FEBRUARY 2014

How many artists does Rockoco look after - do you also arrange

liked working­with them but sometimes your inspiration for what to

gigs for these acts or do you work with particular Agents?

do with a band in order to develop them further stops. It’s a good

– We are currently managing 6 acts. Till last year we also booked a

moment­to separate. Sometimes it’s good that somebody tells the

lot of these acts on the Belgian market but we stopped doing that.

same story in another way.

We want to focus on management: a good financial structure and the best exploitation possible for the artistic product an artist wants

You are also responsible for the Glimps Conference and

to make. We work with agents in a lot of countries. For some acts we

Showcase­event -how do you intend to develop this?

work with international agents for others we don’t. It all depends on

– Glimps wants to put the spotlight on export ready Belgian talent

the needs of the artist on a certain moment in their careers.

but is at the same time a platform for bands from all over Europe.

Our programmation team spends hours and hours on searching for

Which of your acts are breaking into other territories, and how

interesting­Croatian, Turkish or even Bulgarian bands. It’s a pleasure­to

have

hear someone from the audience say during Glimps, “I never thought

– We are working with all our acts internationally. Mintzkov has

that a Bulgarian act could be interesting but this was amazing­.” I

released­its fourth record this year and is touring in Belgium, the

believe that there are possibilities for bands from the continent to

Netherlands, Germany, Switzerland and France. The Go Find release

tour all over the continent if music professionals go on with working

their album through the Berlin-based Morr Music label and gets

together and sharing their knowledge. The UK has delivered great

reviews­and airplay ranging from Scandinavia to Italy through to the

bands and is still doing so but there is also a lot of talent on the

US. The Bony King of Nowhere is ready for the big step. I’m working

continent­and that talent is conquering the stages now.

on a worldwide release for him. He is extremely talented and has built up a great audience all over Europe by touring a lot in the last four

Glimps wants to bring those music professionals together. Not on a

years. Liesa Van der Aa is our most multitalented artist. She can play

big conference with 3000 professionals but on a conference with a

as well in the cellar of a rock bar as writing opera and performing

fair load of interesting Belgian music professionals mixed with key

it with an arty string orchestra. Liesa has a strong view of her work

music professionals from abroad. The last three editions showed

and on how to develop it. We are helping her with producing her

that people go home with contacts that are the start of deeper

work and guiding her through the worlds of arts and pop and rock.

cooperation­for the future. The amazing atmosphere and buildings

We gathered a lot of experience by working in the past with acts

of Ghent are the perfect decor for presenting the music of tomorrow

as Das Pop, Styrofoam and The Van Jets. Good artists, and I really

and the music professionals of the future!

Liesa Van der Aa

The Bony King of Nowhere

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VIP NEWS >

FEBRUARY 2014

New UK Parliamentary Inquiry into Ticket Touting Allan McGowan am@vip-booking.com

Mike Weatherley

amendments­to the Consumer Rights Bill currently before the House of Commons. The first evidence session was held this Wednesday (5 February), and heard from the Rugby Football Union, National Theatre, Association of Independent Festivals, and Kilimanjaro Live CEO Stuart Galbraith.

The announcement of the fresh inquiry comes in the same week as Lady Gaga’s new UK tour has gone on pre-sale to o2 customers, with hundreds of tickets appearing on secondary platforms before going on general release, and in the week following media criticism of touts profiteering from tickets for shows laid on for the Teenage Cancer Trust by The Cure.

Music APPG Co-Chair John Robertson MP said: “The secondary market­has grown exponentially over the last decade, but has been subject to very little scrutiny. As a result, music fans are finding it increasingly­hard to get to top gigs unless they’re prepared to pay well over the odds, and this is particularly true for the young people that

A cross-party group of politicians, including Mike Weatherley, the

many artists­want and need to attract to be successful in the long run.

Conservative Member of Parliament for Hove and Portslade, has

announced­that it will be holding an inquiry into the touting of tickets

“I want this inquiry to get to the bottom of how the market works

for music gigs.

now and how it should work in the future if it is going to support the music industry, rather than undermine it.”

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The decision by the All-Party Parliamentary Group (APPG) on Music to

examine the problems caused to artistes and fans by the secondary

Mike Weatherley MP, who is a Co-Chair of both APPGs as well as

ticketing market follows the start of a separate inquiry being run by

Intellectual Property Adviser to the Prime Minister, said: “Industrial-

the APPG on Ticket Abuse.

scale­touting is affecting more and more live entertainment events, but

nowhere­is it more noticeable and more damaging than in live music.”

The Music APPG’s inquiry will begin with a call for evidence in the

summer and formal evidence sessions beginning in the autumn, and is

“Touts are capitalising on the risk, talent and intellectual property of

intended to report in 2015.

others while contributing nothing to the continued success of the

industry­, and it’s important that the issue is looked at by Parliament

The Ticket Abuse APPG’s investigation, on the other hand, aims

and the Government. I hope that this inquiry will lead to much-needed

to report­by the end of March, in time to influence and inform

improvements which are acceptable to the whole industry.”

