Vip magazine march 2015

USTRY ENT IND

TAINM E ENTER IV L E H E FOR T ESOURC

E N I Z A G A IP-M ATION R

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V

16 EDITION # 015 MARCH 2

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POT

Self-Tick d Settings…

An - Trends

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ARNDT R SCHEetiFngFLE

A BETTER VISION ROB HALLETT READ MORE ON PAGE 10

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E N I Z A G A M P I TO THE V r hands tion of VIP-Magazine in you You now hold the 16th edi -News.

VIP ine s from our monthly onl presenting selected article ws exist to keep you VIP-Magazine and VIP-Ne peers up to date and your colleagues and business. on what is going on in the informed of your activities, Don’t hesitate to keep us tributions you’d like opinions or any other con reasing readership. to share with our ever inc in be attending The VIP-Team will once aga year nts taking place during the all the major industry eve in Holland. at Eurosonic/Noorderslag and as usual this started along can be found in this issue A full report on this event subjects. of ge ran s and reports on a wide with interesting interview eting you out there.

e and look forward to me

We hope you enjoy this issu

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#3 VIP-MAGAZINE 16/2015 www.vip-booking.com

Manfred Tari mt@vip-booking.com

CONTENTS: 05

Wonderful Tallinn Music Week

06

Eurosonic 2015

08

Rob Hallett: A Better Vision

14

This Business of Live Music

16 18 20 22 24 26 28 30

WONDERFUL

14

VIP-MAGAZINE 16 #2015

TALLINN MUSIC WEEK

22

Self-Ticketing Trends And Settings Jack Daniel’s Launches Venue Initiative

During the last weekend of March,

of the most exciting new music sources in

TMW’s two-day music industry conference­,

205 artists from 26 countries will per-

Europe. The Danish party, hosted by SPOT

taking place at Nordic Hotel Forum’s

form at the 7th edition of Tallinn Music

on Denmark by Music Export Denmark,

conference­centre, traditionally covers a

Week, the biggest talent festival in the

JazzDanmark, World Music Denmark and

wide range of topics from local cultural

Nordic-Baltic region from 25th to 29th

Rosa, is also the opening party of the

policy and regional cooperation to hands-

March.

festival­on 26th March at Von Krahl theatre­

on­artist management tips and global

with the finest representatives of Danish

music­business models. Panelists include

In its seventh year Tallinn Music Week

pop and rock, among them the melting

both industry professionals from abroad

has grown into a major meeting point for

pot of ethnic and modern influences called

and local specialists.

Eastern­ , Western and Central European

The Sexican, noise-pop warriors Lowly and

Throughout TMW’s existence, a number­

music communities as well as an attractive­

the adrenaline heavy hiphop act Slowolf.

of well-known international experts have

spring time travel destination for the

Furthermore SPOT on Denmark brings you

participated

region’­ s music­ , culture and food lovers.

two of the finest jazz outfits, Emil De Waal

discussions­ , among them Seymour Stein,

An annually increasing number of foreign

+ Spejderrobot and Rune Funch Picture

the legendary founder and president of Sire

artists­– 84 acts from 25 countries – proves

Music.

Records (Madonna, Ramones), influential­

the point. This year’s international line-up

TMW

includes 12 artists from Finland, 9 from

programme­ s within

Denmark, Latvia and Russia, 6 from Poland

Music­Week’s

and 5 from UK, Sweden and Belarus.

introducing­Tallinn and Estonia as an

Festivals in the Melting Pot Profile Industri Artist Avails Multimedia For Festivals

26

Phillips CEO of Global Entertainment Bestival expands in UK and Canada

30

is

part

of

CEETEP

and

Eurosonic.

international

ETEP

managers

in

the

Petri

conference

Lunden

panel

(Cardigans­ ,

Tallinn­ Europe­) , Edward Bicknell (Dire Straits, Scott activities

Walker, Bryan Ferry), Peter Jenner (Pink Floyd) and many others.

attractive­tourism destination of music and The seventh edition of the festival features

culture are supported by The European

See both festival – and conference

a special focus on Denmark – currently one

Regional­Development Fund.

programme­on www.tmw.ee

Helen Sildnais the founder and director­ of Tallinn Music Week. She has been in the music industry for more than a decade­as an Estonian-based

VIP-BOOKING.COM The No 1 Information Resource For The Live Entertainment Industry Having the right tools for the job is often the key to success. Through our ongoing communication with key Live Entertainment Industry Professionals, we have developed a range of services to meet the demands of agents, promoters, talent buyers, venue bookers etc. It’s no coincidence that we are now considered to be the No. 1 information provider for this thriving industry.

promoter­and artist booker. In 2009 she established­Musiccase, a music­

PUBLISHING: Vip-booking | 145157 St John Street | London Ec1V 4PW | Phone +44 (0) 870 755 0092 | Fax +44 (0) 870 622 1953 | Email: vip@vip-booking.com | www.vip-booking.com

promotion company, with an aim to

DIRECTOR: Ronni Didriksen | rd@vip-booking.com GENERAL MANAGER: Peter Briggs | pb@vip-booking.com

see more interesting international­

SALES MANAGER: Charlie Presburg | cp@vip-booking.com

artists­in Estonia and help Estonian­

AREA MANAGER (GAS): Stefan Gottwald | sg@vip-booking.com

acts

WRITER AND EDITORIAL: Allan McGowan | am@vip-booking.com & Manfred Tari | mt@vip-booking.com DISTRIBUTION: 3.000 copies of the magazine are distributed to professionals within the Live Entertainment Industry FREE OF CHARGE PRODUCTION: Grefta Tryk | Markedsgade 41 | DK-8500 Grenaa | Phone +45 8632 2922 | www.grefta.dk

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that

®

FRONT COVER: Lars Just/POLFOTO

their

careers

abroad.

Musiccase­has

promoted:

Morrissey,­Air, SigurRos, Patti Smith, vip-booking.com

Feist, 13297

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start

Among some international artists­

Swans,

ReginaSpektor

to

mention­a few.

#5 VIP-MAGAZINE 16/2015 www.vip-booking.com

Allan McGowan am@vip-booking.com

EUROSONIC 2015

Karsten Jahnke

Photo by Mike Breeuwer

2016

FOCUSES ON CENTRAL EAST EUROPEAN (CEE) COUNTRIES

Eurosonic Noorderslag is preparing for its 30th

“My deep wish to strengthen the circulation­

edition with the Central East European regions

of artistic repertoire and the cooperation

as the focus for 2016. Each year a different

and exchange of know-how between the

country is highlighted in order to showcase

cultural workers, festivals, media in the CEE

the diversity of musical talent across Europe.

region started long back in 2005. In 2006

We are delighted to announce that in 2016,

the idea of CEETEP was born at the RegiON

13 CEE countries will be the focus region of

music conference­in Budapest. With the

Eurosonic Noorderslag.

only strong believe that we can build up

Countries that have been showcased at

something­together­for our region, for the

previous­editions include France, Germany,

artists by building­cultural bridges between

Italy, Sweden, Belgium, Norway, The Nether-

our countries­.

lands, Ireland, Finland, Austria and Iceland.

With the great cooperation between all

Eurosonic Noorderslag continues to grow, and

The conference programme, which again in-

artist fees to a point where independents were

The 30th edition of Eurosonic Noorderslag will

the wonderful people, festivals, media and

might I say, mature and innovate, for those

cluded the European Production Innovation

being forced out of the market.

take place on 13, 14, 15 and 16 January 2016.

