VIP-News Premium - February 2013 - Vol. 154

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FEBRUARY 2013

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FEBRUARY 2013

McGowan’s

Musings

January was a busy month for the VIP team –

of the music industry; Midem is without­ international­delegates – still less than the

we all went to Groningen for what appeared­

doubt the original music business market,

totals­claimed by Midem­- but definitely­made

to be an extremely successful editio­ n of

starting up in one hotel suite in the late 60’s

up of independents­and those constructing­

Eurosonic­ /Noorderslag (see report in this

and was in its heydays in the 70’s and 80’s,

tomorrow’s­formats. Not to say though that

issue­). Our sales team went to Cannes for

attracting 12000 plus professionals­from all

Eurosonic is averse to a bit of glamour­, as well

Midem, where despite another decrease in

over the world (now these are down to half

demonstrated by the excellent­production­

numbers, many found it easier to do business

that) at a time when the music­busines­s –

and hosting of the Border Breakers Awards

in the less crowded marketplace, and came

few used the word industry in those days –

and the European Festival Awards and the

away satisfied with the outcome.

convinced­itself that it had settled­on a set

event’s shrewd and effective courting of

format, with the major record companies

the EU’s Brussels based creative industries

The varying fortunes of these two events are a

pulling in vast sums, (with execs spending

decision­makers and paymasters.

good example of the rapidly changing­shape

ridiculous­amounts in Cannes!) and ruling

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the roost. Then came pirac­y, downloads­etc,

So, excuse me going off on one, but I

all the well documented­attacks­that brought

suppos­e what I’m getting at is the fact that

the stronghold­down, with the power passing­

today we have a two tier business, and

to the live industry (note the acceptance­of

that this is not necessarily a bad thing as

the term by that sector­– I think the ILMC

long as we maintain­the balance and avoid

had a lot to do with that..) – at least for a

the excesses­of the past. The Office of Fair

while. However Midem still clings on to a

Trading­in the UK have obviously been on

business model with pretensions of grandeur

the lookout for this and are scrutinising the

– it wants to associate with the high rollers­

situation­regarding­ownership of London’s

(after all it’s an expensive event to stage

large venues and the dominance of AEG and

and to attend!) – hence it’s courting of the

Live Nation. (See story in this issue)

moneyed­sectors of associated industries, and technologies, which is not necessarily a

Of course whatever sector or level of the

bad thing, this is show business and a bit of

music­business you look at one of the things

glamour attracts!

that make it attractive is the presence of truly individual characters; unfortunately we

Eurosonic, although having been part of

recently­lost two of these with the sad passing­

a developing event for 27 years, has really­

of Claude Nobs in Switzerland and Henning

established­its position over the last ten

Togel in Germany – they will both be missed.

years, building its artist showcase schedules into a festival event (Midem introduced a

So, a somewhat serious Musings, but these

tentative move in this direction a couple

are also two-tier and no doubt I’ll be banging­

of years ago) and making itself accessible­ on about incontinent seagulls and the like and affordable­to the newly developing­ again soon – in the meantime Ladies and businesses­, and this year sold out with 3500

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Gentlemen – The News!

VIP NEWS >

FEBRUARY 2013

UK Government Proposes Amendments to Live Music Act Allan McGowan am@vip-booking.com The UK Government has issued a new proposal to raise the Live

Regulation will remain in place for all activities that exceed the

Musi­ c Act audience threshold from 200 to 500 in on-licensed

audience­limits and timings listed above.

premises­.

Although this is good news for many, there is still a worry amongst The proposal comes in a response from the Department for Culture,

many venues that rely on ticket sales that more pub venues could

Media and Sport to its consultation on entertainment deregulation­.

present live music for free, or for very low ticket prices, hoping

Also among the conclusions of the response is the decision to

to make their profits from increases wet sales, leading to more

treat recorded music in the same way as live music in on-licensed

competition­for venues that are struggling in the present economic

premises­between 08:00 to 23:00 (i.e. with an audience limit of

climate.

500 and the prospect of a Review if noise nuisance is caused).

Live and recorded music held on premises owned by the above

The Live Music Forum’s Phil Little said:

organisations­will be exempt from licensing requirements for

“The Live Music Forum campaigned for almost twenty years to

audiences­up to 500 people. Community premises such as church

bring about these changes and they are more than we hoped for.

and village halls and community centres will be exempt from

However­, it is plain that much of the damage to the scene has

licensing­requirements for live and recorded music for audiences

already­been done. Without an improvement in audience attend-

of up to 500 people.

ance across the board we have an awful long way to go to match

Circuses, however, will be exempt from regulation for live and

the vibrancy of live music performance in previous decades.”

recorded­music, plays, dance and indoor sport between 08:00 to

The full DCMS response can be found here.

23:00 with no audience restrictions.

The Live Music Forum Downing Street Petition Party (Photo by Anderson Photography) Left to right - Lord Clement-Jones, John Whittingdale MP, John Otway, Phil Little, Hamish Birchall, Tom Kiehl, Lord Colwyn

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VIP NEWS >

FEBRUARY 2013

Pop Most Popular Genre in The UK in 2012 Allan McGowan am@vip-booking.com

Stats from the Official Charts Company and BPI have revealed that, for the second year running­, Pop lives up to the term as the most popular type of music in the UK for the second year running in 2012.

The genre dominated in both album and singles sales, accounting for 33.5% of album sales (down just slightly on 33.6% in 2011), and 38.5% of singles, its highest share for a decade.

There was some optimism for those predicting a return to rock as this genre did account for a bigger share of album sales in 2012 than in 2011 - 31.3% compared to 29.4%., still trailing the heady days of 2006 when 41.5% of album sales came from rock releases.

OCC MD Martin Talbot added: “It is apt that, in the year that we celebrated 60 years of the Official Singles Chart, pop music remained as robust as ever in 2012 - through the likes of Emeli Sandé, Carly Rae Jepsen, Adele, One Direction, Olly Murs and Lana Del Rey, among others. But, with many commentators predicting that guitar music will return over the next couple of years, it is also notable that rock music in its broadest sense also rebounded with Coldplay, Mumford & Sons and Gotye enjoying­very successful years in their own right. Green shoots which are destined to grow over the coming months, perhaps.”

Rock-genre

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The beautiful and nominated Rita Ora

VIP NEWS >

FEBRUARY 2013

So – will these trends have an effect on the outcome of the BRIT Awards?

– the following shortlists may give us a clue: The event will take place on February 20th.