2014

CANADIAN MUSIC WEEK

May 6-10, 2014 Toronto, ON • www.cmw.net

VIP NEWS >

FEBRUARY 2014

Midem ‘14

Allan McGowan am@vip-booking.com

Attendance at the 2014 edition of Midem

However, there was growth in visitor

VIP were in attendance at Midem and

was down 4% on the previous year, according­

numbers­from other international markets.

General­Manager Peter Briggs commented­,

to conference organizers. This year’s event

Participants from Japan were up 40% year-

“Although­the number of delegates attending­

drew 6,150 participants, compared to 6,400

on-year; Australia up close to 50%; Turkey

MIDEM has been steadily decreasing­over the

in 2013, said Midem director Bruno Crolot.

up 40% and Brazil, which was this year’s

years, it is still a place where business gets

A contributing factor in the smaller number

country of honour, up 30%.

done. There seems to be a curiosity amongst

of participants was a “slight decrease” in

delegates to discover new ways of doing

visitors­from France and Southern Europe, said

Crolot closed the press conference by

business and from our own perspective

Crolot, citing ongoing economic problems in

confirming­the dates of Midem 2015, which

MIDEM­continues to give us new subscribers

the region. There was also a small slide in the

will take place Jan. 31 to Feb. 3 in Cannes.

every year as it puts us in touch with sectors

number of visitors from Germany, he said.

of the business that we wouldn’t normally reach.

Midem Director, Bruno Crolot

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VIP General Manager, Peter Briggs

VIP NEWS >

FEBRUARY 2014

Post Midem Thoughts from Ville Leppanen: Ville Leppanen of Artist Management­

Here are a few pointers we picked up

Being entrepreneurial means putting your

Company and recording­studio The

along the corridors of... power?

money where your mouth is long before anyone­else will inject cash.

Animal Farm in London, has been a guest writer for VIP in a couple of issues, he and his business partner and also brother, Matt, are regular­

1. Streaming - in a world where if not now then very soon all music ever recorded will

As an artist, you won’t be able to do it all

be available to everyone everywhere at any

on your own, just as any other part of the

time of their choosing, they will not spend

value chain is unable to operate in isolation.

attendants at Midem, he comments­

a moment­of their time listening to a bad

In a collaborative pull economy it’s ever more

here on the recent edition and

record­they don’t like. They will click on

important to work in teams. You have to be

his observations on his return to

something else, because they can.

willing to adapt your approach and adopt new ideas quickly.

London­: It’s very hard to push music to such people.

The big picture and the pixels that make it:

Your music has to pull them in.

Walking into a huge conference hall where

The ability to work on a problem without­ knowing where to look for the answer

thousands of people and companies mill

The age of the download is over. Why would

equips you for the moment when you begin

around, trying to convince each other

you buy a file when you can just listen?

to understand what’s what, and you notice

that THEIR artist is the best thing ever, is

that the problem has already changed.

educational­, sobering and inspiring. At Midem­

The word is that if we get the streaming

we met majors and indies from the world

thing right, the value of the music business

3. Having a story - you need to be relevant

over. We networked like crazy, with meetings

will explode into new spheres.

to the needs of those you approach. Your

scheduled every half hour from morning until

“story” answers their question “what can

evening, followed by networking­dinners and

I have Spotify Premium. It costs me £120 per

you do for me?” If someone can’t find in

drink-a-thons in bars.

annum. Never in my life have I bought £120

your story the answer to their question, you

worth of CDs in one year. As far as the music

are not relevant to their needs.

Getting to know companies whose histories­

business is concerned, I’m a better customer

we admire and whose artists have influenced­

to them now than when dinosaurs ruled.

our

career

is

exciting.

Reconnecting­

For a moment, put aside your wants as irrelevant­. Place needs at the core and come

with people we’ve done business with is

2. Everyone needs partners- investment

satisfying­. We had dinner with someone with

into new artists comes in many guises.

whom we worked when we first moved to

Bringing­value to a partnership isn’t about

4. The currency of music -the business of

the UK over 20 years ago; that all of us are

turning up with your mouth open expecting

music needs great recordings of great songs,

still active and doing well is very cool.

to be fed.

because that’s what their customers listen to.

up with solutions.

Ville Leppanen

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VIP NEWS >

FEBRUARY 2014

People listen to a song, almost always on a

some artists had long careers? Their records

recording streamed to a mobile device.

don’t suck, that’s why.

If your recordings aren’t being reacted to

6. Where’s the future? - It’s not in vinyl or

with love and gusto by people in your social­

horse carriages! The one sure thing about the

circle­ , don’t kid yourself that a “manager­ future is that it’s going to happen. Throughout­ with contacts­ ” or “more exposure and

history the conservatives have consistently

publicity­” will make people twice removed

been on the losing side of the argument.

from you give two shits about them.

Lots of companies like ours, who do the If you want my advice - spend all your

whole 360 or varying degrees thereof, are

resources­on making great records. That’s

active in the marketplace, working with cool

Equally, it’s very frustrating when your music

your only answer to the needs of those you

new music, doing cool things.

is not being reacted to. Levitate for a while.... hover above the conference hall at Midem....

need on your team to make a career in music.

The majors are only interested in huge hit acts and

go higher.... see how all those managers

Your need is to get a team to work with.

while there is nothing wrong with that, it doesn’t

with their unique artists morph into one

Their need is to have something unique, bold

apply to the vast majority of musicians creating,

sweltering­mass... go even higher... a few

and different to play to their mates in Midem

touring, recording and loving the process.

hundred kilometres above the Earth it will all make sense.

and situations similar to it.

