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VIP NEWS
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VOLUME 235
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JUNE 2020
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VIP NEWS >
JUNE 2020
McGowan’s
Musings
Well, we’ve just gone past the longest day of
distance! There doesn’t seem to be a lot
Company, along with other promoters, want
the year – did you notice? Or, like me are you
of good news on the live business front,
artists to share more of the risk when the live
finding that all the days are going past, pretty
although Live Nation Finland expanded its
industry returns to action. But today, June
fast – in many cases they’re ‘zooming’ past
summer concert series, which kicked off
24, Live Nation has backtracked somewhat.
as we retain contact with family, friends, and
on June 11, “due to high demand and sold
“Live Nation will always be the artist-friendly
of course the business by virtual means. I’m
out shows.” On the other side of the world
company”, insists Charles Attal, co-President
still finding things be-musing, and hoping
Australia will host 1,000 concerts over 20
of the US-based Live Nation subsidiary C3
that more elements become a-musing as
nights in November to boost the sector.
Presents, adding that the memo is “really
lockdown eases. However, much as it’s good to hear a few
work for the artists, to branch into new
Anyway, here we are half way through a
reports like this, bad news still dominates.
territories, bring new business development
momentous year, most of which we could
For instance, the UK’s National Outdoor
to up-and-coming acts, and showcases for
have done without, with much no doubt
Events Association, an organisation that
headliners to perform for huge, diverse
still to come, so we still need to keep our
represents businesses that work on a whole
audiences and develop new fans. These
range of outdoor events - including outdoor
[festivals] take years to develop, and that’s
concerts and festivals - says that its sector
our job. We are here to work for the artist.
is “on the brink of permanent demise” as
That’s it. We’ve been doing this for years,
a result of the COVID-19 shutdown. Half of
and it would be impossible without our great
the companies surveyed by the UK’s National
relationships with the artists”
COLOPHON > VIP-News is published by: VIP-Booking.com Enghaven 19 Attrup 8444 Balle Denmark 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 +46 70 77 60 480 Charlie Presburg cp@vip-booking.com +44 (0) 7980 817496
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irrelevant. First and foremost, our job is to
Outdoor Events Association say they won’t survive to the end of the year without
But as the situations change agreements
additional government support.
with artists, which will of course require negotiations
with
agents
and
artist
The on going challenge, of course, is how
managements will doubtless open up further
important the summer months are for the
strenuous discussions! The fans will also be
business. Some live events, such as the EXIT
involved of course as ticket prices go up, or
Festival, is planned to take place in August,
perhaps, down?
and a few others are scheduled to return later this year as restrictions are relaxed, but most
And what about the venues? Certain
companies will still struggle having missed out
Governments in Europe have come up with
on the most lucrative half of the year.
support plans, but in most cases more needs to be done. In the UK the Music Venues Trust
Besides what takes to the stage and what
has said that £50 million cash is needed to
doesn’t, we will all I think, have to accept
save UK venues calling on the government
that the structure of the business as we
to provide this cash injection urgently to
‘thought’ we knew it will change, drastically;
prevent the closure of a large number venue
the relationships between the sectors of the
businesses over the next three months.
live industry will be reconfigured with the balance of finances being renegotiated. A
So, watch this space – from a distance of
recent Live Nation memo indicated that the
course! A vaccine would be handy, but even
VIP NEWS >
JUNE 2020
that would not guarantee the salvaging of
travel, for Reeperbahn, which is, we’re told,
so we can celebrate US Independence Day
the live industry and all who work in it, for
going to take place in September, and then
Mr Trump? What about the pubs! Also it
some time at least; so, not very am-musing
MaMA in Paris in October. Perhaps I’ll see
seems that social distancing will be cut
I’m afraid, but we may be surprised, there
you in one, or both actual places, or there’s
down from two metres to one – how long
are a lot of remarkably enterprising people
always Zoom of course!
is your arm?
or possibly you? – might pull of! As for me
Hah! What’s this - a newsflash, apparently
In the meantime Ladies and Gentlemen, stay
I may well head to Hamburg, if allowed to
UK Hotels will be open from July 4 – is that
well and safe, and here’s the News!....
in this business and who knows what they -
Rod MacSween on why artists need agents From VIP-Daily News
ITB’s Rod MacSween responds to industry
Promoter. There are often difficult decisions
We
to be made on logistics, local compliance
vanishingly few promoters are dishonest, as
also
check
the
books
(although
rules, movement of equipment, local tax
you suggest). The point I’m making is that
issues, currency fluctuations, insurance for
we agents have always provided good ‘old
pandemics and much more to make a tour
fashioned’, time-honoured service. Here are
run smoothly.
some of the reasons I say this:
Rod MacSween
commentator Bob Lefsetz question “Do artists still need agents in times with worldwide promoter like AEG and Live Nation?