Best British Male:

Best International Male:

Calvin Harris, Plan B, Richard Hawley, Olly Murs, Ben Howard­

Jack White, Gotye, Michael Buble, Frank Ocean, Bruce Springsteen­

Best British Female:

Best International Female:

Emeli Sandé, Paloma Faith, Bat For Lashes, Jessie Ware,

Rihanna, Alicia Keys, Cat Power, Lana Del Rey, Taylor­Swift

Amy Winehouse

British Album Of The Year:

Best British Group:

Alt-J - An Awesome Wave, Emeli Sandé - Our Version of Events,

Mumford & Sons, The xx, Muse, One Direction, Alt-J

Paloma Faith - Fall To Grace, Plan B - iLL Manors­, Mumford & Sons

Best Live Act: Mumford & Sons, Coldplay, Muse, The Vaccines, The Rolling­Stones Best British Breakthrough: Jake Bugg, Jessie Ware, Alt-J, Ben Howard, Rita Ora Best International Group: The Black Keys, The Script, Alabama Shakes, Fun, The Killers­

- Babel Best British Single: Adele - Skyfall, Alex Clare - Too Close, Coldplay & Rihanna Princess­of China, DJ Fresh feat Rita Ora - Hot Right Now, Emeli­ Sandé - Next To Me, Florence­And The Machine - Spectrum, James Arthur­- Impossible, Jessie­J - Domino, Rizzle Kicks Mama Do The Hump, Labrinth & Emeli Sandé - Beneath Your Beautiful, Robbie Williams­- Candy, Olly Murs feat Flo Rida Troublemaker­, Rita Ora feat Tine Tempah - RIP, Stooshe - Black Heart, Rudimental­feat John Newman - Feel The Love

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

13.11.12 18:32

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FEBRUARY 2013

New Head Announced for Montreux Jazz Festival Allan McGowan am@vip-booking.com Following the tragic death of the founder of the Montreux Jazz Festival, Claude Nobs, Mathieu Jaton has been named as the new

Mathieu Jaton is the new head of Montreux Jazz, photo Lionel Flusin

Claude Nobs, photo Getty Images

head of the world famous event.

A hugely popular figure, Claude Nobs went into a coma following a skiing accident at Christmas. Mathieu Jaton took over for what was hoped to be a temporary period while Claude recovered, however this was not to be, and Jaton will now assume the job permanently­. This year’s Festival is due to take place from 5-20 Jul. A tribute concert for Nobs will take place at

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the Stravinsky Auditorium in Montreux on 8

this spring. An event at the Royal Opera

on prior to his death, is scheduled to go

Feb, followed by another event in New York

House in London, which Nobs was working­

ahead on 26-27 July.

VIP NEWS >

FEBRUARY 2013

War Child and O2 host The War Child BRIT Awards Concert Allan McGowan am@vip-booking.com

War Child and O2 have announced Muse as the headline act for the

Ben Knowles, Director of Fundraising and Music at War Child, says:

much anticipated annual event at O2 Shepherd’s Bush Empire, two

“This year is a special one for War Child and we’re delighted to

nights before the 2013 BRIT Awards. This event marks the start of

welcome one of the world’s biggest and best live bands play for

War Child’s 20th Anniversary Year, and comes ahead of War Child’s

us to launch our 20th Anniversary year and celebrate our Special

Special Recognition Award to be presented at the BRIT Awards, while

Recognition­BRIT Award. Music gives War Child an incredible platform

Muse are nominated for British Group and British Live Act.

to talk about the unacceptable impact that conflict has on innocent children and it helps us engage the support we need to do something

Matt Bellamy says;

about it. We are very grateful to Muse for joining us, and to O2 for

“We are proud to have a continuing association with War Child, who

their ongoing support.”

have been doing amazing work over the last 20 years. It’s great to

see their efforts being recognised at this year’s BRITs and we are really

Sally Cowdry, Marketing and Consumer Director at O2 said:

looking forward to playing this special show for them”.

“This is a very special year for us - it’s our 5th year of working with War

Child and what better way to recognise this and help them celebrat­e

This is the fifth year of War Child and O2’s annual BRIT Awards

their 20th anniversary than by announcing such an incredible­event?

Concert, hosted at O2 Shepherd’s Bush Empire. Having raised over

We are proud to continue to support the fantastic work that they do

£600,000 in the last four years, the night is a firm fixture on the

and to be able to offer our customers Priority Tickets for what will

music calendar and has staged unique performances from Coldplay,

undoubtedly be one of the biggest gigs of the year “.

The Killers, Blur, Kasabian, Ed Sheeran and Mark Ronson. All ticket

proceeds will go to aid War Child’s work with children in war zones

For more information on War Child go to www.warchild.org.uk

across the world.

Text SAFE to 70444 to donate £3 to War Child’s Appeal for children­ in Syria.

Sally Cowdry, Marketing and Consumer Director at O2

War Child and O2 have announced Muse with Matt Belamy in front as the headline act

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VIP NEWS >

FEBRUARY 2013

PR Merger Produces Factory 92 Allan McGowan am@vip-booking.com PR agencies The Rocking Factory and Queen About Music, both based in Hamburg- have announced

For more information:

that they are merging to become­Factory­92. The new company will offer PR services throughout

QUEEN ABOUT MUSIC @ Facebook

Europe­.

[www.facebook.com/QueenAboutMusic]

Two brands will operate under the Factory 92 banner: Queen About Music, dealing with on radio, tour and festival promotion in Germany, and The Scoop Engine (previously run by The Rocking Factory),

THE SCOOP ENGINE @ Facebook

providing pan-European PR services.

[www.facebook.com/thescoopengine]

... and soon www.factory92.eu

MAMA Take Ownership of Lovebox Allan McGowan am@vip-booking.com

On Wednesday 23rd January 2013; MAMA & Company reported

Dean James CEO of MAMA & Company says;

the completion of a deal to take on sole ownership of Lovebox, the

“We have enjoyed working with Tom and Andy over the years, but

London­festival founded by DJs Andy Cato and Tom Findlay of Groove

the reality is that we have been running this festival since 2009. Two

Armada in 2002. The event held in Victoria Park has grown from a

of the original founders, Tim Harvey and Jools Butterfield are still very

club night to become an award-winning, three-day event. Originally

much part of the fabric of the event and working with Rob Silver, Rich

devoted to dance music, over the last 10 years Lovebox has expanded

McGinnis and Dave McCalmont, the future of the show is in good

into other genres including hip hop, indie, rock and pop. MAMA has

hands. Lovebox is London’s best and most creative festival and we

been working with the DJ’s since 2007, and the acquisition follows

look forward to putting on a great party in Victoria Park this summer

news of the company’s management buyout and partnership with

on what will be Lovebox’s 10th anniversary.”

LDC in December 2012.

Lovebox 2013 will take place between 19th – 21st July.

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FEBRUARY 2013

Live Nation, AEG Square Up in London­and the OFT Moves in to Referee Allan McGowan am@vip-booking.com

After last year’s ‘soggy summer’, which

proposed but not yet completed Wembley

affected­many festivals and nearly made

deal, could lead to a “substantial lessening

the grass in Hyde Park extinct, we could

of competition” for live music in the capital,

be looking­at a ‘sultry summer’ with the

and will decide whether to refer the issue of

temperature­being raised by the two giants

AEG controlling London’s two biggest arenas

of live music slugging it out over competing

to the Competition Commission.

venues and events.

The regulatory body can impose restrictions­ The situation regarding control of major

if it elects to do so, such as it did in 2007,

London­venues, Hyde Park, Wembley Arena

when it ruled that because of potential

and the Olympic Stadium has alerted The

concerns­over ticket pricing control, Live

Office­of Fair Trading (OFT) which will carry

Nation and Gaiety Investments must sell off

out an investigation of concerns that the

Hammersmith­Apollo and The Forum before

potential ownership structure could result

buying into Academy Music Group. AEG’s

in higher ticket prices and less choice of big

prospective control over the two biggest­ exclusive­deal to host gigs at the Olympic­

name acts.

venues­could give them the muscle to

Park and stadium in east London this

increase­ticket prices and give them greater

summe­r, with the Wireless Festival and Hard

control over obtaining artists.