There is something oddly satisfying about

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5. It takes time - it always takes longer than

living­at a time when a song you put on

We’re here to fart around. While we’re doing

you think to get there and, once you’re there,

YouTube can all of a sudden capture the

that, one way to make a difference is to write

it never lasts as long as you’d like. Why have

imagination­of millions.

a song that really gets people going.

VIP NEWS >

FEBRUARY 2014

> INDEPTH STORY > CREATIVE EUROPE

Creative Europe: Between the Lines Allan McGowan am@vip-booking.com

The new support program dedicated to culture and the creative sector in the European Union can certainly be seen as a flagship project. The budget of 1.46 billion Euros for the years 2014 until 2020 this sum is certainly minimal when compared to the overall operating budget of 960 billion Euro but nevertheless the introduction of this programme indicates an intention by the European administrative authorities to support and encourage the creative sector No doubt, the funding opportunities for the farming or science sector­ are somewhat better than those for the creative sector. Yes, until now the European Commission has understandably prioritised economic welfare in Europe, and sometimes, and particularly in light of the elections for the European Parliament in May, there seems to be a gap of understanding concerning European citizens appreciation and understanding of the political and administrative efforts undertaken by the European Commission on the one hand and those of European politicians on the other.

The music sector is apparently not very high on the agenda of the official European bodies. Being regarded from an economic point

David Abbott, Spokesman, The European Commission

of view as having pretty much the same relevance as the Christmas tree industries, it is a commercial sector that can and has been easily

Another new feature of the programme is the Cultural and Creative­

overlooked­.

Sector Guarantee Facility, which will complement our traditional grantbased­support. The objective of this facility, which will be launched in

However, Creative Europe includes really interesting and very well

2016, is to support and facilitate the access of European cultural and

developed­support instruments; but unfortunately only for the

creative operators to bank loans. It will provide guarantees­to banks

film sector­. VIP News approached Dennis Abbott, Spokesman, for

operating or wishing to operate in these sectors, along with providing

Education­ , Culture, Multilingualism and Youth at the European

bankers with the necessary expertise to correctly analyse the specific

Commission­ , to ask amongst other questions, why the European

risks associated with the sector.

Commission displays a much greater passion for film than music: Finally, the Creative Europe budget will amount to 1.46 billion Euros, Creative Europe is the European Union’s new culture support

which represents a 9% increase compared to previous levels (Culture­

programme. What is the difference between the previous

plus MEDIA programmes) and makes Creative Europe one of the

programme­and Creative Europe?

few EU programmes which benefited from a budget increase for the

– The new programme will be a ‘one stop shop’ for the cultural

period­ 2014-2020.

and creative sectors resulting from the merger of our two previous funding­schemes, the Culture programme and MEDIA programme for

How has Creative Europe been developed and who has been

the film and audiovisual industry.

responsible for overseeing and finalising the details of the programme­?

12

VIP NEWS >

FEBRUARY 2014

> INDEPTH STORY > CREATIVE EUROPE

– The European Commission conducted several public consultations­

diversity and at the same time bringing the common cultural heritage

prior to launching its proposal for the creation of a new Creative

to the fore.”

Europe­programme. For example, a public on-line consultation on the future of the Culture Programme took place between 15 September­

In the 170 page document ‘COMMISSION STAFF WORK-

and 15 December 2010. A considerable number of individuals and

ING PAPER­for establishing a Creative Europe Framework

organisations expressed their views on the future programme. A

Programme­’ the word ‘film’ appears 220 times, whereas ‘music­’

summary­of the results was published in June 2011. In parallel, a

appears only 41 times. Further perusal reveals that ‘cinema’

public­consultation meeting took place on 16 February 2011 in

is mentioned 65 times while the term ‘concert’ only 6. These

Brussels­, attended by more than 550 people, many on behalf of

figures­indicate that the content of the document confirms that

European­cultural organisations. Member State governments were

in terms of its various support schemes “Creative Europe” is

consulted as well as major operators and associations.

unequally balanced. How then does “Creative Europe” meet the goals outlined within the “Europe 2020” strategy?

Building on this feedback and on the outcome of the existing­ – When implementing the programme, we will take particular care programmes­, the Commission put forward its proposal for a new

to strike a fair balance between sectors without favouring one over

merged programme in November 2011. The Council and the

another­and to cover all the cultural and creative sectors, in line with

European­Parliament discussed and amended this proposal until they

the provisions laid down in the Regulation establishing the programme.

came to an agreement at the end of 2013.

We believe that the music industry, together with publishing and Within the proposed budget for Creative Europe, 55 percent of

the film industry, might well be among the main beneficiaries of the

the 1.46 million Euros is allocated to the film sector. Can you

guarantee­facility. Finally, the EU 2020 strategy is about inclusive­,

please explain why Creative Europe is so focused on support

sustainable­and smart growth where social objectives are as important­

for the film and related media industry?

as economic ones. In this context, I am sure that you will agree that

– The new Creative Europe programme sought to avoid any major

all cultural and creative sectors can contribute to this strategy on an

disruption in the levels of support previously provided to cultural and

equal footing.

creative players. The budget breakdown between the culture and the MEDIA sub-programme has been calculated to achieve a similar

Since the end of December it has been possible to apply for

balance­. It roughly follows the comparison between the budgets of

funds within the various sub-programmes of Creative Europe.

the previous programmes.