Eurosonic­Noorderslag and Exit Festival

who don’t already know, Eurosonic is the in-

Conference & Fair (EPIC), attracted 3,900 in-

ternational part of the event and Noorderslag

dustry professionals from all over the world.

The Agents panel looked at the ever increas-

CEETEP (2010 – 2015)

its final phase. In January 2016 we will unite

concentrates on Dutch talent.

Highlights included keynotes from Duncan

ing importance of the agent’s role in a busi-

The focus for 2016 is the conclusion of the

all the positive energies and the region which

In fact Noorderslag is the older, or should I say

Stutterheim (SFX, NL), Alex Macleod (ex- tour

ness where artists are more and more depend-

Central European Talent Exchange Programme­

we call Central and Eastern Europe and we

‘senior’ element of the overall event. Dutch

manager of acts like Nirvana and The Smash-

ent on live income. Alex Bruford of ATC (UK),

(CEETEP). Together with 18 CEETEP festival­s

will become ONE within the stages of Europe­.

acts are doing well these days, with acts like

ing Pumpkins), Lennart van der Meulen (VPRO,

Marty Diamond of Paradigm Agency in the US,

in the CEE region and selected CEE media­

January­2016 at Eurosonic a long time dream

Birth of Joy becoming festival favourites, Kens-

NL) and Nic Jones (Vevo, UK). Very well at-

Clotaire Buch, of Junzi Arts in France and Peter

partners­ , Eurosonic Noorderslag and co-

will come true… I can only say that I´m so

ington selling out national venues and The

tended panels covered a whole raft of current

Elliott of Primary Talent (UK), gave insights into

organisers­Sziget and Exit Festival, have

happy,­honoured and thankful to be part

Common Linnets winning an European Border

topics.

the much wider aspects of their jobs, and high-

developed­a plan to encourage the circula-

of that family and I´m honestly thankful for

lighted the different ways in which they now

tion of CEE artists and repertoire in Central

every person being part of making the CEETEP project­ possible.”

Breakers Award (EBBA), EBBA Public Choice

Peter Smidt

involved­a 10 year period will come now to

Fruzsina Szep

Award and the Dutch Pop Award.

I was priviledged to be the interviewer for

interact with their acts. Elliott commented that

and Eastern­Europe, both at festivals and in

Selling out earlier than previously, this year’s

the keynote with veteran German promoter

Agents are now often the first in with new art-

the media. By working together, the CEETEP

29th edition upped the number of venues to

Karsten Jahnke (Karsten Jahnke Konzertdirek-

ists, helping them to develop, and that there

festival­ s and their media partners aim to

Peter Smidt (creative director Eurosonic

the CEE group are:

50 in which 345 European acts performed to

tion, DE). At 77 years of age Karsten is still go-

was a lack of ‘really smart’ new young man-

help more CEE artists perform across borders

Noorderslag):

Bulgaria, Croatia, Czech Republic, Estonia­ ,

an audience of 41,200 gig goers, from the

ing strong and speaks a lot of sense – experi-

agers in the business. He commented that he

within­Central Eastern Europe, and, via shows

“With more or less half of the European people­

Hungary,

14th to the 17th of January in the city of Gron-

ence and wisdom are a strong combination!

often got as excited meeting a new manager

at Eurosonic­Noorderslag, throughout the

living in what we call Central Eastern Europe,

Republic­of Macedonia, Romania, Serbia,

ingen, The Netherlands. The 2015 focus coun-

Inspired by his love of jazz he presented his first

with a good plan as he did meeting great new

whole of Europe and beyond.

Eurosonic Noorderslag feels it is crucial­to

Slovakia­and Slovenia.

try Iceland showcased 19 new acts.

show as a part-time promoter in 1959, becom-

performing talent. Bruford talked of the artist

make much more and better connections

The CEE-focus will be organised by: Fruzsina­

Eurosonic is also the home of The European

ing a full time professional in 1972, his compa-

SOAK, who’s showcases were sold out, recall-

Fruzsina Szép (former programme director­

betwee­n Western Europe and Central Eastern

Szép (HU/DE), Exit (RS), Open’er Festival (PL),

Talent Exchange Programme (ETEP), and we’re

ny now employs 35 people. He spoke highly of

ing that he got involved with her when she

of

Europe. We are curious for all talents in this

Pohoda (SK), Waves Bratislava (SK), Talinn­

told by the organisers that so far, 186 acts have

artists such as Herman Van Veen, and warned

was 16 and being managed by her Mother!

now Director of Festival Coordination­

large area and would like to facilitate much

Music­Week (EE), Guna Zuika (Creative

been selected to play at the European festivals

that fierce competition amongst the bigger

The next edition of Eurosonic Noorderslag

and Public­Affairs Berlin Festival and

more and better business relations between

Industries­Council at the Ministry of Culture,

in the programme.

corporate concert companies was driving up

takes place from 13 to 16 January, 2016.

Lollapalooza­ Berlin):

music professionals and media.”

Latvia) (LV) and Eurosonic Noorderslag (NL).

#6 VIP-MAGAZINE 16/2015 www.vip-booking.com

Sziget

(HU)

between

2009-2014,

The 13 focus countries in

Latvia,

Lithuania,

Poland,

the

#7 VIP-MAGAZINE 16/2015 www.vip-booking.com

Allan McGowan am@vip-booking.com

SZIGET NAMED BEST MAJOR FESTIVAL IN EUROPE > > > > Europe’s best music festivals, artists and

organised­by the Serbian team behind Exit,

a winners­ ’ list that is so reflective of the

promoters­of 2014 were revealed at the 6th

awarded Best Medium-Sized Festival.

cultural­diversity and strength of passion­ , dedication­, creativity­and quality of delivery­

annual­European Festival Awards, which took The

Netherlands, crowning the opening night of

Netherlands­ ) also

Eurosonic Noorderslag.

with Down The Rabbit­Hole Festival being­

increasingl­ y crowded market, and under­

voted Best New Festival and MOJO/Loc

some tough conditions­in recent years,

The ceremony also featured some of

Festivals scoring the YES GROUP Health &

tonight­saw Europe’s festival organisers

the hottest­new European artists with

Safety Innovation­Award which recognises

gathering­to celebrate­as one industry. That’s

performances­from

innovative­ways festivals have enhanced

a very special thing that can only strengthen

health and safety within their spaces.

the market and we are honoured to be the

Danish

electro-pop

sensation­MØ, London-based R&B musician­ Jack

Garratt

and

Norwegian

host

country

of

the

landed

event two

(The

that underpins­Europe’­ s incredible festival­

place at Groningen’s De Oosterpoort in The

trophies

scene today. Despite the competition in an

hosts of this event. Our thanks go out to all

singerSpain’s Primavera Sound was declared the

who took part in this year’s awards.”

Artists’ Favourite Festival whilst Best Small

Presented in association with YOUROPE

Hungary’s Sziget Festival reclaimed its title

Festival­went to Poland’s Tauron Nowa

and Eurosonic Noorderslag the European

of Best Major Festival (after its previous win

Muzyka­. The Green Operations Award hailed

Festival Awards are the only pan-European­

in 2012), with Belgium scooping multiple

Denmark’s Roskilde Festival in co-operation­

body solely dedicated to recognising the

gongs in the form of Best Indoor Festival

with Stop Wasting Food as the night’s

contributions and achievements of the

(I Love Techno), Promoter Of The Year (Live

champions­of sustainability.

event organisers­and performing artists that

songwrite­r­ Aurora Asknes.