Rock Calling­ defecting from Hyde Park, a

The dominant Companies, Live Nation and AEG, owners of the East London O2 Arena,

Live Nation responded by announcing an

number of concerts to be held in the stadium­

have been very active of late; Live Nation

Park Wars!

during the summer. The London Legacy

recently­secured the rights to stage gigs at

We now seem to be observing the first foray­s

Developmen­t Corporation today confirmed it

the Olympic stadium complex in east London­,

of Park Wars! Live Nation announced that it

has entered into a contract to bring a series

and as well as joining a consortium to buy the

had pulled out of the Hyde Park tendering­

of concerts and festivals to Queen Elizabeth

Hammersmith Apollo from the beleaguered­

process in the autumn. Following the

Olympic Park this summer, ahead of its full

retailer HMV, rival AEG secured the contract

dramatic­imposition of a curfew, which saw

opening in spring 2014.

to stage events in Hyde Park, replacing Live

the unplugging of Paul McCartney and Bruce

The deal gives Live Nation exclusive rights to

Nation, which had been responsible for

Springsteen mid jam, Head of Events for The

host major music concerts in the North Park

events such as Live 8 and Hard Rock Calling

Royal Parks, James Russell, said: Curfew­ s

and stadium in summer 2013.

in the central London park for 10 years Then,

would remain the same as last year, but

before Christmas, AEG moved in on Wemble­

hoped that there will not be a repeat of that

John Reid, President of Concerts at Live

Arena in North London, which Live Nation

cutting off. Live Nation said there were too

Nation Europe, said:

had held the management contract for the

many problems with noise levels amongst

“As the world’s leading provider of music­

previous six years. They do love their sparring

other problems. However a spokesman

festivals and outdoor events, Live Nation

and their shopping these giants!

for The Royal Parks Agency, said that “Live

is delighted to have won the inaugural

Natio­ n participated in the tender process

contrac­t for Queen Elizabeth Olympic Park.

Anyway, AEG’s ambitious London expansion­

from start to finish but was not selected as

In the coming weeks, we will unveil the

came to the attention of the OFT which

the preferred bidder”.

headline acts for the first Wireless and Hard

launched an investigation into whether the

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John Reid

Rock festivals­to be staged in London’s new

VIP NEWS >

FEBRUARY 2013

flagship­venue, which promise to be the UK’s

experience­s at The O2 - and shares it within

Last year, fans complained that gigs by Blur

blockbuster events of 2013.”

the world’s greatest outdoor venue, Hyde

and Madonna were too quiet, as a result of

Park. We literally started with a blank canvas­

noise restrictions imposed by Westminster

Dennis the

Hone,

Chief

London­Legacy

Executive

of

and in Barclaycard British Summer Time,

council, but AEG says a repositioned stage

Development

we have created what we believe to be

will allow the volume to be turned up withou­t

Corporation­ said:

the ultimate­in Summer events - fantastic

disturbing local residents. Events Director Jim

“This summer Queen Elizabeth Olympic­ music, great food, drinks, farmers markets,

King says that an independent report makes

Park will once again host some of the

theatre, film - and much more incredible

it very clear that the “orientation and position

greatest­shows on earth. I’m delighted that

entertainmen­t across a full 10 days. The list

of the stage” was of crucial importance, and

leadin­ g global companies like Live Nation

is endless!”

the new set-up will be “better for residents,

are interested­in the stadium and the Park.

customers and bands. We worked the plan in

We’re thrilled to be working with them this

James Russell, The Royal Parks, Head of

terms of relocating that stage and orienting

summer­.”

Events said:

it away from the residents because previously

“This is a new era for entertainment in

it had been firing straight at them.” The new

On 23 January 2013. AEG Live and The

Hyde Park. Hyde Park has such a wonderful

Great Oak Stage with LED panels and screens

Royal Parks announced “Barclaycard British

heritage­in hosting world class concerts in the

will be camouflaged within the park setting,

Summer­Time - a ground-breaking new event

heart of London, dating back to 1969. Today,

and the lighting control booth will be set in

for 2013, to be held at the greatest outdoor

we are looking forward, and along with AEG

a tree house.

venue in the world - Hyde Park”. The event

Live, we are very excited to be bringing the

promises to give music fans throughout

Barclaycard British Summer Time event to

Residents will have to wait to see if AEG’s

the capital the chance to see many of their

this iconic location that is recognised around

confidence in the report and the changes are

favourite­headlining and supporting music

the world.”

justified.

artists play over back to back weekends in ticketed events. Bon Jovi were named as the

Well – spot the similarities? It could be an

first headline act with more ‘high profile’ acts

interesting summer for a stroll in the park…

to be announced in the coming weeks.

Turning up to 11?

Event Director Jim King of AEG Live said:

Although some of the Hyde Park problems

“After a great deal of planning and hard

Live Nation were confronted with involved

work, we are so proud to announce what

noise complaints from local residents, AEG

will no doubt be an incredible event for

intend to raise the volume, with Bon Jovi

London­ . Barclaycard British Summer Time

claiming in Spinal Tap fashion to turn up to

takes everything­we have learned indoors at

11.

our other venues - in creating the amazin­g

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11

VIP NEWS >

FEBRUARY 2013

Record International Attendance at Eurosonic­ Noorderslag Conference 2013 Allan McGowan am@vip-booking.com

Over the four days of the 27th edition

conference

programme

concentrated

Eurosonic were among others BBC (UK),

of Eurosonic Noorderslag which came to

on music of course, but addresse more

DR Musik (Denmark), YLE (Finland), RTBF

an end in the early hours of Sunday the

and more themes from other related

Pure FM (Belgium), Le Mouv’(France), RUV

13th of January, 304 European acts and

businesses, such as creative policy and

(Iceland) , RTE (Ireland), Radio­ Belgrade­

bands and an audience­of 35,000 music

new

number

(Serbia) and WDR (Germany). In the

lovers and professionals­came together in

of panels packed out, including the Agents

Netherlands­ NOS, NTR, 3FM, Radio­6,

in Groningen­, Holland.

Panel – chaired by yours truly, many were

3voor12 and de Volkskrant­ presented­

surprised that they couldn’t get in.

comprehensive

technologies.

good

reporting­ on

radio,

The number of international delegates

television­ and the Internet­ . The EBBA

to the conference increased­ by 1,100 on

The conference and showcase festival­ Awards presented by Jools Holland were

last year to 1,500., combining with local­

was broadcast internationally­ on radio­ ,

delegates to produce a sell out figure­ television­and of 3500 delegates. A comprehensiv­ e

Official Figures: Total number of visitors Eurosonic­ Noorderslag: 35,000 (sold out) Visitors Conference: 3,250 (sold out) Nationalities: 45 Acts: 304 Media and journalists: 404 EBU radio stations: 31 ETEP festivals: 78 International festivals: 417 Number of stages Eurosonic: 36 Number of stages Noorderslag: 12

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A

internet.

Radio

and

televisio­ n channels broadcasting from

broadcast live on YouTube­ and recorded for TV.