Rod MacSween: Hey Bob. Let me respond to your email with WHY artists need an agent. The focus of my work as an agent is on territories outside of the USA, especially in Europe, Latin America, Australasia, Japan/ Asia etc. Many large acts do sell the ‘Whole World Tour’ to LN or AEG. However all tours still have to be routed and there are places where the ‘big’ promoters do not have companies or local relationships. Often, with tour routes that we have helped to create (many times with those ‘big’ promoters), we include additional and useful ‘sell off’ shows. We also act as a buffer between the Manager/Artist and the
3
VIP NEWS >
JUNE 2020
We have geographical understanding gained
We help break talent by assisting younger
The holistic nature of the agent’s relationship
from years of experience. Local ‘on the
acts to get a leg up. We foster record label,
with an artist/manager means we’re always
ground’ issues are informed and resolved
radio, tv and social media liaisons. We also
there for them, supporting, protecting,
by a wealth of knowledge about locality,
have excellent relationships with all the
nurturing through thick and thin. Our agency
culture, company, client, that we have
top managers. Those guys appreciate the
representation list and enduring artist bonds
accumulated over time.
added value and hard work that an agent
speaks for itself.
invests in their artists’ success. The strength We store fundamental information such as
and depth of the relationships that we have
The pendulum of live music swings between
how long it takes to overnight from A-B
forged with a number of strong headliners
the power of a) the artists and promoters
(drive times), the network of ferry links,
has also been influential when it comes to
and b) the public who pay good money to
transport restrictions, crew swaps, air-freight
negotiating with promoters, festivals and
see the music performed. In the present
of equipment, charter flights and the many
other venues. The presence of an agent
climate of uncertainty, the law of the jungle
behind-the-scenes activities that collectively
will be significantly more consequential to
applies so let`s allow the market to determine
make a tour work (we do all this in
an artist, adding value and helping to build
“who agrees what”. You can’t blame Rapino
association with artist production managers
or sustain their career in such an uncertain
for trying to close the gaps. He is a caring
and transport companies)
world we now face. The desired end result
and intuitive man who has given up his own
of an agent’s presence is to allow the artist
salary for the cause.
Sure you can leave much to promoters but an
to concentrate on their performance and
AGENT fighting for the artist in their corner
give of their best to their audience, free
Rod MacSween
provides a crucial and significant service.
from any external concerns which may
(International Talent Booking)
We’re a vital cog in the overall process. As
have arisen.
ITB AGENCY London
well as handling regular fee negotiations, much else of what is done by the agent maximises earnings for the artist. At a basic level, your premise that the manager just calls Michael Rapino and makes the global deal (thereby cutting out the agent) could be perceived as short term saving. But believe me, in the longer term, this ‘by-passing’ of our role and function would be more costly because of the reservoir of accumulated knowledge and pivotal insight an agent is able to bring to the party. The artist relationship with a bigger promoter is partly founded on big bucks advances and guarantees. Undoubtedly this alliance has a role to play as financial certainty helps to keep the world running. Nevertheless, and for reasons I have indicated above, the contribution of the agent remains critical to the success of the enterprise. I would also add that territories outside of the USA represent about half the touring world and an agent ‘on the ground’ with local knowledge is an indispensable element in the equation. The concept of ‘agent’ is not antiquated and the function is much more than paperwork.
4
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VIP NEWS >
JUNE 2020
Live Nation shift show risks to Artists From VIP-Daily News
across the board. Live Nation also says that if a concert is cancelled due to poor ticket sales, it will give artists 25% of the guarantee (as opposed to the 100% that promoters are currently expected to pay). Moreover, if an artist cancels a performance in breach of the agreement, the artist will pay the promoter two times the artist’s fee — a type of penalty that, as Billboard notes, is unheard of in the live music industry. “We are fully aware of the significance of these changes, Live Nation is planning huge changes in reaction to the
and we did not make these changes without serious
uncertainty due to the pandemic. In a recent memo
consideration,” Live Nation wrote.
obtained by Rolling Stone, the company told its talent partners that it plans to make an array of alterations for
A source close to the matter tells Rolling Stone that some
concerts and festivals held in 2021.
of the terms detailed in the memo are standard in existing concert contracts prior to the pandemic, and that the new
Most of the new policies shift financial burdens to artists:
aspects are part of broader negotiations with the music
For example, the company wants to decrease the monetary
industry to navigate the post-COVID future when shows
guarantees promised to artists before an event by 20%
get back up and running.
Read the full memo below.
Payment Terms: Artists will receive a deposit of 10% one month before the
Live Nation Memo to Talent Agencies.
festival, contingent on an executed agreement and fulfillment of marketing responsibilities. The balance, minus standard deductions
The global pandemic has changed the world in recent months and
for taxes and production costs, will be paid after the performance.
with it the dynamics of the music industry. We are in unprecedented times and must adequately account for the shift in market demand,
Minimum Marketing Requirements:
the exponential rise of certain costs and the overall increase of
All artists will be required to assist in marketing of the festival through
uncertainty that materially affects our mission. In order for us to move
minimum social media posting requirements outlined in artist offer.
forward, we must make certain changes to our agreements with the artists. The principle changes for 2021 are outlined below.