Nation Belgium) and also Best Newcomer Artist­ (Stromae).

generate­billions of Euros for local economies­ The brand new Award for Excellence and

and brighten up the summer for tens of

Passion­ , recognising an individual whose

millions­of festival-goers each year.

The United Kingdom had a higher profile than

dedication and creativity has produced a truly

The winners were decided by a combination­

usual with Festival Republic’s Melvin Benn

magical event, went to Roskilde Festival’­ s

of public votes and the EFA jury – made

receiving­the Lifetime Achievement Award

Rikke­Øxner, who retired this year after

up of journalists, booking agents, festival

Glastonbury­ serving­the festival for two decades. Famous

organisers­– who had a 25 per cent say in the

(as

previously

announced),

winning­Best Line-Up and the Arctic Monkeys­

for continuing to camp at the festival, with

final outcome of the public voted categories.

scooping­not one but two awards (Best

her audience, Rikke continues to help shape

More than 1.2 million votes from festival fans

Headliner­and Anthem Of The Year, the latter

the event as its Artistic Director.

all over the world were cast (an astonishing

for ‘R U Mine’).

EUROPEAN FESTIVAL AWARDS WINNERS Best Small Festival Festival Tauron Nowa Muzyka (Poland) Best Indoor Festival I Love Techno (Belgium) Green Operations Award in association with Yourope and The GO Group Roskilde Festival and Stop Wasting Food (Denmark) Best Newcomer Act Stromae (Belgium) Artists’ Favourite Festival Primavera Sound (Spain) Best New Festival Down The Rabbit Hole (The Netherlands) Anthem Of The Year Arctic Monkeys – ‘R U Mine’ The Health & Safety Innovation Award in association­with The YES Group and ICM&SS MOJO/LOC Festivals (The Netherlands) Best Medium-Sized Festival in association with Eventbrite Sea Dance Festival (Montenegro) Promoter Of The Year Live Nation (Belgium)

100% increase on last year’s figure) with Steve Jenner, co-founder and Director

festivals­in more than 35 countries taking

The event honoured its first ever winner

of Festival Awards Ltd, which organizes­

part, showing that passion for festivals across

from Montenegro with Sea Dance Festival,

the Awards, said: “It’s inspiring to have

the continent continues to grow.

Best Line-Up Glastonbury Festival (United Kingdom) Best Headliner Arctic Monkeys (United Kingdom) Best Major Festival in association with PlugGo Sziget Festival (Hungary) The Lifetime Achievement Award Melvin Benn (United Kingdom) The Award for Excellence And Passion in association with Yourope Rikke Øxner (Denmark)

#8 VIP-MAGAZINE 16/2015 www.vip-booking.com

Ad_JazzMachine_VIP_82,5x257_rPROD.indd 1

#9 VIP-MAGAZINE 16/2015 www.vip-booking.com 16/02/2015 10:07

Larry LeBlanc (www.CelebrityAccess.com)

Rob Hallett:

A Better Vision The following is an extract from

de-compartmentalize an artist’s life. I have

label, it’s more likely to be 60/40 or better

a 13 page inteview conducted

tried, when I’ve been able to and when I have

depending on the artist’s sales base in the

been in a position to, to have an overview­of

artist’s favor.

by Larry LeBlanc. For the full unedited­version go to www. booking.com Rob Hallett is back. Boy is he back!

the whole thing. That is what I have kind of done all my life. It’s not that I can’t decide

Will Robomagic be involved in recording­,

what part of the industry that I want to work

publishing or management activities

in. An artist is in all sides of the industry. Why

where there may not be an early rever-

shouldn’t their reps be?

sion of rights?

Yeah, on the developing side. Basically,

The wily, seasoned London-based deal In essence, Robomagic is a three-tiered

making­a fair deal for the artist is at the

international­touring­, AEG Live in April, 2014

company.

heart of the company. Artists should always

after a decade­, has launched a formidable­

Yes, it is three-tiered, basically. There’s (the

own their own art. It’s hard to own stuff. In

boutique music firm.

promotion unit) Robomagic 360, which is

this day and age, very few artists sign for

set up to sign new talent; to invest in new

perpetuity­for anything.

broker­who

exited

as

president

of

“It’s not that I can’t decide what part of the industry that I want to work in. An artist is in all sides of the industry. Why shouldn’t their reps be?”

Rob Hallett

fair. Give them back (rights) after 10 years

as your own vision connecting the dots

How did you attain the financing for the

and, because you are being fair, you hope

in the industry.

company?

Hallett’s AEG portfolio is filled to the brim

talent in ways that record companies don’t.

with unprecedented (if unlikely) triumphs,

With revenue streams across the board, I

Perhaps, with their publishing.

that they will give you a fair deal to extend

That’s the plan. It took me 9 months because

Through my own endeavors. One thing that I

including­: Global tours by Leonard Cohen,

can sign an act, like a label signs an act for

Any act that is hot, they don’t.

the license.

I wanted to get it right. I didn’t want to come

have learned is you can’t sit back and rely on

Jennifer Lopez, Justin Bieber, Usher, and

three years, for touring, and for production.

out half-cocked. Having worked at the level

other people. I just kept knocking on doors.

Black Eyed Peas; three Bon Jovi stadium

I’m not going to be a label. It’s going to be

Of course not. The traditional template

You are going to be a music publisher,

I had worked at I wanted to maintain that

Every meeting that I had, I listened to what

tours of Europe; a record-breaking 21 nights

series of partnerships. That’s how I built up

for the music industry is that developing

however.

(level). In this day and age, the independent

they said, and I tweaked the business plan a

of Prince at The 02 Arena in London; the

my global business at AEG, and before with

acts get screwed over for three album

We are going to be a music publisher in a

promoter working with his own check book,

little. I had another meeting. “Well, we like

Barclaycard­presents British Summertime

Mean Fiddler.

cycles and then hammers the label and/

new model. I wouldn’t be signing life of

it is virtually impossible. The big boys have

this, but you really need a little bit of that.” I

or music publisher in negotiations for

copyright. I think that artists should end up

to come in. The big money is there. Without­

tweaked it again.

Still, you are acting as a label in that you

futures­, and tries to regain ownership of

owning everything once they get to a certain

the right backing, I just would not have been

Did you meet with bankers and venture

are funding acts while controlling their

their full catalog.

level. It’s their pension, you know. It’s going

able to work at the level I have been in the

capitalists?

Hallett’s recently-announced new company,

musical rights.

I would rather do a fair deal, and save on

to be strategic partnerships. Everything is

past 10, 15, 20 years or whatever it is. I didn’t

I met with everyone. I spoke to venture­

Robomagic, is a 360-styled operation.

We don’t own any music rights. Basically, we

the legal costs. Do a fair deal in the first

going­to be strategic partnerships. You can’t

want to become a club promoter.

capitalists­ , and

A promotion unit, Robomagic 360, seeks to

provide capital. There are variances (with the

place. Do the 10 year license, and then get

be all things to all people.

strike 360-styled deals with emerging artists,

different licensing deals). It sort of switches

screwed with the new advance to keep it

encompassing recording, publishing, artist

to a record company deal a little bit with the

(the licensin­g deal) in 10 years’ time. You are

management and brand management, while

developing acts. We lend them money. It’s

making the majority of the income in the first

making use of strategic partnerships.

guaranteed against the income. Once they

Robomagic

repay the mortgage, they own their material,

serie­s at Hyde Park; and the Capital Radio Summer Time Ball.