VIP NEWS >

FEBRUARY 2013

EBBA-host Jools Holland and co-host Birgit Schuurman, photo René Keijzer

Winners at EBBA, Photo René Keijzer

Comments on Eurosonic Noorderslag 2013 if you’re in this business, that’s the way to

people attending­the panels­because­they

start the year.

could live click. The presentation of the panel-list­­went excessively­well, on the

Looking

around

and

Eurosoni­ c Noorderslag

first day it doubled­my expectation, on the

other

second­day more than 1200 people used

conventions­– what is particular and

it. It was interesting­, because they used it

remarkable about this event?

in a way I didn’t think about. We designed

– The settings. The way that they’ve set

that, because we were thinking it would

up the festival, the way that they’ve set

be a great reminder for the delegates of

the stage in the middle of the conference-

the panel they were at. But some people

are­a. The Oosterpoort is really a fantastic

pick it up quickly and they walked into the

venue, it’s a real chameleon, you have bars

pane­ l, live-click, get the presentation on

and stages, people performing in all sorts

their iPad­and following the presentation

of places , they change every day, they’re

of the panel-list during the panel by using

taking al lot of attention for all sorts of

this gadget. They reversed the method,

Intelitix acts as service provider for Eurosonic­

details. Then you go in town, everything

which is brilliant.

Noorderslag and supplies the event with

is in walking distance, you have 26 venues

an RFID-system. Serge Grimau­ x himself

in walking distance, which is impossible to

Do you know any figures off the top

is the founder and CEO of the company­

imagine in another place in the world. All

of your head about the usage of your

that runs offices in Canada, the UK and

these surroundings, it’s a charming city, it’s

systems?

the US. Beside­s Eurosonic­Noorderslag­the

a place where you learn to meet people,

– I can tell you that an average of about

compan­y serve festival­s such as Coachella,

to discover things, you know, it’s a breath

1500 delegates received the “where was

Bonnaroo­or Lolapalooz­with its service,

of fresh air.

I last night”-email and I can tell you that

ranging from cashless payment­functions­,

from the panel-level it’s an even higher

entrance

How did business go for you?

amount of people that interacted with the

application­s for festival visitors­.

– I’m very happy about what we’ve done

service. It could not be better.

here, I think people have appreciated­what

VIP News ask Serge Grimaux… What is

we’ve done. The “where was I last night”-

Which convention will be the next one

your impression of Eurosonic this year?

email, that the delegates received, that

you attend?

– I think it went amazingly well; it’s my

gave them a summary of all the bands they

The next convention for me will be the ILMC,

third time here. Most impressive for me

saw and enjoyed, all these venues where a

the international live music conference­in

is the energy that is in this whole event.

big plus. It went even better, the receptions

London. We’ll be there for the third year

You cannot start the year in a better way,

were in thousands every day. The panel-list,

and I’ve been there personally­for the last

that could link people­with each other, the

15 years.

Serge Grimaux, CEO of Intellitix

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comparing

control­and

social

media

with

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VIP NEWS >

FEBRUARY 2013

Jake Beaumont-Nesbitt - Executive Director of the IMMF

M

Y

CM

MY

CY

CMY

K

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a second­time and then you can build it

What

up. And that is what happens here, you

were

your

impressions

oft

Eurosonic­Noorderslag 2013?

can couple up with people for a stronger

– There are very exciting people here,

relationship­on the lighter side.

exciting­to discover new music and a lot

of interchanges to cross borders. A lot of

How do you use Eurosonic Noorderslag

border­breaker acts here and Eurosonic’s

for IMMF?

aim of bringing the Europeans together

– We have a good quotient of Eastern-

and sharing their music is really coming

European­managers, it is very difficult, for

true.

example, to form a music-managers forum

in Poland. But here you can find Bratislava,

Did you get any business out of this

Poland, Estonia and we start to help them

year’s edition already?

to share information with the rest of us.

– Yes, I think so. I got business in the

We’re now beginning to find a critical mass

contacts­and connections and I’m just

in the industry of the countries in the east,

The International Music Manager Forum­ refreshing­existing connections. It used to

that’s just got to build up. That’s a thing

is just one of many music industry

be that you’ve come to a conference a year

that really worked here for us; we’ve found

organisations­that regularly attend the

ago and you meet someone for the first time

eastern Europeans and connected them to

Eurosonic­Noorderslag. Jake Beaumont-

and you got a new contact, then you get

our network.

Nesbitt is the Executive Director and

home

furthermore­manages the Dutch band Go

card­or you are too busy to make a call.

Back To The Zoo....

So, sometime­ s you need to meet them

Anzeige_VIPMag_ProSky_X4.pdf

C

VIP News ask Jake Beaumont-Nesbitt­…

1

09.12.10

and

you’ve

10:43

lost

the

business-

VIP NEWS >

FEBRUARY 2013

EBU-radio station, they’re our partners.

something like that. This year it’s a little bit

These people are also making suggestions

more than 5000.

to me, more than one. All these sugges-

tions are interested to play at Eurosonic,

More venues, more slots?

not every band is interested to play at

– Yes, on Wednesday evening we used two

Eurosonic. So, for me as a booker it’s not

more venues, we had the Rockpalast-co

only considering­these bands, I have to find

-hosting-night, Rockpalast presenting in

out if these bands would love to play at

the Huize Maas, and we used the Minerva­

Eurosonic. In other words, are they open

again. We used it for a very long time when

for them to make an assessment in their

we had a focus on Germany, but then they

career, because­after all these years it’s still

were reconstructing the building, so we

a showcase-festival.

decided­to add the museum for the very

first time. That was great, because the

From the ETEP Programme, how have

museum­was on the top of our list, we

those chosen progressed?

wanted to collaborate with the museum

Robert Meijerink looks after the booking

– Yes, you know, I’m always surprised, in a

but the former director was not open for

of the Eurosonic-Festival in Groningen and

good way, about the first vote. But it’s only

that, the new director just said “okay, let’s

as ever VIP News asks Meijerink at the end

a first vote.

do it!”

of each festival about the current edition

of the music convention that meanwhile

Did you expect C2C to get so many… ?

Is this now the maximum capacity you

has probably become to one of the most

– Yes I think so. They won an award,

can run here?

important­industry events in Europe.

but it all went very fast for them. They

– No, I don’t think so, but we are not

had a summer­hit in France and now it’s

looking­for a maximum capacity. Eurosoni­c

VIP News ask Robert Meijerink… 5000

spreading­all over Europe. And for all the

is still a festival where so many bands

applications, how do you manage to

other mentioned etep-bands, I will say, they

with diverse music-styles are playing. Our

get through all this?

have a good story in their home country­.

festival­is there to serve the radio-stations,

– Work hard, take a good listen and start

At the time where we selected these bands

it’s not for selling more tickets. We think,

early.

they were not as big as they are now.

it is a festival for the professionals. Of

These bands were booked maybe four

course, we welcome all the people who

When do you start on it?

or five month ago, so in this time frame

love music­, they are very important for us

– We open the applications every year

something­happens. ???...it builds up very

as well, but the main thing is to serve the

from the 1st of May and from then on

slowly or hard. For example, Palma Violets,

new radio-station­s.­ That has nothing to do

I’m listening­to all the applications. Not

I like this band very much, it’s a very good

with quantity­, more with quality.

only once, more times, because I think it

band, but on the other hand it could have

changes­a lot in your listening-process.

been me who say on this evening that it is

Will there be any changes in terms

Sometimes I’m listening to a band and I

still a great band with the backing of the

of your collaborations with Yourope,

don’t like it, but maybe one week later I

BBC and stuff like that. So, it’s always out

do you reinvent anything, perhaps

think, oh, maybe it’s not as bad as I thought

of the hands of a booker, you know.

improv­ e the

by my first impression. That process lasts till

in terms of more internal talks and

the deadline on November 1st.