Streaming requirements: All artists will be required to allow their performance to be filmed by
6
Artist Guarantees:
the festival for use in a live television broadcast, a live webcast, on-
Artist guarantees will be adjusted downward 20% from 2020 levels.
demand streaming, and/or live satellite radio broadcast.
Ticket Prices:
Billing:
Ticket prices are set by the promoter, at the promoter’s sole discretion,
All decisions regarding “festival billing” are at the sole discretion of
and are subject to change.
the promoter.
VIP NEWS >
JUNE 2020
Merchandise:
Cancellation Due to Poor Sales:
Purchaser will retain 30% of Artist merchandise sales and send 70%
If a show is cancelled due to poor ticket sales, the artist will receive
to the artist within two weeks following the Festival.
25% of the guarantee.
Airfare and Accommodations:
Force Majeure:
These expenses will be the responsibility of the artist.
If the artist’s performance is canceled due to an event of force majeure – including a pandemic similar to Covid-19 – the promoter
Sponsorship:
will not pay the artist it`s fee. The artist is responsible for obtaining
The promoter controls all sponsorship at the festival without any
any cancellation insurance for its performance.
restrictions, and artists may not promote brands onstage or in its productions.
Inability to Use Full Capacity of the Venue: If the promoter – either because of orders of the venue or any
Radius Clause:
governmental entity – is not permitted to use the full capacity of the
Violation of a radius clause without the festival’s prior authorization in
venue, then the promoter may terminate the agreement, and artist
writing will, at the festival’s sole discretion, result in either a reduction
will refund any money previously paid.
of the artist fee or the removal of the artist from the event, with any pre-event deposits returned to the festival immediately. Insurance:
We are fully aware of the significance of these
The artist is required to maintain its own cancellation insurance as
changes, and we did not make these changes without
the promoter is not responsible for the artist fee in the event of a
serious consideration. We appreciate you – and all
cancellation of the festival due to weather or a force majeure.
artists – understanding the need for us to make these changes in order to allow the festival business to
Cancellation by Artist:
continue not only for the artists and the producers,
If an artist cancels its performance in breach of the agreement, the
but also for the fans.
artist will pay the promoter two times the artist’s fee.
Michael Rapino - CEO Live Nation
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VIP NEWS > INDEPTH STORY >
JUNE 2020
COVID-19 and the Live Industry: How Are we Coping? It goes without saying that these are challenging times with the Live Music & Events Industry being one of the worst hit by the current coronavirus crisis and with the lockdowns and restrictions on events imposed by governments all over the world. Although there is some hope on the horizon with many tours already being rescheduled for the autumn there is still a lot of uncertainty remaining. We asked 3 professionals from different countries about their current situation and how they are dealing with the problems facing their businesses.
Irina Shcherbakova Owner & Founder, Caviar Lounge (RU) How is your company coping with the
in the form of 140 euros per month per
current crisis and is there any update
employee. We don’t know how long the
on when you will be able to get things
state can continue to provide this support.
Irina Shcherbakova
rolling again? Have you managed to reschedule all the Despite the initial difficulties, we have been
shows you had booked for this period?
able to save the whole team and continue working (albeit remotely) on rescheduling
We
our shows and on new plans for 2021.
approximately 80% of shows. Regarding the
have
managed
to
reschedule
We have also been developing new formats
other 20% of shows we have lost these due
in the form of streaming/online performances
to the album release schedules changing and
and drive-in shows. We expect to resume
other variations in the artists’ plans.
to our normal volume of activity in Q1/2 of 2021. I feel a slight relaxation in restrictions
Are you already booking new shows for
before the end of 2020 is possible, until that
later in the year and next year?
advances in the future or do you see
time we continue to monitor the situation.
8
Will promoters continue to pay huge
Yes, we have managed to add dates to
artists/ managers/agents taking more of
Have you received any financial support
tours with artists who were already booked
the risk?
from your government and if so what
as well as several bookings with new artists.
kind of support is being offered?
Despite the activity of negotiations there
We now ask agents for a gentler payment
are not that many new shows booked so
schedule
The music industry itself did not receive
far, as not all acts are willing to commit for
prepayment
any special support, but we have received
2021 due to the risk of a second wave and
Agents willingly cooperate, everyone is
Government support for small businesses
the general uncertainty.
willing to meet each other half way.
that
features
until
the
a
minimum
announcement.