Capital

offers

financing

to

emerging and established artists to help

equity

investment

companie­ s. The first thing they said was, Or a manager?

“What’s the out in five years?” I said,

Are there different licensing time periods­

No. I want to be a manager. I love mana­ging­.

“What do you mean what’s the out in five

with some of the deals?

Being part of Usher’s management team

years? I don’t want an out. This is my life.

10 years of a song anyway, unless you are

No. As long as we have a good relationship

was great. I really loved, and enjoyed it. It

It’s my career­.” I spoke to banks. I spoke to

very lucky to get a band that is....

we will be able to work together. I am still

was one of my favorite times in my life. So

privat­e individuals­. In the end—a magician

working with Duran Duran 35 years later.

managemen­t is something I aspire to again.

never gives away his secrets—however, it’s

however.

(the financing is) a combination of private

I don’t know if that’s true. For recording

them grow their businesses.

to

Finally, a live promotion company, Robomagic­

Rights revert back to them?

income, yes, but not necessarily on the

For emerging bands?

Live, will oversee arena and stadium tours on

The rights go back to the artist.

music publishing side.

It’s all down to negotiation, if anything else.

[Hallett has promoted Ushe­r since he was 14, and was

individuals­ , and private banks; depending on the capital (for projects). I put together a jigsaw of investment people who are like-

Yeah, but how many songs are there that

But the heart of the model is that the artis­t

Your intent is to make your investment

can be placed in syncs? Can be chosen to be

at the end of the relationship will end up

brought on as part of the

minded­, and who want to be in our industry­.

You have taken various components of

back?

in movies, and for other things? I hear you.

owning­their own stuff.

management team for the al-

They see the opportunity (in the music

your career to forge this new company.

Yes, and have an override. It flips the

There are songs that can earn money for

I have always been enamored with the entire

(traditional­record deal) model on the head.

hundreds of years or for the life of copyright.

It took you 9 months to set Robomagic

(music) industry. I think that it’s very hard to

Instead of it being 80/20 in the favor of the

But that number is small, and I’d rather be

up. Obviously, you set it up carefully and

a national and global scale.

#10 VIP-MAGAZINE 16/2015 www.vip-booking.com

bum “Raymond v Raymond” in 2011.]

industry­). They see it as a growth area, unlike some of the pessimism that is out there. And I really do see our industry as a growth area.

#11 VIP-MAGAZINE 16/2015 www.vip-booking.com

be saying­ , “You guys

adven­t of companies like Live Nation, and

are a bit dangerou­ s

AEG Live we could because we owned our

with

scandal­ s and

own businesse­s. The live music business until

drugs. We’ll stick with

the advent of Live Nation wasn’t a corporate

sports.” In the post

business. It was a cottage industry.

Tiger­Woods era, it’s kind of, “Hang on a

What staff do you have at Robomagic?

moment, you think we

I have 6 people. It took me awhile to find

are dangerous? Look at

people. I’ve got mostly a young staff that has

them (sports celebrities). We

just left university. Young promoters. Svetlana­

are actually squeaky clean (in

Scheck, my head of marketing, though, has

comparison).”

been with me 10 years. Then there’s a pool of production people that i have worked with

Why? I have never known so much talent being

Within the music industry, it’s argued

over the years such as Kahren Williams, Keith

around. The artist being able to make music

that there’s too much money either

Morris, and Keith Wood. Keith Morris, I have

without a recording studio has really moved

being­left on the table or being siphone­d

known for over 30 years.

the talent hunt leaps and bounds. People

off by others.

on an iPad can make music, can make hits

Yes. Absolutely. One of my roles for the

That’s more staff you had when you

in their bedrooms. So the amount of talent

company­is to help guide new artists through

launched AEG Live in the UK.

that is emerging is staggering. Artists don’t

the jungle with my 35 year experience of

The time at AEG was good for me. It

have to spend 1,500 or 2,000 bucks a day

where all of the landmines lie. I hopefully can

enhanced­my reputation, undeniably. I’m

in a recording studio. The kind of talent that

use that experience with a young team to

starting out now with more visibility, and

is emerging because of the home recording

guide people through that minefield

with a bigger vision. A better vision.

Labels, music publishers and managers

Larry LeBlanc is widely recognized as one

As well, with the use of social media,

are all trying to do 360 deals. I don’t

of the leading music industry journalists in

their potential audience reach today is

think that labels can quite pull them off

the world. Before joining CelebrityAccess in

global.

well because they don’t understand live

2008 as senior editor, he was the Canadian

And this is what I specialize in, and this is

music business.

bureau chief of Billboard from 1991-2007

what I want to do. I’ve got on my (office) wall

They say they don’t. Of course, they

and Canadian editor of Record World from

a plaque that I am looking at with Leonar­d

understan­d it. It’s not rocket science. What

1970-89. He was also a co-founder of the

Cohen; where he played three continent­s, 30

they don’t like is the fact that you can lose a

late Canadian music trade, The Record.

countries, and 372 shows. Jennifer Lopez, 5

million bucks each time.

studio is just incredible.

He has been quoted on music industry issue­s

continents, and 65 cities. That’s what I do. As you said, social networking and everything

Manager Peter Rudge and I recently

in hundreds of publications including Time,

else has made it much easier to get a message

discussed that if you go back 15 or 20

Forbes, and the London Times. He is co-

across, and for an artist to make music and to

years ago, few label executive are in

autho­r of the book “Music From Far And

immediately put it out. If we had had this in

the business today, but almost all of

Wide.” Larry is the recipient of the 2013

the punk rock era, the music landscape would

the promoter­s are. Live music is just a

Walt Grealis Special Achievement Award,

be very different today. The whole thing then

differen­t world.

recognizing individuals who have made an

was everybody wanting to do it yourself, but

I think it is, but I think also there’s different

impact on the Canadian music industry. He

you couldn’t.

ethos. Record companies don’t value people

is a board member of the Mariposa Folk

over 40. They don’t value experience. I have

Festiva­l in Orillia, Ontario.

Nor did punks want anything to do with

friends in the record business who, just as

branding or corporate sponsorships.

they were getting great at their jobs, and

The punk ethos could have gone more

they knew everybody, they got fired, and

globa­ l with

major

it’s, “We’re going to bring the kids in.” We,

corporations­want to get involved with

in the live industry, may not have been as

rock music. There was a time when I was

good a success as them because we like

knocking­on corporation­doors, and they’d

our jobs and we hang on to them. Until the

#12 VIP-MAGAZINE 16/2015 www.vip-booking.com

these

things.