Applications to the previous Culture Programme resulted in only a handful of popular music-related projects actually

The support schemes for the film sector are well developed

receiving­funding. The formal requirements are tough, the

and precisely adapted to the requirements of this industry. The

bureaucratic demands even tougher. Is “Creative Europe” only

needs of the music sector are very similar and the structures

really suited to projects that already receive funding or have

of both sectors are comparable to a greater or lesser degree.

other substantial financial backing sources?

As such why have existing support schemes for film not been

– With this new programme we have tried to simplify the administrative­

adapted and made available for the music sector?

procedures that applicants go through. For example, we are making

– One cannot ignore historical reasons and the success of the Culture

greater use of online forms. Nonetheless, we are dealing here with

and MEDIA programmes. This said, it is true that the cultural and

public money and must comply with strict rules to ensure that funds

creative sectors are facing shared challenges which imply a need for a

are used in a transparent and efficient way, and that applicants are

more coherent policy approach. That is what led to the merger of the

treated equally. Creative Europe does not discriminate against smaller

Culture and MEDIA programmes, which will enable and encourage

organisations – and nor did its predecessor programmes. Any project

synergies and the sharing of experience between sectors.

that contributes to the objectives of the programme has a chance of securing funding.

‘Harmonisation’ is usually one of the key considerations of the European Commission, so why has this aspect not been

In terms of the elections for the European Parliament in May 2014, it

appropriately­applied within the set-up of Creative Europe?

appears very likely that anti-EU-parties could become stronger. Could

– ‘Harmonisation’ is not part of our agenda. The core principles

it be the case that former and current European Commission culture

underlying­the European Union’s role in the field of culture are laid

programmes are not efficient enough to promote and extend the

down in Article 167 of the Treaty on the Functioning of the EU. This

policy of a unified Europe?

states, “the Union shall contribute to the flowering of the cultures

– We are convinced that culture is a powerful driver for bringing

of the Member States, while respecting their national and regional

European­citizens closer together. This is one of the reasons why the

13

VIP NEWS >

FEBRUARY 2014

> INDEPTH STORY > CREATIVE EUROPE

Commission was determined, despite calls by some Member States

creative sectors. Its impact on the perception of European integration­

for cuts in the EU culture budget, to secure an increased level of

is therefore an indirect one and should not be overestimated. At the

support­under Creative Europe. At the same time, we must recognise

end of the day, despite the 9% increase we achieved compared with

that the main

last time, Creative Europe represents only 0.2% of the overall EU

aim of the programme is to promote cross-border

cooperation and strengthen the competitiveness of the cultural and

budget for the next seven years.

UK Music Export Growth Scheme Opens for Second Round Manfred Tari mt@vip-booking.com

Lord Livingston

Geoff Taylor

artists­

overseas

as part of wider

The successful applicant artists are:

Government­ effort­s to

get

another

100,000 businesses exporting. The music companies and acts receiving the grants span of

the

genres

rock/alternative,

pop, dance/­electronic, urban­ , classical, jazz and

world

music

The UK does not have a dedicated Music Export Office, a fact which I have

and are from London­,

found surprises some people in other markets where these organisations­,

Glasgow­,

Bath,

the cooperative activities of the Nordic offices being a good example,

Sheffield­,

Wiltshire,­

have developed important and effective support systems for the export

Leeds, Nottingham and

of music talent. There was I suppose also a presumption that UK talent

Monmouth (Wales).

Afrikan Boy Beth Jeans Houghton n Catfish and the Bottleme Drenge Filthy Boy Fred V & Grafix George Benjamin Holy Mountain Melt Yourself Down ting Public Service Broadcas The Crookes ent The Temperance Movem Throwing Snow Zara McFarlane

had a long tradition of success overseas which gave it a bit of a head start. That is something that certainly can’t be taken for granted these

Lord Livingston said,

days. There have been certain sources of support, such as the UK Trade

“Last

and Industry (UKTI), The PRS Foundation, and more recently The Arts

of music talent in the UK and why we sell more records around the

Council with the introduction of the Momentum Fund, but it is good to

world than almost any other country. 50 years on from the Beatles

see that there is further back up for some artists at least with the progress

arriving in the America, the Music Export Growth Scheme will give

to a second round of the UK Music Export Growth Scheme.

more talented young British artists the chance to be successful on the

night’s

BRIT

Awards showed the depth

international stage. This scheme is just one of a number of ways UK Following the BRIT Awards Trade Minister Lord Livingston announced

Trade & Investment helps music businesses to get into the rhythm of

that fourteen UK-signed acts will receive financial support to help

exporting.

market­themselves around the world. The successful applicants from the first round of the Music Export Growth Scheme were revealed

The successful signed acts and music companies were selected from a

after­the Award Ceremony celebrated some of the UK artists who have

pool of 118 applications received in the first round of the programme­.

helped to accelerate export sales of British music to over 13% of the

The decision to allocate funding to a specific campaign was taken

global market.

by a panel of music industry experts, independently chaired by John Kennedy OBE, with advice and guidance provided by BPI, UKTI,

14

The Music Export Growth Scheme has been established by UK Trade

the Association of Independent Music (AIM), the Music Managers

& Investment (UKTI) and the British Phonographic Industry (BPI) to

Forum (MMF), and representatives from some of the UK’s leading

help small and mid-sized independent music companies promote their

independent­record labels.