Did anything change on the level of

discussions­?

the applications? Has that become

– Well, we’re working on that Ceetep

Do most of the bands get in from of

different­in the recent years?

program­ , as you know. For my point of

these applications?

– Actually not, the booking process is very

view, the Ceetep is very important for the

– Yes.

much the same as in the last years. Since

future of European music in general. After

I’m a booker it’s the same process.

one year I can say, we have many years to

Robert Meijerink, Head of Booking at Eurosonic

What

about

recommendations

of

selection-procedure

go, there’s many work to do, there are no

record­labels, managements or agents,

5000 applications, has that set a new

problems to be solved but we really need

are they considered separately?

record?

to stay connected with each other. I follow

– No, of course there are people who

– No, it’s the same as last year, just a little­

it, I’m a part of it, but for me, as a booker

offer­advice, we’re connected with the

bit more. Last year it was about 4700,

of Eurosonic I think there is something

15

VIP NEWS >

FEBRUARY 2013

going­on over there. We have to focus and

As a booker I always have to explain that it

which influences­the pop artist nowadays.

invest in central Europe in terms of talents,

is even better to wait another year instead of

They don’t copy a band from America;

generate talents and make them visible

playing this year. So, there’s much more going­

they reinvent­their own culture or heritage

over there. For me as a booker it’s great to

on than just listening and slating the acts.

from thirty or forty years ago. They make

have such a project involved, I think that

something­different with it and use it as a

the future is in these kinds of projects. In

Can you already say that there’s a shift

style.

order to have a great balance in Europe,

towards bigger and better awareness

it’s not only just the Nordic or the western

for central European artists, not only

European and national politicians are

part of Europe, we have to move a little bit

US- or UK-Artists?

considering the value of popular music

more to the east and try to locate and spot

– I don’t think that we can say that. We are

in terms of culture. Do you wish that

new talents, book them in the right time

aware of the fact that we need to build on

there would be a stronger support for

and in the right venue.

this, that we try to build it together with

popular music by politicians and people­

all these countries. Because even these

in administrations?

How do you do this? Do you travel

countries are not naturally connected with

– Yes, I think it’s needed. The pop-culture

more often to Romania, Bulgaria or

each other, they speak different languages,

is still a young culture and if you compare

other countries in Eastern Europe or to

they got their own culture, some countries

pop-culture with theatre, classical music

other conventions and festivals there?

were at war and it’s not a long time ago.

or jazz – there is so much money going to

– During the last couple of years I’ve

So, there is much to talk about, much to

these cultural sectors. We are now in the

visited­a lot of festivals over there but

discuss.

moment, where we show the people that this is a new sector. I hope, that the people

I’m not in Eastern Europe in every week, that is not possible. But we are connect-

So, it is still not the case that we got

from the European commission consider

ed with each other, my colleague Douwe

something like a change in terms of the

pop-music officially as a sector in order of

is connected­with people, who are in the

acceptance of European talents versus

investments and improvements, show the

Ceetep festival-­ pool­and there are also

UK/US-Talents?

people in Europe that they believe in it

journalists­who are part of it. For me as

– Well, not versus – okay, if you want to

and try to stimulate the local festival, the

a booker the information­from this pro-

compare to the UK or US, of course. But,

local clubs, even the artist. In the end it’s

ject is very interesting­. Douwe is part of

for example, we always have a couple of

like a circle with the clubs, the artist, it’s

the booking team of Eurosonic and based

bands from the Eastern part that really got

all needed. It’s a professional sector, there

here in Groninge­n. But it’s not only Eastern

a high quality. You know, they can match

is a lot of money in it, and there are many

Europe, also Southern Europe, let’s focus

with bands from the US and the UK. They

people who earn money in the music-

on Italy, there is so much going on. But

have their own culture­and their own style

business nowadays. Also there are people

you still have to explain what Eurosonic is

of music. Of course, Bands from the US and

who don’t earn anything, they work very

about, what kind of opportunities we offer.

UK are very important, very influential on

hard because they love it, they love to play,

If there are people who love to play Euro-

the European­music. But if you really dive

they love to book, they love to promote or

sonic I always say something like: “It’s great

into the music and the culture, you will find

to make records, whatever. So, I definitely

if you want to play Eurosonic, but are you

out, that there is such a thing like European

think it is time; we need the backup of the

ready for it?”

culture or a national culture from a country

politicians.

The First ETEP-Selection (Name of the acts and number bookings):

16

Palma Violets (11)

C2C (9)

Churches (8)

Ragleklods (6)

Villagers (5)

The Royal Concept (5)

Jake Bugg (8)

VIP NEWS >

FEBRUARY 2013

VIP NEWS >

FEBRUARY 2013

Mid Level Touring – What Does it Actually Cost?

Allan McGowan am@vip-booking.com

FISH Reveals the Figures:

Venue:

… Some years ago when I was doing some work with the management­

Capacity: 700 (on the tour we are playing venues from 400 cap ( x3)

of the rock band Saxon, our neighbours in a West London office were

to 1200 (1) the rest average around 650-700).

the managers of the then particularly successful UK band, Marillion.

As a result I got to meet and spend the odd half hour with their

Ticket price (all prices in pounds sterling) 22.50 net after VAT 18.75

formidable­Scottish singer Derek Dick, much better known as Fish. I

net after PRS (publishing on songs played during performance,

recall one particular incident when halfway through a number at a gig

takes over a year to come back minus percentages to society):

in Hong Kong he caught sight of me entering the venue, replacing­

£18.19.

some lyrics with the greeting, “McGowan – what the fuck are you doing here!”…As many will know Fish parted company with Marillion

Total receipts at Box office on capacity sell out £12,731.

a few years ago taking up a solo career and fronting his own bands.

Expenditure Fish is now based back in Scotland and is still musically active and in

Support: 50: (standard fee)

demand, and on his site I happened to come across this very detailed­

Catering: 300: for 10 people (sandwiches, teas coffees, soft drinks,

and informative break down of what it costs the artist, in both

water -lunch, main meal at night (normally a 10 “buyout” = fend

financial­and labour terms, to undertake a mid level tour in the UK,

for yourselves), 6 bottles of wine + soft drinks, water and snacks for

this particular example was his spring 2012 tour . I figured this would

dressing room.

interest a lot of VIP readers, so called him to ask if we could use the article, fortunately he was happy to oblige. So, Ladies and Gentlemen

Venue Hire: 1100: normally this is inclusive of PA and lights as most

I hand you over to the informative writing of Fish… Allan McGowan.

venues have their own installations, it also includes security, local crew (‘humpers’), towels etc. Cheapest venue hire is 250 but PA and security­add on 950. Most expensive is 2250 (and that is a 400

I’m sitting here in the control room listening to the rough mixes of the

capacity­) Average is around 1500.