Now

“I have never known so much talent being around”

Allan McGowan am@vip-booking.com

THE VITAL IMPORTANCE OF SMALL VENUES

The overzealous and pernicious way in which

some interesting ideas were floated: lobbying

noise abatement cases are brought (and on an

Government for an extension of the tax status

increasing basis and at great cost to venues) re-

recently afforded theatre and orchestras (VAT

main the single biggest threat, in a process that

is crippling small venue businesses); pooling of

headliners of the future, and the importance of the small venues that are able to give these new artists the

appears to be trying to catch venues out, rath-

knowledge via a website (to help each other);

opportunity to develop their acts in front of audiences which will become their vital fan base. Many of these

er than working proactively towards a mutually

booking agents ‘gifting’ back a successful

First published December 2014,

by MusicTank here:

venues throughout Europe are struggling to survive and many are having to close down.

acceptable solution. It’s with heavy anticipation

band, to, say a venue that helped them on

http://www.musictank.co.uk/

To put focus of this challenge, Director, Jonathan Robinson has kindly agreed to act as our guest writer and

that the venues business awaits the outcome

their way in the early years (supporting and

blog/dec-newsletter

of heavy lobbying, led by artist Frank Turner,

acknowledging the importance of this sector);

for the adoption of the ‘agent of change’ prin-

local authorities having to include cultural pol-

ciple. This would place the responsibility for in-

icy as part of planning policy; take a lead from

a definite lack in asking [government] for what

coming businesses bringing change to an area

Unesco and introduce its protective status to

we need...it’s time to do something radical.”

to manage and be responsible for that change,

areas of music heritage and high cultural value;

bringing to an end incidences of, say, new resi-

further highlight the economic value live music

Having over-regulated music in small capacity

dential developments near pre-existing music

brings to cities, towns and neighbourhoods;

venues to within an inch of its life the Govern-

venues forcing venues to remedy noise issues.

make a case for state funding for UK bands to

ment has latterly set about to de-regulate it in

be able to do UK tours (in the same way fund-

part (small venue capacity exemption), and for

Despite the inevitable gloom, there is a clearm

ing is available for touring overseas); learn from

its part has proved it is listening. Much more

desire to make the small venue experience

(and copy?) European statefunded models for

could and should be done, however. There’s

great; for venues to do their bit for new mu-

live music. As commented by Music Venue

a powerful economic and cultural argument

sic that they all feel so passionate about. And

Trust founder, Mark Davyd, “…the ‘rule book’

encompassing employment, GDP and cultural

amidst the call for unity (literally the suggestion

for the small venue sector was written in the

value that aren’t in anyone’s interests to be ig-

of the formation of a Union for small venues),

70s, little has changed since and there’s been

nored. Reproduced by kind permission.

One of the main areas of concern for the future of our business is the development of new talent – the

to let us feature his report on the small venues situation in the UK.

THIS BUSINESS OF LIVE MUSIC For a country which punches well above

ings of sell-out stadium tours commanding

Small venue owners complain that promoters

its weight as one of only three global net

ever-higher ticket prices (and for which there

don’t understand the venue business – that

exporter­s of music, the disconnect between

seems no limit to consumer appetite), and the

venues can’t operate solely from the profit

that and the grass roots live music sector and

vital small capacity venues sector that forms

of ‘wet’ sales (drinking at venues is in steady

its role in supporting the next-generation of

the bedrock of grass-roots live performance,

and continued decline); that they can’t rou-

hit-makers has arguably never been greater.

which is fighting for its very survival.

tinely take a hit on splitting door takings un-

Little appears to have changed in the ten years

With that in mind, the Music Venue Trust

less takings are sustained at capacity or near-

MusicTank has looked at issues afflicting live,

should be congratulated in facilitating Tues-

tocapacity levels; that the perilous economics

from noise abatement, and Licensing Act re-

day’s Venues Day, which drew a capacity au-

of running a venue are simply not understood

form to form 696 and secondary ticketing.

dience of venue owner/ operators the length

by other’s in the ecosystem – promoters, mu-

and breadth of the UK, unanimously galva-

sicians and booking agents alike. The simple

nized in their daily struggle to stay afloat.

truth is that the vast majority of small capacity

In some areas the sector appears overburdened in regulation which duplicates pre-existing law

live music venues ironically can’t sustain them-

(the Licensing Act 2003), yet is crying out for

Presented as celebration of small venues rather

selves solely through live music; rather they

more considered regulation in others (ticketing

than a funeral wake, it necessarily began as

cross-subsidise live music from the profit made

and noise abatement). Above all, regulation

gloomy discussion whose role call of ‘macro’

by club nights and private hires. It’s a pretty

desperately needs to better balance the live

issues remains all too depressingly familiar –

grim state of affairs.

sector’s ecosystem with consumers’ interests.

relaxed planning laws, threats from develop-

It’s beyond the realm of this editorial to cover

ment, indifferent landlords, over zealous licens-

Savages’ Jehnny Beth’s artist perspective illus-

‘chapter and verse’, the complex and at times,

ing enforcement, neighbourhood intolerance

trated just how badly-served the artist com-

conflicting interests of the live music business,

and hard-nosed breweries, chief among them.

munity can be by some in business of live, be

but the ‘helicopter view’ is one of a (appar-

But there are ‘micro’ issues that continue to

they promoter, venue or booking agent – is-

ently) healthy, burgeoning sector that’s pretty

stifle. Informal conversations with a range of

sues long-championed by Andy Inglis (who

much out-performed the recorded industry

stakeholders present revealed internal mechan-

frequently considered himself as being in the

since 2009. Focusing in on the detail reveals

ics of an industry that doesn’t always appear to

customer service business first, and the music

a stark division between the record gross tak-

pull in the same direction at the same time…

industry second…)

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#14 VIP-MAGAZINE 16/2015 www.vip-booking.com

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#15 VIP-MAGAZINE 16/2015 www.vip-booking.com

white label eCommerce SELF-TICKETING

Manfred Tari mt@vip-booking.com

white label eCommerce

TRENDS AND SETTINGS Arndt Scheffler worked as vice president of sales at CTS Eventim­

themselves, we take care of the performance of the technical­

till June 2012 when he left the company and in the same year

platform­. High loads occur particularly in the launch phase of

launched the company White Label eCommerce, a ticketing­

ticket sales, which requires a very solid IT infrastructure.

service­provider offering a DIY ticketing-platform for promoters­

We were lucky to attract the WOA festival, as one of the best-

and artists­ . Today White Label eCommerce serves 76 clients,

selling­top events worldwide, as our first customer. This allowed­us

among others the Wacken Open Air, the concert promoter

to design our software and hardware infrastructure appropriately­

Bomber­der Herzen and lately DEAG with their own ticketing

from the very beginning and create a system that is able to

portal­ Myticket.de.

serve clients selling thousand tickets per minute. Most systems

promoters already adapted to associated aspects such as altered­online marketing, or data analysis?

– While the term might be confusing, “Social Ticketing” is an integra­l part of our service and produces above average growth.

Our clients sell a significant portion of their tickets using our software­on social networks, whether Facebook, Twitter or the artist’s own online environments. Thanks to the analysis tools of our software, this can be accurately measured and each new impuls­e on these platforms causes additional sales.

What is striking here, is the high percentage of mobile users who access with smart phones or tablets. According to a research report published by the Allensbach Institute at the end of November 2014, already 44 percent of the German internet using population, is usin­g a smart phone or internet-enabled mobile phones. Compared

are initiall­y designed to service significantly smaller events and VIP News spoke with Scheffler about what it needs to serve

graduall­y grow as the number of customers increase. But this type

promoters­that sell a 1000 tickets per minute and what is on the

of growth causes a constant renovation process and brings a lot

ticketing-trend-agenda in 2015....

of problems. Our software framework has already proven many

Arndt Scheffler

to the previous year, this number has increased by over 24 percent.