VIP NEWS >

FEBRUARY 2014

> INDEPTH STORY > CREATIVE EUROPE

John Kennedy - Music Export Growth Scheme Board Chairman – said,

support­that UKTI gives the music sector and we’re delighted to be in

“This is a wonderful opportunity for emerging artists and growing

a position­to do that. We are very keen that this scheme is successful

independently-owned music businesses. The number and variety of

and UKTI will work closely with the BPI and music industry generally

the applications for the first round of funding was very impressive and

to ensure that it is, and that many companies benefit from it, giving­

it is now important that the successful applicants maximise the return

them the opportunity to support campaigns that will increase the

from the funding they receive in order to justify the belief shown in

UK’s share of the international music market in all areas.”

their project and the commitment made.”

The scheme, funded by UKTI, will make up to £2.5 million of grants BPI and BRIT Awards Chief Executive, Geoff Taylor added, “The very

available over a two and a half year period. It was announced in

strong response we’ve had to the Music Export Growth Scheme

October­2013 at a Number 10 meeting with music executives chaired

clearly­demonstrates the demand from independent labels for

by Prime Minister David Cameron.

support­in boosting their exports. The quality of the applications was encouraging and I’m delighted that BPI can play a role in helping UK

Further application rounds will take place periodically over the next

indie labels to grow their businesses overseas”.

two and a half years, with the next round now open for submissions­ until 17th March 2014. Applications are open to all UK music

Phil Patterson,Music Sector Specialist for UK Trade & Investment said,

companies­meeting the application criteria.

“The Music Export Growth Scheme is a great addition to the

Full details can be found at www.bpi.co.uk/export-scheme.aspx

ThE hALL DUO IN NEckArpArk

UNIQUE AND DOUBLY GOOD

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info@in.stuttgart.de www.in.stuttgart.de

22.11.13 09:09

15

VIP NEWS >

FEBRUARY 2014

Berlin Music Week - Between the Years Manfred Tari mt@vip-booking.com

This was one of those news items that just

– Katja Lucker: The Musicboard Berlin, founded­

– Döring: For us it is crucial to apportion

pop up now and then... usually somehow

in 2013, has the aim to fund artists­and

responsibility­and that’s what we all agree

getting washed away by the daily flood of

musician­s, supporting the local music­industry­

upon. Which partner or sponsor would

information...

as well as the coordination of processes­to

be happy to cooperate with an event

promote­Berlin as a location for international­

which changes its frame and main contact

At beginning of December the organisation

music production. Thus bringing­Musicboard­

persons­year on year? Nobody is interested

Musicboard Berlin staged an infotainment

and the Berlin Music Week together­is

in that. Formats and co-operations of the

event, reporting on their activities within its

absolutely­reasonable­as it creates further

year 2013 will be continued and contents

first business year.

synergies. We, and the players of the Berlin

will be defined­and discussed together to

music scene are already working together­to

accomplish­an

Musicboard Berlin receives 1 million Euros

strengthen the position of Berlin as the capital

and design. Nobody wants to completely

per year, which is used to finances five r more

of music of Germany and Europe.

redefine­the event, which has just shown to be absolutely­sustainable­and future-proof

support measures for Berlin based labels and

16

up-to-date­organisation

artists, dedicated to the aim of strengthening

Was this rather a political or a strategic

with the new festival centre in Postbahnhof

the music community in the city. Interestingly

decision and who has been responsible

and in Kreuzberg­ -Friedrichshain, and with

and, surprisingly considering its relevance,

for this move?

the institution­of an innovative conference

more or less unconsidered it was made public

– Lucker: The Senate of Berlin decided in

format­. And the fact, that the new showcase-

that from 2015 onwards Musicboard Berlin

2011 to create the Musicboard Berlin and

festival “First We Take Berlin” was nominated­

will receive an additional 500.000 Euros in

in 2013 it started with the goal to optimise,

for three categories at the European Festival

order to promote the music convention Ber-

bundle and coordinate processes. From this

Awards speaks for itself.

lin Music Week.

consideration many discussions on different levels took place as to how this could actually­

Apparently you already have regular

Previously this money went to Kulturprojekte­

be constructed. The decision to entrust the

internal meetings. How is Musicboard

Berlin, an event agency that promotes severa­l

Musicboard with the organisation of the

Berlin currently involved within the

cultural events and exhibitions on behalf

Berlin Music Week has finally been made

organisation­of BMW?

of the city of Berlin. VIP News asked eight

by the House of Representatives, the Berlin

– Lucker: The Berlin Music Week has

questions­by mail and received answers to six

parliament, and once more indicates the full

established­solid structures over the last four

from Katja Lucker, head of Musicboard Berlin­

support of the Land of Berlin for the creative

years. Since last year we are continuously

and Björn Döring, project head of Berlin­ industry and the music sector.

exchanging ideas for projects concerning

Music­ Week:

formats, as for instance the invitation of an What kind of impact will have on the set

international delegation of professionals and

What are the reasons for withdrawing

up of BMW?

journalists, but also as to the way of how

BMW from Kulturprojekte Berlin and to

– Lucker: The strong basis for the planning

the music location of Berlin is represented at

put it under the umbrella of Musicboard

of this year’s edition is the success of the

international­industry events and trade fairs.