Saturday night performance at the Leamington Spa convention last year while contemplating the May touring figures in the UK. Many

PA/Lights/Security/Crew/Barriers/Towels: as I said are inclusive at this

of you were interested and surprised at the last blog regarding the

level of gigging. Next one up they become extras or venue hire rates

state of the music industry with regards to distribution and my survival

go up accordingly.

ideas. I touched on the touring situation and the difficulties therein and after talking to Yatta (Tour Manager) I have decided to take it a

Rep: 120: this what we pay per show for the promoters representative

step further and open up with some details that may surprise you.

who liaises with the venue and ourselves and takes care of the fees due on the night of show.

What I am about to disclose is a picture of a typical tour costs assessment­using an unnamed venue from the May tour with

Local/National press budget: 700: this is based on the total budget

explanations­where needed as to the figures and what they mean.

split between the 12 shows The Gig Cartel are promoting for me. This covers ads and the cost of a press officer who deals with the tour in

Firstly I am showing the costs from the promoters perspective

advance setting up interviews and notifying local and national press.

and where the money goes. As I said this is a “typical” venue but sometimes­there are variations, which I’ll point out, and explain:

Insurance: 75: this is the insurance the promoter takes out for cancellation/­public­liability etc etc again split across 12 shows. It does not cover me.

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FEBRUARY 2013

Ticketing: as with most venues nowadays the ticketing is outsourced

Crew wages: 400: 4.Sound tech; backline tech; video/light tech and

to agencies who charge what I consider exorbitant fees and earn a

Yatta. As with the musicians these are not top-notch wages but what

tidy profit for very little in my opinion. A 4.50 charge in some cases to

I can afford and I am lucky I have great band and crew guys that have

process a ticket plus postage, which again appears more than enough

remained loyal and give and make time for me.

to cover delivery. Just more middlemen eating the ever decreasing pie.

Agency: 113: This is Yatta’s fee of 5% of the gig guarantee for setting­ up and booking the tour with the Gig Cartel, booking hotel­s, sorting­

Total expenses for this example are £2245.

out transport, organising and printing itineraries, phone bills, laminate­s and all the other work that goes into organising a tour before we go

The Gig Cartel has dealt with my last couple of tours and they are

out. It can take months sometimes when dealing­with Europea­n bus

easy guys to get on with and total pros, well versed at dealing with

tours across a 6-7 week itinerary. The agency percentage­also covers

bands at this level. There are no hidden office expenses or extras that

my side of earnings after we pass the ‘break even’ point. A mainline

seep away at the expenditure. They guarantee a fee to Yatta and

London booking agent can take between 10-20% of a show fee and

myself­, cover their rep and like me hope that we ‘break percentage’

they generally don’t do anything apart from book the gig and only

on the show. That means we

liaise with the band’s production

earn more money as we pass

manager with regards to all the

the ‘break even’ figure­where

other details.

all venue costs and expenditur­e is met. The guarantee­is based

Mainline agents (especially the

on the numbe­r of tickets they

good ones) are more in demand­

expect­to sell. It is in no ones’

and more difficult to get than

interests­for promoters­to go

record deals these days as the

out on a limb with unrealistic

live scene takes over as the

figures as that means busted

artist’s­main income supplier

promoters­ , and busted pro-

from selling recorded product.

moters can mean busted and

As I said in the previous blog the

potentially derailed tours and

album sells the tour and not the

other bands getting hit in the

other way around as it used to

aftermath if they are going

be years ago when I started in

through the same promote­r (as

the business. I couldn’t afford­

happened to me in 91 when I

to deal with a mainline agent

took a kicking on the Exile tour

as it would mean it would be

through a bankrupted company called Bandstand who’d booked me,

unlikely­to get the numbers of gigs I do get as promoters either

sold my tickets and lost the money before they went down as a result

couldn’t afford the fees (re read the busted promoters section above)

of other busted tours just as I hit the road with my tour! I took a 75k

or I couldn’t fit the agents percentage in my budget at the level I work

hit to the head with no comeback available).

on. (Add a manager’s 20% on top and you understand why I don’t have management!).

Yatta haggles over the guarantee as our costs have to be met within that but after all I have said above realism has to exist on all sides. The

Yatta and I have been around the block enough times to know a

percentage splits after the break work accordingly, usually 70-30 in

good selection of European promoters, the ones we trust, the ones

favour of the artist with the Gig Cartel not making any money itself

we want and like to work with and who Yatta can pick up the phone

until after the break even is hit.

and put together a tour with. By not having ‘London’ representation we might lose out on some festivals and other gigs but we have our

My guarantee on every gig on this tour is £2250.

‘meat and potatoes’ and the lower costs mean we can work more often. With no major record company behind me and at 55 years old

The break even on this show requires 273 tickets.

with the numbers I normally do it would be highly unlikely that either a mainline agent or decent manager would look at me anyway. I don’t

And now we move onto my costs! (all minus VAT):

take it personally. I am just realistic which is why we operate as we do.

Band wages: 750: 5 musicians, I am not included in calculations for

Anyway back to the costs!

wages.

19

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FEBRUARY 2013

The Scottish singer Derek Dick, better known as FISH

Hotel (4 twin and 2 single) 400: ranges again go from 280 up to 550.

Fuel for Van: 47: an average as you’d expect.

This UK tour is not on a sleeper bus. The journeys are only a matter of a couple of hours, which would mean sleeping parked up outside

Fuel for Car: 25 Yes you did the figures right! There are 10 in the party

venues. On European tours the distances are greater and we couldn’t

and a 9-seater Splitter van. This means yours truly will be following­

travel those hours on a gig day. On bus tours we get a hotel every 4

the Clown Carrier again driving to gigs with whatever passenger

days unless there’s horrendous travelling involved ( as we have on a

decide­s to join me. We haven’t even registered a hire cost here!

long section of the September tour with only a ferry cabin in 8 days).

Bus tours can mean a day room on gig day where everyone showers

Strings/Skins etc: 42: Not drug paraphernalia but the ‘throwaways’

etc unless there are facilities in the venue. Bus costs are around 450 a

the musos go through again averaged out over the 12 days. Drum

day for something not luxurious! This UK tour requires doubles, which

skins, drumsticks, guitar strings and bass strings break, wear out

means sharing for the band and crew. Yatta and I have singles.. It’s the

and have to be replaced. It’s a tour cost not an individual’s. Normal

only thing I ‘pull rank’ on as I need my sleep to recover the voice and

procedure­.

need the peace and quiet to chill and steady myself. Yatta deals with after show figures, advancing gigs etc and also needs his own space.

Catering – Breakfast: 25: The only meal we pay for on gig days and

Not ideal but a necessity as you’ll see further down the page.

days off; sometimes inclusive in the hotel charge and sometimes not. Some of us do and some of us – mainly me – don’t. Again an

Insurance: 42: this is another of those figures split over 12 shows.

average.

This is my cover for public liability and cancelled shows in the main.