In summary, this offers new great opportunities for promoters and artists to develop their customer base and benefit from much better

years ago in other e-commerce environments that it perform­s well

which they are responsible anyway. We see ourselves as partners

fan relationships. Therefore we invest a lot of time and work in the

What is the difference between White Label E-commerce

under high load. Additionally, the experience of our IT staff in

and service providers who prefer to stand in the background.

creation of features to support these trends.

and the Business model of companies such as Ticketscript,

terms of building portals and redundant infrastructure with more

Paylogic or Amiando?

than 10 million views per day is an important groundwork for

What are the trends in ticketing from the perspective of

– Our scope is actually much wider. Besides the ‘Do It Yourself’-

the design of our software. The modern structure of our system­

White Label eCommerce in terms of ticket buyers and also

aspect we also offer a full-service approach, with accompanying­

is certainl­y one of the reasons why we, as a relatively young

for promoters in 2015. Also, is the in-house ticketing only

services­such as merchandise products for instance. For

company­, in terms of the performance, are able to do even better

supplementary to the distribution channels of CTS Eventim

merchandise­in particular we can even offer storage solutions on

than many of the established players.

or TicketMaster or already a fully-fledged alternative?

– The proportion of online ticket sales will continue to rise, the

request. The opportunity of offering a variety of products in our clients’ shopping carts is a big advantage and provides the option

White Label eCommerce recently launched a cooperation

trend towards e-commerce is unstoppable and it will influence all

to gain additional income.

with DEAG for their new ticketing portal Myticket.de. How

aspects of trade. This creates a great opportunity for all promoters­

Furthermore we offer premium colour tickets with a customizabl­e

did this deal come about?

of events, to at least do a part of their business, especially B2C

print on the backside, another potential additional income

– Well, DEAG has dealt extensively with the issue of ticketing and

related­, by themselves. Nevertheless, the multi-channel approach

source for our clients. Basically we benefit from our wide-ranging

got in contact with us. They performed a professional evaluation

by established ticket providers will stay relevant for many more

knowledge­regarding the needs and requirements of the ticketing­

process, in which we were able to convince.

years. But it is crucial to know about the ticket buyers and their buying behaviour, where the ticket price caps are, and which

market, which is also reflected in the diverse functions of our software­.

Also the ticketing giant CTS Eventim intend to launch a

personal­preferences the consumers have.

Our clients support us by giving valuable feedback regarding

white label shop solution. How can and, how will, a much

In my view, a promoter should devise his ticket distribution

the ongoing development of our software and services and we

smaller company like White Label eCommerce respond to

policy­ according to the target group for an event, as there

are able to adapt very fast, thanks to the use of state-of-the-art

such a challenge?

are no black or white solutions any more. I can only advise to

technology­. With these obvious advantages over our competitors

– The term white label is not clearly defined, there are many ways

try new things and encourage to take advantage of the latest

we are able to gain many customers from various sectors.

of interpretation. As a matter of fact, Ticketmaster Germany

technology­ available­ on the market. The digitisations is certainly

promoted­their white label solution many months ago. However­,

unstoppabl­e and promoter­s should no longer be tools to be used

What are the technical and human resources of White Label

it is not comparable to our offer. We are neither the first nor

by third parties, when they are actually able to take care of their

e-Commerce available to service business partners such as

the only provider of white label solutions; more important is

own belongings.

the Wacken Open Air (WOA)?

the business­model behind it and the respective benefits for the

– This depends heavily on the degree of cooperation. ICS, the

participant­s of the business. We help our clients to retain their

At ILMC ’14, Jan Willem Van der Meer, Managing Director of

promote­r behind WOA, largely operate the ticketing for its festival­

identity and help them to gain more out of the value chain for

Paylogic, raised the topic of, “Social Ticketing”. How does White Label eCommerce handle this subject and how have

#16 VIP-MAGAZINE 16/2015 www.vip-booking.com

#17 VIP-MAGAZINE 16/2015 www.vip-booking.com

Manfred Tari mt@vip-booking.com

2015

From VIP-Daily News

The Tennessee Whiskey brand Jack Daniel’s has launched an initiative

the small venue circuit is how you learn your trade. From a fan’s point

supporting some of the UK’s independent small venues. Jack Daniel’s

of view it’s about those real memorable moments, discovering ‘that

will team up with venues across the country to host regular events

band’ playing to a handful of people before going on to headline

featuring both up and coming talent and established acts.

Glastonbur­y years later.

It is third time Jack Daniel’s up-weighted its music budgets and it now

“That’s why we think it’s important to support and put a spotlightn on

represents 30% of the whiskey brand’s total spend on marketing.

these places by creating an initiative dedicated to smaller, independent­

Jack Daniel’s senior brand manager, Michael Boaler, says:

live music venues as part of our music plan – we really hope that our

“Independent­venues such as the Southampton Joiners and the

Jack Rocks nights help the venues to continue the great work they’re

Brighton Joker are essential to every new band’s development, playing­

doing whilst discovering some top notch new bands along the way.

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Manfred Tari mt@vip-booking.com

CENTRE CULTUREL RÉGIONAL

jouer communiquer vibrer rêver bouquiner

INTIMATE VENUE IN LUXEMBOURG We can take it for granted that the festival

But the recent past has already proved that all

the edition in Budapest on November 21-24.

landscape in 2015 will look very different. First

events are not assured of success. Within just

Due to the mild winter the Vienna edition has

announcements for new festivals such as Tin-

five years the Swedish market saw the depar-

been re-located in the indoor arena Marx Halle.

derbox in Denmark by FKP Scorpio, Der Ring

ture of events such as Hultsfred, Arvika and

The line up of both events varies but both edi-

Grüne Hölle Rock at Nürburgring and its sister

Peace & Love. The Greenville- Festival by Crea-

tions features an extensive DJ-program with

events Rockaviaria and Rock in Vienna in Aus-

tive Talent failed in 2014 and the unknown

top acts such as Fedde Legrand, Moguai,

tria by DEAG and an edition of the US-Event

events (okay, amongst others and for the

Grandmaster Flash and Paul Kalkbrenner.

Lollapalozza in Berlin are only the tip of a festi-

record: the Berlin Festival) who have already

val iceberg heading into some sort of a climate

suffered losses are indicators and presages for

Fruzsina Szep, once a booker for the Sziget

change.

what the industry could expect in 2015. Sziget

festival has left Hungary and moved to Berlin

Cultural Management, the promoter of the

to work on the new Berlin edition of Lollapa-

Competition is heating up. Newcomers such as

Sziget Festival in Hungary, for the first time has

looza. Particularly the situation in Germany has

Bravalla in Sweden or the Best Kept Secret in

started to book an edition of the winter sport

definitely heated up, so this one is certainly

the Netherlands by the local branches of FKP

combined with music event into its neighbour-

an event that faces a challenges as the festi-

Scorpio or Down The Rabbit Hole by Live Na-

ing country for the first time in Vienna on No-

val market in the German capital has already

tion subsidy Mojo Concerts have already indi-

vember 21-22, running simultaneously with

showed that it is more than tough.

cated the new movement in the festival circuit.