Berlin?

Berlin­Music Week 2013. By now the project

– Björn Döring: The most important message

is continuously­evaluated and developed­ .

– Döring: We have an intensive exchange

for Berlin and the international music industry­

The team of the Berlin Music Week,

and give each other reciprocal advice. For

is that after a remarkable development in

Kulturprojekte­Berlin and Musicboard are

instance, the CEO of Kulturprojekte Berlin,

2013, the Berlin Music Week is recognized as

working together for a strong Berlin music

Moritz van Dülmen was involved in the talks

a flagship of the Berlin Music Scene.

industry and a successful Berlin Music Week.

before the founding of Musicboard Berlin,

VIP NEWS >

FEBRUARY 2014

and Katja Lucker, head of Musicboard, is a member of the board of Berlin Music Week.

program

Björn Döring

‘Karriersprungbrett

Berlin’

and

scholarships­for Berlin-based artists. This

Kulturprojekte Berlin established the Berlin

year, for the first time a scholarship-holder,

Music Week as a platform where the inter-

the fantastic­musician Pantha du Prince will

ests and projects of the Berlin participants

be sent to the Villa Aurora in Los Angeles­.

of the music industry are bundled up. And

A new funding program for labels has been

of course, the Berlin Music Week offers

launched as well, it funds training courses­

also an event stage for projects funded by

and staff to up-date the current royalty

Musicboard­– as this five-day long event can

software­ . Finally we are dealing with the

be seen as a display for the pop and creative

issue­“Pop im Kiez”. We are funding­project­s

industries of Berlin. Besides diverse talks at

supporting the co-operation­of music­, club-

the WORD-conference 2013 there has been

culture and neighbourhood­. I myself­, as head

a showcase evening with Berlin-based bands

of Musicboard­ , am talking to the district­

supported by Musicboard.

representatives­of Berlin and try to prepare them for the issues of the music­scene,

Are there any amendments planned for

moderating­in cases of conflict. Furthermor­e

BWM 2014?

we conduct numerous conversations­with

– Döring: With the boost of last year we

partners and interesting new players­ , to

are happy to be well advanced with our

promote­Berlin as an international­production­

preparations­and scheduling; the concept

location. And of course, the close and

of the conference section is completed.

constructive­co-operation with the Berlin

Under the slogan ‘Music Released’. We

Music­Week is on the agenda as well.

are focusing­for two days on the present and future­situation­of the music industry­,

The unanswered questions:

which is observably­moving away from

As mentioned within the introduction,

physical product­and we will be showing the

two out of eight questions unfortunately

consequences­and risks of that. The first acts

remained­unanswered. In an effort to main-

of “First We Take Berlin” will be announced

tain the level of journalistic service VIP News

in spring, as well as numerous co-operations

readers hopefully expect and enjoy, please

and partnerships, on which we are working

find below the two unanswered questions.

at present. Currently we are looking forward to the planning of SXSW. This year, our team

Kulturprojekte

member Tommy Nick has the honourable­

larger events in Berlin. Due to this

but also challenging task to organise the

Kulturprojekte­Berlin have in terms of

Berlin representation and he is setting up a

infrastructure­possibly­more to offer than

sensational program, which appropriately­

Musicboard Berlin who until now have

characterises­the creative industry of Berlin­.

not promoted any bigger events. Won’t

As to the Berlin Music Week, we will definitely­ strengthen the Music-Interactive section with

promotes

several

this mean that Musicboard Berlin­will

Katja Lucker

need to develop­new structures internally­ for ticketing­ , administrative and other

a new edition of the Startup-Corner, a Music

business services­to run BMW efficiently?

Hackathon and diverse panels on streaming,

Board­to again hold a member meeting in

so the positioning in Texas turns out to be

Berlin­in September. Co-operations with

ideal.

events such as the Great Escape Festival are

Does this move provide any guarantees

already­confirmed and we are looking forward­

for the current team behind BMW to

to announce even more in the near future.

keep their jobs when Musicboard Berlin

For the Berlin Music Week itself, the signs

finally takes over BMW in 2015?

are pointing towards internationalisation.

Paul Cheetham, our coordinator for the

What

else

in

on

the

agenda

of

comprehensive­international exchange just

Musicboard­ Berlin?