It only covers the guarantees not any potential percentage break no

Video Hire 75: This is for the equipment we use to provide the

matter how many tickets are sold in advance. It doesn’t cover merch

backscreen projections. I don’t have the budgets to go for a

loss or anything else. Only the costs I have incurred and lost through

‘Porcupine­Tree’ visual extravaganza but we do what we can within

a ‘no show’.. Luckily my history has been relatively clean in recent

the constraints to put something up to make more of the show. I

years so although I don’t have a ‘no claims’ bonus the premiums are

use ‘in house’ lighting techs on the night who are briefed on what

not horrendous.

we need from what we get provided with in the venue. There are some fine guys out there on the circuit and quite a few I would

20

Splitter Van Hire: 110: the new all singing and dancing ‘Clown Carrier’,

like to have kidnapped! Again at this level I can’t afford a Lighting

a 9-seater Merc van that also carries all our backline equipment and my

designer (LD) with another wage and another hotel room etc. I use

merchandise driven by Shaun the ‘FTC’ who also, as most of you well

‘apps’ in the form of the video operated by ‘Secret’ on this tour.

know, is our sound tech. On a “big bus ” tour it goes in a trailer behind

(He did 13th Star and is a talent!) Again this figure is averaged out

the bus, which is an additional cost, about the same as a splitter van hire!

over the 12 shows.

VIP NEWS >

FEBRUARY 2013

Merchandising facility fee: 50: The fee we pay to venues to allow

optimistic­. And it’s a recession and there are a lot of bands all

me to sell my merchandise. We get a space we need to set up a stall

chasing the same pie!

provided­by the house and lighting. I can deal with that! I can’t deal and refuse to deal with percentages of the revenue. My average­take

On the figures I have across the 12 dates with Gig cartel based on

at a venue is 3 a head, which means on average I sell 3 pounds for

guarantees and without any merchandise sales in the equation and

every ticket holder. In a 400 crowd I therefore would take 1200, which

adding those empty 3 days off I am looking at a loss of 6.5k.

includes VAT. Take off the VAT and it’s 1000. T shirts have roughly a 35% profit margin so that’s 350 but as there’s DVD’s and albums

The lottery win of a complete sell out tour would be around 45k

with slightly bigger margins and I don’t only sell T’s say the take after

profit­. Those numbers aren’t coming up! Half that and I would be

VAT is 500.If the venue takes their 25% then it’s off the 1200 figure.

a happy man but that’s doubtful. If it did hit say 25k there’s still the

That’s 300! Then they charge VAT at 20%. That’s 360. Ok I can claim

bogeyman­of HMRC and corporation tax at 24% taking 6k and

the VAT back my end but it means the venue makes more than me

leavin­g 19k. It’s still a lot of money which I would be lucky to be able

from my merch. Rough figures but you get the idea! If only I could

to make in this day and age and which I’d be exceedingly grateful for.

get a percentage of the beer they sell to the audience I bring in? .2 pints on average each, 600 pints, 25% =150 pints @ 3 each? If I had

But to throw that figure in perspective in the big picture it’s the only

a separate merchandiser he’d be on 100 a show plus a hotel room/

UK tour I could safely command for at least another 18 months

breakfast so another 150 a night comes out the nett to give me 300

withou­t another new album and apart from the Fishheads Club tour

after the facility charge of 50. Once again I have to take the ‘guerilla’

that closed in 2011 my first full electric band touring since 2008 with

approach and Yatta will be handling the merch stall on this UK tour

only around 10 or so shows in 2012.

with the rest of us helping set ups.

The European tour in the Autumn is a completely different ball game.

Rehearsals: 416: The average taken from 12 shows for just under 2

Slightly bigger fees but way more expense with the added kick off

weeks full band rehearsals on half wages with a hotel room (I have

witholding taxes by relative countries. And again it will be the last

2 rooms here and potentially 3 are ‘out of towners’ with Shaun up

one for at least another 18 months. It’s a harvest of sorts after years

for the last few days) catering for the band and fuel to and from the

preparing­the ground and you have to make sure you gather what

farm. It comes in around 5k.

you can as it has to last a while. Unlike the band and crew I only get one hit at this while they can move onto other bands and tours.

And that ladies and gentlemen, boys and girls is only the rough costing­ without any allowance for miscellaneous! It doesn’t take into account

No matter how you look at it it’s all a gamble which in previous

the days off of which there are 3 that have no income but still have

scenarios­I have lost my shirt and underpants by taking. If it comes off

crew wages (the guys get paid by the week, the band by show), the

then everyone is happy. I just wanted to share this with you to give

hotels, the splitter van hire (it’s out with us for the duration) the fuel,

you a better idea of how it works and what lies behind the scenes

breakfasts coming in at around 1100. These all go into the overall­

of touring at the level I am working on. It’s not a cry for sympathy or

tour budget! But I am getting slightly ahead of myself. Meanwhile

anything else of that nature. It’s how it is and as I said before I have to

back at the venue it’s gig day so let’s add up the Fishy costs!

deal with it the best I can and hope the sun shines on me occasionally and makes it a good night for walk ups on the doors!

In total the rough costs on my end are approximately £2496.

I am eternally grateful to have made it this far down the road and to This gives me a loss of 246 on the guarantee but 254 ahead if I bring

still be able to even pull a crowd after over 30 years as a professional

the merchandise into the equation!

singer. There are a lot of burnt out wrecks in the ditch and even more musicians that never even got a ride that were left standing holding

It’s not all doom and gloom though. Remember these figures are

dreams a long way back. I got lucky but there’s gonna come a time

on the guarantee that requires 273 people to buy tickets out of

when I have to pull over and park up and cut down on the driving as I

a potentia­l 700. For every extra 100 tickets I’d sell here I’d make

don’t want to end up a casualty. I’d like to slow down and take in the

another 1200 with a potential of 4800 if I sold it out! And there’s

view for a change as there’s still a lot of things I want to see and do. I

extra heads buying merch? But realistically, in both my eyes and

am very aware of the changes that are occurring and not all of them I

those of the promoters, that is unlikely to happen. 500 maybe

like or want to be part of. It’s always been a rough ride being an artist

with a fair wind and a walk up. Maybe, maybe, maybe! I’ve been

but there’s only so long I can keep this ‘off – roading’ up for. This year

hit before and ran a tour with only about 5 breaks in 20 shows.

will be a challenging year for us all and it’s going to be interesting to

I never gamble. I nearly lost a house before being way, way too

see where I end up when the dust clears!

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A Surprising Deal Manfred Tari mt@vip-booking.com

The announcement that Mehr! Entertainment was to take over A.S.S. Concerts was made in December 2012, and the deal has been in place since early this year. It could be said that A.S S.was one of the very first companies in Germany to adopt the type of company structures that have been in place in the UK or the US for a long time.

Now with Mehr! Entertainment on board, the set up has been taken to a new level.

On one hand the purchase had a surprising element. Mehr! Is Germa-

Michael Bisping teams up with Mehr! Entertainment.

Photo musikmarkt.de

ny’s second biggest producer of musicals (Cats and Starlight Express) and also operates several music and event locations all over Germany (Admiralspalast in Berlin, the Musical Dome in Cologne). The Company’s acquisition of a national promoter was an unexpected move.

– Will I enjoy it? I guess not, but how do they say…”With every wish,

VIP News asked Michael Bisping of a.s.s. concerts and Maik Klokow

there comes a curse!”

of Mehr! Entertainment about their motives and their plans for this new concert consortium...