VIP NEWS > INDEPTH STORY >
JUNE 2020
Have you managed to monetise any live
Perhaps, but at the moment the audience
companies do not offer the same range of
streamed gigs and if so how?
is very small in our market. It may only be
policies as they do in some other countries.
interesting to those who live in remote
Some
We have worked long and hard on the
regions or to a dedicated fan audience. I
booking companies will withdraw from the
concept, but it has become clear that at the
feel the concept may be interesting in terms
market. There’s a high probability to loose
moment this is only an option for local artists
of developing a stronger artist-audience
some professionals in the industry who are
and as such the audience only have so much
relationship (the artist’s proximity to fans,
searching for other job opportunities at the
depth to their interest in the format.
interactive experience, etc).
moment, now that there are dramatically
of
the
smaller/newer
promoter/
reduced incomes and a wave of layoffs. Local and even foreign artists performed
What long term effects do you think the
with their fees covered by brand sponsorship
current crisis will have on the future of
How do you see new technology being
money. There are only a couple of platforms
the Live Music Industry?
introduced to monitor audience safety at future events?
that have managed to monetise this, it’s a drop in the ocean compared to real concerts.
It will depend on how soon the restrictions (social distancing, etc) are lifted. In our
Besides regular safety measures such as
This only works with Russian artists with a
market, the audience will definitely be less
metal detectors, etc (the security levels are
dedicated fan base as all online performances
solvent. I think if the limitations are lifted
already high in Russia), evidently there will
of International artists focused on the
this year, the sales will likely decrease by
be additional measures added (sanitisers,
Russian audience have so far been free for
20-30%. The fans are still ready to pay to
temperature checks, etc). I don’t believe
the local viewers. Globally as a commercial
see their favourite acts and not that many
these additional measures will be long
project, this concept seems to us to be non-
people have returned their tickets for the re-
term, probably within a year of lockdown
viable for our market.
scheduled shows so far. Promoters will try to
easing they will be gradually phased out.
be overcautious with contracting conditions
However I do hope that the sense of
Do you see live streamed gigs being a
adding pandemic-related force majeure
personal responsibility within the audience
revenue stream in the future even when
clauses. At the same time it may be difficult
will also increase and third-party limitations
artists get back to touring again?
to achieve in our market, as our insurance
won’t be necessary.
Jana Mudrikova - General Director at Agency Vivien (SK) Jana Mudrikova
We started quarantine on March 6th and
Have you managed to reschedule all the
set up our entire office to work from home.
shows you had booked for this period?
According to official information, we will
be allowed to gather up to 1000 people
We are still managing the rescheduling of
(standing) or 50% capacity if seated, from
shows planned for this year. Some of them
July 1st. So we’ve put some shows on
we’ve already announced with postponed
sale around Slovakia with local artists we
dates. The others are in the process of re-
represent. We are trying to reschedule all the
routing so we are working on venue avails etc.
other foreign shows for next year.
Are you already booking new shows for
Have you received any financial support
later in the year and next year?
from your government and if so what kind of support is being offered?
At the moment we are mainly dealing with
show postponements and planning shows for
Unfortunately there is no governmental
the artists we represent. For this year we are
How is your company coping with the
support for the music business. We’ve
not planning any shows with foreign artists,
current crisis and is there any update
asked for employee contributions, which is
since the situation is very uncertain with
on when you will be able to get things
measured as a percentage of the amount of
regards to epidemiological developments
rolling again?
revenue lost.
and the associated regulations. Of course
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VIP NEWS > INDEPTH STORY >
JUNE 2020
we are trying to plan some “new” shows for
Do you see live streamed gigs being a
This will be reflected in the live business as
next year.
revenue stream in the future even when
well. Everyone will have to think twice about
things get back to normal?
what to invest in or offer.
advances in the future or do you see
We don’t believe in the concert streaming
On the other hand, it is possible that people
artists/managers/agents taking more of
business very much.
will be “hungry” for concerts, the only
the risk?
question is whether they will be able to
Will promoters continue to pay huge
What long term effects do you think the
finance it. On the other side I think artists
We hope this crisis will lead to a more
current crisis will have on the future of
will tour again as in the past.
fairly shared risk between promoters and
the Live Music Industry? How do you see new technology being
managers/agents.
This business is built on human nature - to
introduced to monitor audience safety
Have you managed to monetise any live
have fun and meet. That hasn’t changed.
at future events?
But many companies have had to change
Any technology which helps to increase
Live concerts with the bands we represent
their focus, limit their expenses, lay off
safety at events is welcome. But it is still
were live streamed via sponsor/partner
many employees or close their businesses
unclear if any existing technologies can help
channels.
completely.
with what we are facing right now.
streamed gigs and if so how?
Peter Basler - CEO at Basitours (CH) How is your company coping with the
Will promoters continue to pay huge
current crisis and is there any update
advances in the future or do you see
on when you will be able to get things
artists/managers/agents taking more of
How do you see new technology being
rolling again?
the risk?
introduced to monitor audience safety
We are among the survivors in our industry,
You will only find out when you negotiate,
there will be very few activities this year but
it will be an interesting essential experience.
will be victims but the market will live on.
at future events?
business will return to normal by Spring 2021.
stricter general control via webcam and local Have you managed to monetise any live
Have you received any financial support
Today’s technology allows us to have a physical controls on site.
streamed gigs and if so how?
from your government and if so what kind of support is being offered?