For further information, please check

arrived back from MIDEM, where we could

– Lucker: The Musicboard continues with its

www.berlin-music-week.de and

amongst other things convince the Impala-

successful programs of 2013: the newcomer-­

www.musicboard-berlin.de

17

VIP NEWS >

FEBRUARY 2014

ILMC 26 Announce

‘Dragon’s Den’ Sessions Allan McGowan am@vip-booking.com

Marcel Avram

Rob Hallett

Neil Warnock

The international live music industry will descend upon the Royal

Last year the sessions were almost victims of their own success as the

Garden­Hotel, Kensington, London from March 7-9, for the 26th sold

demand – even from those who could well book lunch with these

out edition of the ILMC. In fact many will turn up for the preceding

Dragons – exceeded the capacity of the room and flowed into the

Production event on Thursday the 6th.

corridors­. In order to, hopefully, prevent a repeat of this, those wishing­ to attend any of these sessions will need to sign-up in advance­at the

Following the success of the ‘Dragon’s Den’ sessions last year, this

Help Desk in the lobby of the hotel.

year’s Dragons will be Marcel Avram (European Concert Agency), Rob Hallett (AEG Live) and Neil Warnock (The Agency Group). The concept behind these sessions is to offer those who wouldn’t normally get the chance to chat with some of these legendary characters of the business­, the opportunity to do just that. All three will have their own intimate hour-long slot during which a (very!) close-up audience will get to seek tips and advice, no doubt backed up by an anecdote or two.

Need to know who is touring Europe?

Go online - www.vip-booking.com vip-booking.com

18

®

VIP NEWS >

FEBRUARY 2014

Allan McGowan am@vip-booking.com

Nordic Sonar Week Sells Out Allan McGowan am@vip-booking.com in total 3.600 people enjoyed the festival’s

Harvey, Tiga and The Martinez Brothers;

Georgia Taglietti of Sonar in Spain writes to

3 stages held in Münchenbryggeriet, the

the experimental­work of Ben Frost; and

tell us of the success of Nordic Sonar Week

central­district of Södermalm.

emerging­figures redefining the landscape of

and future plans:

electronica like Machinedrum, Laurel Halo, Along with immense performances, both

Recondite, UZ, Visionist, Alizzz and DJ Nigga

This February we celebrated the Nordic

showcased the Nordic scene’s exceptional

Fox, not forgetting influential artists from

Sonar­week, which was completely sold out

pool of artistic talent combined with an

American label L.I.E.S. among others.

with over 12.000 people attending both in

appetizer­for the next Sonar Barcelona from:

Stockholm­and Reykjavík, with resounding

Jon Hopkins, Bonobo, James Holden, Down-

The #sonarbarcelona #sonar2014 line-up so

success for the two simultaneous festivals.

liners Sekt and Evian Christ, among others.

far includes: massive attack, richie hawtin­ , plastikman, rudimental, caribou, woodkid,

In total Sonar showcased more than 100

In 2015 the third edition of Sonar Reykjavík

bonobo, four tet, pretty lights, moderat­ ,

performance­ s by international and local­ will take place the 12.13 and 14 of February­

flux pavilion, gesaffelstein, i am legion,

artists­across 8 stages, shared between

and the second edition of Sonar Stockholm

james holden, jon hopkins, dj harvey, yelle,

Reykjavík­and Stockholm. Sonar Reykjavík,

will be held the 13 and 14 of the same

oneohtrix­point never, matmos, evian christ,

held in the Harpa auditorium at the heart

month.

machinedrum, tiga,ben frost, the martinez­

of the Icelandic capital, welcomed a total­

brothers,laurel halo, recondite, happa, uz,

of 8.900 visitors. During three days the

Sónar Barcelona has also added more

jessy

attendees­enjoyed over 70 scheduled shows

performances­to its program including a

alizzz­ , nisennenmondai, clipping., visionist,

lanza,ron

morelli,

svengalisghost,

on 5 stages while the Swedish Sonar festival­

large quota of spectacular shows from:

downliners­sekt, copeland, majical cloudz,

featured nearly 40 acts across 3 stages.

Pretty­Lights, Flux Pavilion, Rudimental and

dj nigga fox, balago, desert, pau roca…Click

Tickets­sold out weeks prior to the event and

Yelle; producers and legendary DJ’s like DJ

http://sonar.es/en/2014/ here for the Sónar Barcelona 2014 line-up to date.

Georgia Taglietti of Sonar in Spain

19

14 - 17

januarY 2015

groningen, nl

The

European

music platform The

The

European

music platform

The

European

European

platform

platform

music

Thank you for attending

EUROSONIC NOORDERSLAG EUROSONIC NOORDERSLAG EUROSONIC WORDT GEORGANISEERD NOORDERSLAGWORDT DOOR WORDTGEORGANISEERD GEORGANISEERDDOOR DOOR

Eurosonic Noorderslag 2014

See you next year Early bird registration and act submission open May 1, 2014 Act submission closes September 1, 2014

SPONSOREN

music

Previous edition in numbers Total amount of visitors (sold out) . . . .

SPONSOREN SPONSOREN Conference visitors (sold out) . . . . . . . .

Nationalities . . . . . . . . . . . . . . . . . . . . . . . .

Acts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Number of stages @ Eurosonic . . . . . .

Number of stages @ Noorderslag . . . .

Media & journalisten . . . . . . . . . . . . . . . .

EBU radio stations . . . . . . . . . . . . . . . . . .

ETEP festivals . . . . . . . . . . . . . . . . . . . . . .

International festivals . . . . . . . . . . . . . . . .