Do you already have an idea how this new construct will affect

yours and Dieter’s (Schubert) daily business?

What lead you to the deal with Mehr! Entertainment?

– Since we will have a third M.D., purely for the commercial part of

– On one hand the changing market situation, which makes it harder

the company, I guess we will have more time to do what we are good

for an independent company to stand alone …on the other the fact

at…A&R, new ideas/strategies and development of live careers!

that Mehr! Entertainment and A.S.S. share the same sort of business philosophy…very hands on, value oriented, artist related…it fits!

A.S.S. also recently entered a joint venture with the music convention C/O Pop in Cologne. Can you please explain about that

VIP News: Where do you see the added value for being part of

set up?

the network of Mehr! Entertainment?

– The joint venture is not with the convention itself, but with the

– Stronger marketing and sponsorship possibilities, access to the

booking agency of c/o pop. The idea behind it is simple…get in touch

company owned venues, creative exchange…especially because we

with young talent early and help them develop their career by joining

all come from different backgrounds.

forces and supporting each other.

Does the joint venture with Mehr!-Entertainment require a

Mehr! Entertainment has its own ticketing portal and system.

change in the A&R policy of A.S.S Concerts?

Are there already any plans in place for this to alter the current

– No…the diversity of our roster holds artists that would fit the venue

ticketing set up of A.S.S. concerts?

structure of Mehr! Entertainment perfectly. Also we have a young team with young artists and ideas, and this was one of the reasons

– Not concretely…we still have a 2 year exclusive contract with CTS,

for this joint venture.

apart from our metal tours through Dragon Productions and our local shows. In 2 years time we will see.

Can A.S.S. keep its current staff structure?

– Nothing else is planned!

In general, do you expect that the market concentration and consolidation will reach a new level?

After 26 years of A.S.S. Concert being a stand-alone company,

– Yes…look at the acquisition of the Lanxess Arena. There will be

how much are you looking forward to providing reports and

more like this…officially or in terms of cooperations.

forecasts to your new stake holder?

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VIP NEWS >

FEBRUARY 2013

VIP News asked Maik Klokow, CEO of Mehr! Entertainment…

Maik Klokow

Mehr! Entertainment is so far highly specialized within Family Entertainment sector, which is structured very differently than the concert and touring sector. How is A.S.S concerts going to be embedded within the current framework of your Company?

– Mehr! Entertainment operates several live entertainment locations and a ticketing organization. In these areas we have already worked together a lot with rock and pop promoters. If a promoter rents one of our locations he is free to use our local market know how or his own.

Our resources and know how at ME is always very much welcomed by the promoter. Next to it A.S.S. will operate his own business and we will try to implement some synergies to boost both businesses.

The marketing and PR-strategies for family entertainment productions is also different. Is it foreseen that concerts and tours

by A.S.S will be integrated within PR- and marketing campaigns of M.E.?

– Yes, where it makes sense. We have large deals with TV stations and other media channels so if it makes sense for one or more artists at A.S.S. to be integrated in such a huge marketing campaign we will do so. On the other hand if we talk about finding young artists and helping them to become more known in the market place there we can add competence, network, ideas and budgets as well from the ME side.

coming directly out of the ME world but most are coming from other

producers and presenters.

Does the takeover require taking on new administrative staff?

– No, A.S.S will be run by Dieter and Michael, we just add a functional

Our third column is our independent ticketing organization, which

GM next to them to give ME a better understanding of the daily work

offers an independent infrastructure to all market players for the best

and the requirements to get synergies in place.

way to market and sell a ticket. So having said this it is obvious that there is more to achieve in finding the synergies which will help the

Isn’t the family entertainment sector currently under pressure

artists at A.S.S. to get a faster and more successful grip on than oth-

due to the economical situation?

ers. And our venues and ticketing organization will get a push from

– Not at all; our Cats tent tour is nearly sold out; Starlight Express

the booking activities of A.S.S.

celebrates its 25 anniversary and has been successful with growing revenues in the last 4 years. Our bookings in the Theatre like, Ballet

When putting on a new musical, how do you investigate and

the Revolution from BB promotion or, Heisse Zeiten, Rock, the ballet

identify the market potential of a musical production?

from Thomas Collien are doing great business. So although it was

– It’s a secret.

never easy to market shows it is no more difficult than in the past, you

just need a great show.

Is it rather your passion that determines such decisions or ra-

tional market analysis?

Once again referring to the differences between the family

– Both parts are important. I don’t want to work just for the money. I

entertainment and the concert and touring business, can you

love what I do which means I look for people with the same attitude

explain the advantages and the difficulties of the musical busi-

and enthusiasm and with the same passion for live entertainment. So

ness?

the business case study is as important as the human factor and of

– We are a company who works on the 3-pillar structure. The first

course sometimes is just “Bauchgefuehl”* to make the right choice

column is content in all fields of entertainment, like musicals, shows,

for a partner and a product.

exhibitions, rock pop, heavy metal…

Second is our venue network where we present, as much as possible,

* German word for instinct

different live entertainment concepts. Some of these productions are

23

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VIP NEWS > BUSINESS > FEBRUARY 2013

MUSIC IN SHARES

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

CTS Eventim

Live Nation

Runs Ticketing for the Olympic Opens Ticketmaster Branch in Winter Games 2014 United Arab Emirates

A new Ticketmaster subsidiary in Dubai should help the Company access­ new markets in the Middle East and North Africa for the company­.

The CTS Eventim subsidiary Partner.ru will handle the ticketing for

“We have been operating our concert business in the Middle East for

the Olympic Winter Games in Sotchi in Russia in 2014. The company

five years and in that time have seen a significant increase in the number­

announced­that that contract has been signed but no information

of concerts and sporting events taking place in the UAE and elsewhere

was given about the ticket volume the deal includes.

in the region.’ commented Alan Ridgeway, Live Nation President­of

International­and Emerging Markets on the move and added: “ I am

The share of CTS Eventim at Frankfurt Stock Exchange currently stood

pleased that we are now in a position to offer event organisers and

(XETRA) at 26.35 Euro.

ticket buyers in the region the level of service that they have grown accustomed­to in our other markets around the globe.”

DEAG Acquires Fred Handwerker Promotion

David Gisham, from Ticketmaster Canada has been appointed as managing­director for the new branch which will be located in Dubai Media City. The website for the new unit can be accessed at www.ticketmaster­.ae­and already has tickets on sale for shows of Kanye West, Dubai Jazz Festival, Metallica, Chris Tucker and Creamfields.

Since the end of 2012 the share price of Live Nation at NYSE went from $9.31 up to $10.33.

DEAG purchased a 51 percent stake of Fred Handwerker Promotion­,

Alan Ridgeway, Live Nation President of International and Emerging Markets. Photo Getty Images

one of the leading local promoters in North Rhine Westphalia.

According­to DEAG, the company expects that new acquisition will contribute a two digit million figure towards DEAG turnover in 2013. Handwerker Promotion has existed for more than 20 years and achieves a turnover of 10 million Euro per year. The company director Fred Handwerker will remain with the company.

The share price of DEAG since the end of November 2012 rose from 2.87 up to 3.50 Euro.

25

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VIP NEWS > MISC > FEBRUARY 2013

MEMBER PRESENTATION

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