No nothing has happened and nothing is planned yet.
Yes for 3-4 months, we receive up to 80% of our income
Do you see live streamed gigs being a revenue stream in the future even when
Have you managed to reschedule all the
they get back to touring again?
shows you had booked for this period? That could become an additional option Let’s say we could only re-schedule 50% at
besides the normal live concert experience.
the moment... What long term effects do you think the
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Are you already booking new shows for
current crisis will have on the future of
later in the year and next year?
the Live Music Industry?
For this year very few shows but we hope for
Many organizers and agencies will have to
a full program for 2021.
give up and this has already happened, there
Peter Basler
VIP NEWS >
JUNE 2020
UK grassroots venues back call for cash injection From VIP-Daily News Hundreds of independent venue businesses
other than music. Grassroots music venues sit
“These measures are simple, quick, effective
from across the UK have signed an open letter
at the very heart of our creative nation”.
and would prevent the closure of hundreds
to the government backing the Music Venue
of grassroots music venues”, the letter
Trust’s call for a £50 million cash injection to
The letter then notes the ongoing challenges
concludes. “They are the right thing to
be made into their sector, arguing that such
faced by venues as a result of the COVID-19
do. We are a dynamic, innovative, and
support is now urgently required to ensure
pandemic. While high street retail is returning
inventive sector. We do not need permanent
the country’s network of grassroots venues
to normal in the UK and an announcement
government intervention to exist. We are not
can survive the next three months.
is expected later today on whether social
asking to become a permanently subsidised
distancing rules will be sufficiently relaxed to
drain on the public purse. We do not need
The Music Venue Trust proposed the £50
allow pubs and restaurants to re-open next
the government to step in and tell us how
million
month, there remains uncertainty about
to run our venues. We need government to
when live music will return.
take two simple steps and leave us to work
in
sector-specific
government
support last week, stating that the ongoing COVID-19 shutdown – and continued
out how to do the rest. We need you to do
uncertainty as to when music venues will be
The letter says: “Public health advice is clear.
able to re-open – meant that hundreds of
Singing is a high-risk activity. Dancing is a
the right thing”.
venues are now facing permanent closure.
high-risk activity. Standing close to other
Elsewhere,
And while industry-led fundraising activity
people is a high-risk activity. Being in a
Neil Tennant and the bosses of music
that has generated over £2 million to date
confined space for a long period is a high-
companies
has bought those venues a little time, more
risk activity. These are the four pillars of
Ninja Tune and the Hipgnosis Songs
significant financial support is now required.
the live music experience we offer in our
Fund have backed a separate open letter
venues. Coming together with friends and
calling on government to ensure that any
The new open letter to ministers signed by
communities to dance and sing with your
programmes that seek to help the cultural
560 venues says that the grassroots venue
favourite artists in any of the 800 grassroots
industries weather the COVID-19 storm
network is the “fundamental foundation”
music venues across the UK is the very core
are environmentally sustainable.
of the UK’s “world-beating £5.2 billion per
and purpose of why we exist”.
Nile like
Rodgers, Domino
Brian
Eno,
Recordings,
year music industry”, supporting each new
This letter has been organised by Julie’s
generation of music-makers by providing
Bicycle, the charity that encourages the
“training,
cultural sector to lead on climate change and
rehearsal
spaces,
recording
opportunities and career development”.
sustainability issues.
Without this network of venues, “there
It
would be no Beatles, no Stones, no Led
organisations from across the creative
Zeppelin, no Duran Duran, no Sade, no
spectrum have been championing climate
Oasis, no Skunk Anansie, no Adele, no Ed Sheeran, no Dua Lipa”.
states:
“Thousands
of
artists
and
action for many years … having already Given the ongoing challenges, the venues
shown our commitment to environmental
say that the MVT’s proposals – which include
action we want the cultural recovery to be a
“We do not just support the next generation
a VAT holiday for the wider live sector as well
fair, just and green recovery”.
of world-beating artists”, the letter goes
as the £50 million fund for grassroots venues
on. “Grassroots music venues are where
– are the only way to ensure that they can
Although the UK government is yet to
people come together, where they celebrate,
survive the next three months. That will buy
provide sector-specific financial support
where they socialise. Thousands of cultural
the extra time now required to help the
to the creative and cultural industries
professionals get their first taste of working in
venues work with government and public
which have been majorly impacted by
the creative industries in our venues, including
health officials in bringing live music back in
the COVID-19 shutdown, it has formed a
many of those who go on to work in areas
a safe and commercially viable way.
“cultural renewal taskforce”.