38,500 3,275 39 337 36 11 307 30 89 419

VIP NEWS > BUSINESS > FEBRUARY 2014

MUSIC IN SHARES

Music in Shares Manfred Tari mt@vip-booking.com

CTS Eventim – A Call For Coherence:

Media reports about Frötsch are not absolutely positive. Among

The share price of CTS Eventim is improving. From November 21 until

others­the magazine Wirtschaftswoche prefaced an article at the

now rising from 36.45 to 43.10 Euro.

end of August 2013 about him with the headline, “Investor with mysterious­circulation of money”.The share price of DEAG instead

Even analysts are not so quick to increase their share price targets

is currently on the rise, from 4.4 three months ago up to 5.7 Euro.

above what the share price actually stands at. An analyst at Warburg Research raised his share price target for CTS Eventim on February 18 up to 38 Euro (previously 31.80). HSBC on February 14 increased

Live Nation – Call For Attention:

it from 41 up to 43 but downgraded its purchase recommendation

Live Nation shares are currently doing well. Two institutional investors

from ‘Overweight’ to ‘Neutral’. According to this report all share

increased their stock of shares, the investment giant BlackRock, Inc.

price driving momentums are already considered within the current

from 5.98 up to 6.6 percent, Harris Associates L.P from 4.22 up to 4.4

price, which also may include a ‘market entry’ in the US. An analyst

percent. The company announced the release of its business results

at Berenberg­Bank, having favoured CTS Eventim for years, reported

for 2013 on February 24 and therewith opens up the reporting season

on February 13 a rise in the share price target from 32 up to 48 Euro,

among the corporate concert companies.

coming along with the upgrade of the recommendation from ‘Hold’ to ‘Buy’.

The share price of Live Nation currently stands at $21.88 (February 21) on November 21, 2013 it stood at $17.71.

DEAG – Call for Shifts: The Altira Aktiengesellschaft on behalf of Heliad Equity Partners

SFX Entertainment - Calls For Cash?

GmbH & Co. KGaA lowered its hold of DEAG shares from 29.18

SFX Entertainment’s successful return to the stock market has

to 24.08 percent. In the same move the Allianz Global Investors

whetted­appetites. Since Robert F.X. Sillermann pocketed $260

Luxembourg­S.A increased its share to 5.1 percent.

million­last October­from NASDAQ investors to build his new EDM Empire, certain players within the dance music community are also

It is not know what this means for the shareholder community of

making approaches to these same financial investor folks in the hopes

DEAG, but Altira Aktiengesellschaft and Heliad Equity Partners GmbH

of interesting them of what they have to offer in the developing world

& Co. KGaA are controlled by the investment mogul Bernd Förtsch.

of EDM.

21

FEBRUARY 2014 > FEBRUARY 2014 VIP NEWS > BUSINESS

MUSIC IN SHARES

Previously involved in the early days of SFX as consultants for the

uncertain­terms, stating briefly and succinctly, “we will vigorously

company­ , in mid February Lawrence Vavra, and brothers Paolo

defend­this baseless lawsuit”.

Moreno­and Gabriel Moreno filed a lawsuit at the U.S. District Court California against the company, accusing Sillermann and SFX Vice

On the day preceding the announcement of the lawsuit the Company­

Chairman Sheldon Finkel of breach of contract.

disclosed news of an offer of ‘second lien senior secured notes’, worth over $220 million with an interest rate of 9.625% per annum

The case of ‘Moreno v. SFX Entertainment Inc., 14-0880’, according­

until 2019, plus an agreement with Barclays Bank involving ‘revolver

to the Wall Street Journal attests that Sillerman did not honour

credit’ of another $30 million.

previous­agreements, faling to reward the plaintiffs for their efforts to “identify, acquire, consolidate, and operate the assets” of seven of

Further news involving SFX involved less high finance considerations;

eight “key assets” in the build up to the launch of SFX Entertainment.

German Techno-pioneer Westbam decided to withdraw from this year

Allegedly Sillermann had agreed to award the three consultants 2.5

I-Motion. Once co-founder and -owner of this original rave-live-

million founder shares and it is claimed, “operational control of the

event-ever –format, West bam sold his stake in the event to I-Motion

company” for their services, support and input that later on led to

in 2006, having since taken part as a DJ, appearing at all 60 editions

acquisitions of companies such as Beatport, Disco Donnie Presents

of Mayday in Germany, Poland, Russia and Hungary.

edition of the indoor rave event Mayday promoted by SFX subsidy­

(DDP) and ID&T. In a press release Westbam stated his departure was a matter of, The three are obviously well entrenched in the dance sector. Paolo

“ideological­reasons”, though MD of I-Motion Nik Schär objected

Moreno worked as a manager for DDP while Vavra is the co-founder

to this, claiming in an interview with trade paper Musikwoche that

and president of the management company Deckstar and holds a

Westbam asked for a fee three times higher than last year...

doctorate law, something which could perhaps have a bearing on the lawsuit. SFX Entertainment responded to the accusations in no

Since the availability of the SFX-shares at a price of $13 on October 9 the share has dropped 32.3 percent to $8.36.

22

VIP NEWS > MISC > FEBRUARY 2014

MEMBER PRESENTATION

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

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The 15.000 people who have got a ticket can look forward to enjoy music from 3 stages and listening to national & international names from the pop/rock and folk scenes.

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