In Denmark alone FKP Scorpio found their an-

Without any doubt the trend is that the big

nouncement of Tinderbox, being referred to

players within the concert industry are aiming

as a “declaration of war” by Gunnar Madsen

to gain market shares and to occupy niche-

of the Danish Rock council Rosa. Hopefully it

playgrounds as well as the battlefield of big

won’t be so dramatic, but certainly the festival

major festivals.

season 2015 will become more than interest-

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Good News

#20 VIP-MAGAZINE 16/2015 www.vip-booking.com

#21 VIP-MAGAZINE 16/2015 www.vip-booking.com

PROFILE JOHN REGNA

industry 1. Brief history of career…

Name: John Regna

Company: World Entertainment Associates of America, Inc. Email: JPR@JohnRegna.com Direct Phone: (407) 993-4000 Years in Music Industry: 44 Favorite artist: Eric Clapton Favorite Interest outside of music: Reading

3. The best skill and worst habit…

I started my business on July 23, 1971 as a promoter of sorts.

I think I share a particular good skill with certain other of my

I ran small events such as dances and local shows in New Jersey

colleagues­which is the ability to ask questions which give a clear

and worked my way into concerts by 1972. In my late teens, when

picture of the conditions of a project before discussing money. Too

beginning­college, I was fortunate enough to occasionally work as

often a representative might quote a price without first spending

a back-up musician for Bo Diddley, Chuck Berry, The Shirelles and

a few minutes going over details. By reviewing facts beforehand,

others­. It was through those relationships that I went onto meet

it allows a representative to qualify or disqualify a certain artist or

Dionne­Warwick who is still a client, as well as many other stars

show due to financial or production limitations. The best deal is a

in all areas of music. I went on to promote shows for Bette Midler,

comfortable deal for all parties. We have virtually no cancellations or

Kool & The Gang, Focus and a number of other performers. I was

postponements and we attribute it to this way of working. My worst

also fortunate­to work on shows during the early years of Bruce

habit is that I work too many hours.

Springsteen­and Cheech & Chong and then to diversify working in Rock, R&B, Bluegrass and with a number of Motown artists.

4. Your New Year’s resolution…

On a personal note, it’s to have a little more time to give to my

2. Highlights of career.…

2 grandsons. On a professional note, it is to grow our business

This is a difficult question to answer. I would have to say that

in another­3 to 4 countries which could be considered emerging

successfully­breaking into the international market to book tours in

markets­. There are a tremendous number of people who would like

1984 was the beginning of the most important and interesting part

to do business in certain countries and with the many calls and letter­s

of my career. I currently conduct business in 53 countries. I have

I receive from emerging markets, I believe 2015 and 2016 will be

great relationships with venues, promoters, festival organizers as

exciting years.

well as fellow agents and managers which allow me to book my own artists and to consult with purchasers who require assistance

5. 10 years from now…

with negotiations for artists we do not represent on an exclusive

I believe that with the many changes that are taking place in the live

basis­. While it is not music, we also have a robust business with

performance industry, those of us who have been in this field for

family entertainment shows which we produce and book all over the

many years will be searched out for new and interesting projects­. It

world. This segment of our business started in 1988.

will also be the case that as the careers of certain of today’s artists go up and down, certain of us will be called upon to bring clarity on goals they must set to sustain their touring business.

#22 VIP-MAGAZINE 16/2015 www.vip-booking.com

Live Entertainment

ARTIST AVAILS See/Add more Artist Avails at VIP-Booking.com

Dionne Warwick

SYSTEM 7 FEATURING STEVE HILLAGE Territory: WORLD INCL USA Period: MAY 2015 ONWARDS Agency: VALUE ADDED TALENT Agent: DAN SILVER Phone: +44 2077049720 E-mail: dan@vathq.co.uk Homepage: www.vathq.co.uk

Bo Kaspers Orkester

8:58 PAUL HARTNOLL FROM ORBITAL Territory: The World excluding USA Period: May 2015 onwards Agency: Value Added Talent Agent: Dan Silver Phone: +44 207 704 97 20 E-mail: dan@vathq.co.uk Homepage: www.vathq.co.uk

Orquesta Buena Vista Social Club Territory: Scandinavia, Eastern EU, UK, Ireland Period: June-July Agency: Sasa Music Agent: David Flower Phone: +44 20 7359 9232 E-mail: rab@sasa.demon.co.uk Homepage: www.sasamusic.com

Basement Jaxx Territory: Europe Period: 2015 Agency: Primary Talent International Agent: Peter Eilliot Phone: +44 20 7400 4500 E-mail: peter_elliott@primarytalent.com Homepage: www.primarytalent.com/basement-jaxx/

Patti Smith Territory: Europe Period: 2015 Agency: Primary Talent International Agent: Andy Woolliscroft Phone: +44 20 7400 4500 E-mail: andy@primarytalent.com Homepage: www.primarytalent.com/patti-smith/

Dionne Warwick Territory: Worldwide Period: 2015-2016 Agency: World Entertainment Associates of America Agent: John Regna - Artist Agent Phone: 407-993-4000 E-mail: jpr@johnregna.com Homepage: www.DionneWarwickTourPromo.com

THE ORCHESTRA starring ELO former members Territory: Worldwide Period: 2015 Agency: World Entertainment Associates of America Agent: John Regna - Artist Agent/Manager Phone: +1 407-993-4000 E-mail: jpr@johnregna.com Homepage: www.THEORCHESTRAonline.com

Bo Kaspers Orkester Territory: World wide Period: By request Agency: Lifeline Entertainment Agent: Michael Henriksson E-mail: michael.henriksson@lifeline.se Homepage: www.lifeline.se

Tricky Territory: Europe Period: 2015 Agency: Primary Talent International Agent: Ben Winchester Phone: +44 20 7400 4500 E-mail: ben@primarytalent.com Homepage: www.primarytalent.com/tricky/

Alan Parsons Live Project Territory: Worldwide Period: 2015-2016 Agency: World Entertainment Associates of America Agent: John Regna - Artist Agent/Manager Phone: +1 407-993-4000 E-mail: JPR@JohnRegna.com Homepage: www.AlanParsonsTourPromo.com

Need to know who is touring Europe?

Go online - www.vip-booking.com

#24 VIP-MAGAZINE 16/2015 www.vip-booking.com

Kölner Sportstätten

®

vip-booking.com

Manfred Tari mt@vip-booking.com

make this efficient for both parties and were able to control this

What are your main conclusions regarding the data gained by

content­. We broadcast live and also recorded dedicated shows.

Spotify in reference to the previous Lowland edition?

Total reach was about 30 million listeners globally so a great next

– Van Eerdenburg: It gives a great insight into the importance of

step. Serius SM for example had a reach of 9 million listeners in

festivals­in discovering new music. The dynamics of a festival are

the states!

different­from a headline show, or small specialized festival. People­that don’t necessari­ly buy a ticket for the festival to see certain acts, still

What are your main conclusions regarding the data gained by

try to find out about the acts that they do not know. And this survey

Spotify in reference to this years ADE edition?

proves they do it in large numbers. Unlike a lot of other big festivals

– Richard Zijlma: Very interesting of course; we just hired a staff

Lowlands is a festival that does not exclusively thrive on headliner­s,

member purely focused on data, cause we now want to interpret all

but on ‘subliners­’ and debuting acts; an ideal festival to put on the

the data we collected from all platforms, our own website and ticket

acts that are looking­for a bigger audience. In the old days one tried

sales for example. To be honest some outcome even surprises me,

to sell ticket­s at the specialize­d record stores for unknown acts. That’s

on the other hand I have to be honest, this is also for us a relatively

the place where the true music fans would be. Almost 70% of the

new field.