11
VIP NEWS >
JUNE 2020
That committee is advising government on
Climate Change Act obligations extended to
the specific needs of the various creative
the cultural renewal strategy. We urge that
industries as they continue to navigate the
action to protect nature and biodiversity is
COVID-19 crisis, including the music industry,
given the attention it so urgently deserves”.
even though there is no representation from the music community on the government’s
It remains to be seen how the government
team of advisors. That taskforce reports into
responds to both letters. Will ministers
culture minister Oliver Dowden.
employ pretty much the same strategy that has been used throughout the COVID-19
Addressing Dowden, the Julie’s Bicycle letter
pandemic whenever the creative industries
says: “We urge government to commit to
have raised their concerns? That being:
a rapid, just and green cultural recovery
“we want to support you in every way
combining
possible that we can other than by actually
targeted
public
investment,
clear policy signals, and implementation of
Oliver Dowden
supporting you”. We’ll see.
Tapio Korjus: Music business is an endurance sport From VIP-Daily News Over the decades, Finnish acts from Wigwam
“When demand starts to build for an artist, I
Korjus works with a small number of
to Wimme have worked with the tireless
try to ensure that we make the most of these
artists on a 360-degree model, including
Tapio Korjus. He has played many roles, from
events. This business doesn’t work by just
concert booking, album releases and music
manager and booking agent to record label
making up your own schedules and expecting
publishing. Since the 1990s his main focus
boss and publisher through his Rockadillo
the world to wait for you,” he says.
has been on more ‘marginal’ music. In
group of firms. As he turns 70 this June, Korjus plans to slow his pace a bit – but not
most cases, the initiative has come from
Happy accidents
too much.
taken him a while before agreeing to launch Over the years, chance has played a role in
a partnership, as pianist Iiro Rantala found
The music sector is no place to make a
Korjus’s career. As he puts it, he’s not good
out when he talked Korjus into managing
quick buck, says Korjus. Instead it requires
at saying no.
his jazz group Trio Töykeät. Eventually he
persistent, long-term work, he says, as well
12
the artists themselves – and sometimes it’s
won him over, leading to a nearly 20-year
as momentum: you have to be ready to
An idea tossed into the air and a promise
partnership. Korjus values such long-term
strike when the iron is hot.
to “make a couple of calls” may lead to
relationships with artists. For example, he has
a massive four-and-a-half-year labour of
worked with Piirpauke and Jukka Gustavson
For instance, the international career of
love, such as bringing the leading world-
over five decades, and with both RinneRadio
accordionist Antti Paalanen, one of the
music event, the WOMEX fair, to Finland
and Wimme Saari for more than 25 years.
artists he represents, is now being boosted
in late 2019. As a co-founder of Music
by Music Finland’s Fast Track music export
& Media event, held annually in Tampere
In his early decades as an entrepreneur,
programme. Before the break imposed by
for 30 years, Korjus was an old hand at
Korjus did not necessarily have the freedom
the coronavirus, Paalanen performed in
arranging music-industry events, but he
to choose which jobs to take on. He gained
early 2020 at key showcase events such as
did not originally expect Rockadillo to be
experience as a journalist and as a DJ – a
Eurosonic and Folk Alliance New Orleans.
responsible for making WOMEX a reality.
hat that he still occasionally dons under the
Wimme & Rinne, meanwhile, performed
That’s what happened though, leading to a
name Dr. Riddim.
at the end of last year at the AfriCourage
great success in partnership with Tampere
festival in Gambia, and had summer festival
Hall, the city of Tampere, Music Finland
“As far as concerts, at first I brought all kinds
gigs lined up in Europe.
and others.
of bands to Finland, so that I could convince
VIP NEWS >
JUNE 2020
the international agents that it was worth
the back catalogue on Korjus` labels, scroll
hopes that more women will join these
offering me good artists,” he recalls.
down for a playlist!)
organisations, too.
And they certainly did: Korjus brought in
Looking into the future, Korjus aims to
“The music business used to be run by
acts such as Patti Smith, Ramones, the Clash,
increasingly seek income streams for artists
enthusiastic young guys,” he says.
New Order, the Smiths and countless stars
through music usage fees, noting that his
from Africa, Jamaica, Cuba and Brazil.
stable includes talented composers whose
“For instance, out of more than 50 firms
music is well suited to films or dance pieces,
that started (Finnish independent record
Learning by doing
for example.
companies association) Indieco, only a
Korjus has expanded his operations a couple
Fresh blood
couple were founded by women. It’s a of times, but faced the limited size of the
structural problem, but the situation is getting better all the time, especially among
domestic concert market in the late 1970s
Besides his business operations, Korjus has
and the deep recession of the early 1990s.
found time for many organisations in the
Since then he has aimed for agility instead,
music sector. After many fulfilling years,
Although Korjus plans to slow his pace, he
focusing on music exports.
though, he says it’s time to make way for
says he admires label bosses such as Atte
younger people.
Blom, Seymour Stein and Clive Davis and
Korjus didn’t plan to set up a record label, but
managers and agents.”
artists like M.A. Numminen, who have never
did so after bassist Pekka Pohjola suggested
“The top young people usually have such
decided to retire.
it in 1982. He’s been at it ever since, having
a drive for their own companies that
released nearly 200 albums even though the
they don’t necessarily have time to join
“I have however promised myself to cut back
pace of releases has slowed to 3–5 albums
these organisations. That’s how it was for
on jobs for which there are plenty of other
a year.
me, too. But when you’ve experienced
skilled people, such as basic gig booking in
not just upswings but also a few major
Finland. Instead I’ll concentrate on special
“For the first 10–15 years, I had to subsidise
setbacks, you understand why it’s worth
projects,” he says.
the record releases with other business.
cooperating with others in the field,”
It’s surprisingly difficult to run a record
observes Korjus.
Credits: Music Finland
company if you don’t have a back catalogue – and nowadays it’s challenging even if you
It’s a structural problem, but the situation
Words by Tove Djupsjöbacka
do,” he says. (note: for further proof on
is getting better all the time. Korjus
Photography by Eija Savolainen
Tapio Korjus
13
STICHTING EUROSONIC NOORDERSLAG
VIP NEWS >
NAMES & JOBS
JUNE 2020
Lucy Dickins named Co-Head as Geiger exits WME
Ole Hertel is new GM for MercedesBenz Arena
From VIP-Daily News
From VIP-Daily News
WME confirmed reports that had been
Geiger, who co-founded the Lolllapalooza
Michael
circulating this week that Marc Geiger, WME
festival
retailer
Managing Director of the Mercedes-Benz
Partner and Worldwide Head of Music, is
ARTISTdirect, joined WME’s predecessor
Arena will leave the Anschutz Entertainment
exiting the company after 17 years. At the
William Morris in 2003 as a Senior Vice
Group (AEG), operator and owner of the
same time Lucy Dickens has been named Co-
President in the music division.
arena, immediately after more than 8 years
and
online
music
Head of Music Division.
Hapka,
Vice
President
and
in the role. In addition to the announcement of Geiger’s
“Under Marc’s leadership, WME’s Music
exit from the agency, WME’s Co-Head of
The current challenges being faced by the
division has become a global powerhouse,”
Music Sara Newkirk Simon is also transiting
live events industry have forced the company
Lloyd
Endeavor’s
out of a leadership role at WME and will
to undergo an operational restructuring,
Representation businesses said in a press
Braun,
President
of
become a consultant for WME’s parent
which has resulted in his departure.
statement. “During his tenure, Marc led
company Endeavor.
countless agency initiatives and ‘firsts’ for
His successor as General Manager will be
the music industry, including the creation of
In Geiger’s place, Lucy Dickins has been
Ole Hertel (pictured), previously Senior
Festivals and EDM divisions and building out
promoted to Co-Head of WME’s Music
Director
WME’s leading London and Sydney music
division, creating a triumvirate with Scott
Manager. Hertel has been in charge of the
teams. We thank Marc for his countless
Clayton and Kirk Sommer who will remain in
Events division for AEG in Berlin since 2008.
contributions to WME and wish him all the
their roles as Co-Heads.
best going forward.”
Events
and
Deputy
General
Michael Hapka first joined AEG in October “Scott, Lucy and Kirk have distinguished
2012 as Managing Director of the Mercedes
“The past 17 years have been an incredible ride,
themselves through the artists they have
Arena in Berlin.
and I’ve been fortunate to work with some of
championed, the reputations they’ve built,
the world’s best artists and colleagues,” added
and the leadership they’ve demonstrated
The Anschutz Entertainment Group thanks
Geiger. “I’m proud of all that we accomplished,
at WME,” said Braun. “Each brings unique
Michael Hapka for his long service with
most especially the team we built during my
experience, relationships and perspective
the company and outstanding leadership
time with the agency. I know they will achieve
that will help shape the future of our
at the Mercedes-Benz Arena and the Verti
great things in the future.”
Music division.”
Music Hall.
Lucy Dickins
Ole Hertel
15
VIP NEWS > BUSINESS >
MUSIC IN SHARES
JUNE 2020
Music In Shares Manfred Tari mt@vip-booking.com
In the early days of the Corona-pandemic there was both an air of
DEAG - A Bit Better
uncertainty and a lack of knowledge as to how this crisis would affect the music industry. Meanwhile new findings are drawing a new
From the previously reported figure of 3.13 Euros, it has risen to
picture about the likely consequences that will redefine the music
3.40 Euro...
business as we know it.
Eventbrite - Up and Down The recovery of the live music industry will apparently take longer than previously expected. The record industry has to cope with an ongoing
One month ago, it stood at $8.50, on June 9 it briefly rose to $12.52,
changing consumer climate for music which has not been affected as
but has in the meantime dropped again to $8.47...
harshly as the live music sector, but is nonetheless far from being able to compensate for the overall income losses for the entire sector.