Lowlands fans use Spotify­. This number will grow since it’s a very well organised service. We need to be where the music fans are. Artists that

On the Lowland website various new media services such Richard Zijlma, Photo by Aico Lind

Eric van Eerdenburg, Photo by Sanne Couprie

MULTIMEDIA FOR FESTIVALS Previously to promote a concert or a festival it just took

spiked with many media reports from ranging from 3voor12,

some billboards, flyers, perhaps some advertisements

BBC, Guardian NBC News. How much has ADE meanwhile

and proper PR-work for printed press and radio. Today events have changed significantly and it is not only the

engage with both electronic music lovers and music professionals­

generation of digitals natives who know how to serve

worldwide­. I think, as we all do, nowadays, that we all switch during­

– Eric van Eerdenburg: None of them are sponsors. None of them

– Van Eerdenburg: I have three people working on promotion, mixed

are official media partners. Again, the fans subscribe to our festiva­l

on- and offline at the peak promotion times. It’s not a separate thing.

pages on these services. They are communication channels. We

They run Lowlands & Down The Rabbit Hole. More and more Social

need to be where the fans are.

Media gains importance in communication with our audience.

A concert without our stage is like a body without a soul

all the time. I think ideally the presence of an event like ADE should be prominent in all those fields. And of course we are focused on

and new media services is an ongoing process. Beside­s

increasing presence online more and more. For example I think a communication­staff member should start watching his phone instead­working behind a desktop, cause most online time is now

Instagram it is furthermore music streaming services

spent on the phone. The whole landscape has changed over the

such as Deezer, Spotify or SirusXM, that take up the

years. I love the challenges and specifically we like to work with those

opportunity to replace the old school media format

companies because they know how to connect with the audience, have a lot of relevant data and they are upfront when in comes to innovation which fits the key values ADE has. For example we worked

Zijlma from Amsterdam Dance Event and Eric van

also with Spotify and agreed to work on specific values; bring reach,

Eerdenburg­from Lowland Festival about their findings

engagemen­t and innovation. The partnership ended very successfully.

regarding new media experiments and the experience

various­new media channels?

the day to new media and old media, between online and off line

for music events. The conversion of communication

radio. With this in mind, VIP News spoke with Richard­

How many people are working for Lowlands to serve the

which are perhaps sponsors?

behind­ this?

– Richard Zijlma: The essence is simple; we try to connect and to

social media gadgets such as Facebook, Twitter or

displayed­. Whoich of them are so called ‘media partners’ and

turned itself into a media venture and what is the strategy

of course it needs more. Communications around live

and to handle a modern communication environment

are not on this type of service are not of this age. It’s this, or it’s piracy.

as Instagram, Facebook, Twitter and so on are prominently

For example we had homepage takeover in several countries during ADE for example USA and Mexico!

gained from them.

You even ran ADE Radio for the first time. How does it work On the ADE website various new media services such as

and what is your experience of working with SiriusXM?

Instagram, Facebook, Twitter and Google are prominently

– Richard Zijlma: There was a lot of demand from international

displayed. Nevertheless, the “media reports” section is also

radio station to cover ADE. With ADE Radio we were able to

#26 VIP-MAGAZINE 16/2015 www.vip-booking.com

M E G A F O R C E

Megaforce Veranstaltungs GmbH Jöhlinger Straße 118 D-76356 Weingarten

Phone: +49 7244/7202-0 Fax: +497244/7202-22 Mail: info@megaforce.de

WWW.MEGAFORCE.DE

#27 VIP-MAGAZINE 16/2015 www.vip-booking.com

Allan McGowan am@vip-booking.com

ICONIC , CLASSIC, CONTEMPORARY Legendary Entertainment

Randy Phillips

F O O E C PHILLIPS T N E M N I A T R E T N E L GLOBA Randy Phillips, former AEG Live CEO, is now the CEO of Global Entertainment, a newly-launched U.S. division for London-based Global, The Media and Entertainment Group.

The multifaceted company will include touring, label, publishing, artis­t management, branding/sponsorships and marketing divisions, with new headquarters based in Los Angeles and a London office. Phillips will be based in LA and oversee U.S. affairs and worldwide content for Global Entertainment.

“Our goal is to redefine the possibilities for a 21st century music and entertainment company and I am thrilled to have Randy and the team on board.”

Phillips comes to Global Entertainment after 13 years as CEO at AEG Live, where he promoted world tours by artists such as Justin Timberlake­, Bon Jovi, Justin Bieber, Kanye West, Jennifer Lopez, Enrique Iglesias­, Rod Stewart, and Prince. He oversaw the expansion of AEG Live`s Festival Division (Coachella, Stagecoach, New Orleans Jazzfest) and produced films featuring Michael Jackson, Bieber and Katy Perry. Phillips also

Phillips believes the Global model is the way of the future. “I believe that within three to five years, all of the major labels that exist will look like Global”, he told billboard earlier this year.

managed­or co-managed Stewart, Toni Braxton, Lionel Richie­and Usher, and, with former partner Arnold Steifel.

Phillips surprisingly left in late 2013 a year after he signed a new fiveyear­contract. The departure came shortly after a jury found AEG not

Global founder/executive president Ashley Tabor has used U.K.’s

guilty in the wrongful death suit filed by the family of Michael Jackson.

largest commercial radio company Global Radio as a base to create an entertainment company that now includes Global Television and Global Publishing (Ellie Goulding, Corinne Bailey Rae, LMFAO), with the latter to be part of the Global Entertainment U.S. division under Phillips.

“This is a defining moment for Global as we open our first office in the U.S. and create a new type of content company,” Global founder Ashley Tabor said earlier this year.

#28 VIP-MAGAZINE 16/2015 www.vip-booking.com

armentertainment.com

Allan McGowan am@vip-booking.com

www.novitas-hamburg.de

Keep a cool head. novitas insurance brokers. In any event.

Rob da Bank

BESTIVAL EXPANDS IN UK AND CANADA Bestival recently announced a new festival in

Team Bestival has also expanded their UK

that we felt it was right to start a new chapter

Toronto, which will take place on the city’s

operations­with their new city-based festival

in Bestival’s history. This isn’t a camping show,

Hanlan’s Point Beach on 12-13 May.

in Southampton called Common People. That

it’s not a tents, wellies and car packed to the

is due to take place 23-24 May, with the first

rafters experience… it’s a metropolitan two

“We have waited twelve years to decide to

day headlined by Fatboy Slim.

launch another Bestival outside of the UK. It

open to all ages, compact­

took a really special city, and an even more

Rob da Bank says about this:

exciting site, with Toronto and Toronto Island,

It’s the first new venture since we

to make us take the leap. So, the waiting is

started Camp Bestival seven years

over and we are so excited to be launching in

ago. We have been inundate­d

North America in June, with a classic Bestival

with offers to start new

line-up waiting to thrill, intrigue and party”,

festivals­every year but it

Rob da Bank said to CMU earlier this year.

wasn’t until we found the beautiful site of the Common

The event is being launched in partnership with Canadian promoters Embrace and the ever expansive SFX Entertainment.

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day show easy to access and but

packed

with

experiences­

and

priced very, very reasonably.­”