Live Nation - Stability looks different
As previously mentioned in this section of the VIP News, the second
Well, even if Live Nation is considered to be the leading global player
quarter results will become a milestone in both trust and confidence
among the short list of corporate concert companies, the share price
by the financial sector in the business model for live music in the near
for this company remains highly volatile in these times. Four weeks
future. The latest news by Live Nation to pay lower artist fees is just
ago, it stood at $46.80, then rose to a closing price of $57.09 on
the tip of the Iceberg; the live music business will change rapidly as
June 8 and is currently down to $44.20...
long as there is no available cure for the Corona pandemic.
Spotify - Sky Rocketing The Corona virus has come along with a death rate and this new disease seems to be staying longer.
Within the last three months this has only increased, from $139 in April to $190.10 in May as reported in the May issue, it has since
In business terms, it is drastically changing the outlook of what were
risen to $243.61...
previously prosperous business models. Only very few business types will be able to benefit from it. It is taken for granted that the music
Tencent - Slightly Better
business for the time being at least will not benefit from it. Better than nothing: Up from $11.94 to $13.36... There are in addition, so many other components, ranging from the economical, environmental and political to social developments that
Warner Music - Celebrating a Come Back
will be added to the list of challenges the entire music industry needs to deal with over the next few years.
Delisted 15 years ago, since June 3 is now back on NASDAQ, happily progressing upwards $25 towards $31.02...
So a bit of everything that will keep this business and its players more than busy for the foreseeable future, let’s start working on it...
CTS Eventim - Pressure On May 25 the shares stood at 37.52 Euro; a new analyst report by Baader Bank estimates a price target of 30 Euro and puts a sales recommendation of “sell�. On June 25 the share price instead stood at 36.72 Euro...
16
VIP NEWS > MISC >
JUNE 2020
MEMBER PRESENTATION
This space is dedicated to present some of our clients using VIP-Booking.com. Companies presented here have our best endorsement...
ARTIST AVAILS BEAUTIFUL BADNESS Territory: Worldwide Period: 2020 - 2021 Agency: A.A. Productions SPRL Agent: Nicolas Gamin Phone: +32 479 528 066 E-mail: nicolas@next-step.be Homepage: www.next-step.be/artist/11-beautiful-badness
KAREN MÉNDEZ Territory: Worldwide Period: 3 years Agency: Be Real Agency Agent: Paul Fourmy Phone: +32 485 365 696 E-mail: paul@bereal.agency Homepage: www.realkeymusic.com
GHETONIA Territory: worldwide Period: generally available Agency: Maffucci Music Agent: Canio Rosario Maffucci Phone: +39 339 4858107 E-mail: info@italianworldmusic.com Homepage: www.italianworldmusic.com
d’Coque Easily accessible from all parts of the country and from neighbouring countries, strategically located on the Kirchberg plateau, within a short distance of the centre of the capital, the banking and business centres, the European institutions and the international airport, the National Sports and Culture Centre of the Coque has
SAUDADE Territory: Worldwide Period: 2020-2021 Agency: A.A. Productions SPRL Agent: Nicolas Jaumain Phone: +32 479 528 066 E-mail: nicolas@next-step.be Homepage: www.next-step.be/artist/127-saudade
become an essential reference both in the Grand Duchy of Luxembourg and in the Greater Region, and on the international scene. This success was built in stages, driven by the will of the Luxembourg authorities and by the dynamism of the Centre’s team. All these elements made it possible to begin writing a formidable saga whose first lines date back to 1969.
LUCA BASSANESE Territory: Worldwide Period: Whole year Agency: Music4You Agent: Eric E. van Monckhoven Phone: +39 331 2068969 E-mail: music4you.net@gmail.com Homepage: www.music4you.nu/luca-bassanese
THE GOLDEN YEARS OF MUSIC TOURS Territory: Worldwide Period: Generally available Agency: Cheyenne Productions Agent: Patrick rocher Phone: +1 928 852 0032 E-mail: cheyenprod@msn.com Homepage: www.thegoldenyearsofmusictours.com
About Our Company VIP-Booking’s core product is the largestdatabasefor the European Live Entertainment Industry www.vip-booking.comdeveloped as a tool for industry professionals. Since it’s launch in the year 2000, we have consistently offered our subscribers the very best in database services and now boast subscribersin over 50 countries.
MORE ARTIST AVAILS ON: WWW.VIP-BOOKING.COM POST YOUR ARTIST AVAILS ON: WWW.VIP-BOOKING.COM
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Luca Bassanese vip-booking.com
17
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1
Use VIP Analytics to lo cate where your artist has the most in terest:
VIP-Booking.com for Agents/Managers
2
ues Use our Tour Builder to locate ven or agents within a given area:
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Find the Talent B uyer and relevant other contact s:
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