LIVE MUSIC INTELLIGENCE
MARKET SPOTLIGHT: GERMANY FESTIVALS VS AGENCY AIR CHARTER SECTOR PROFILE THE SECURITY SPECIALISTS
Issue 55
An ILMC Publication. Sept 2014
Tony
25 years
GOLDRING music
Cover photo: Collisions © Martin Hughes
Contents IQ Magazine Issue 55
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News and Developments 6 In Brief The main headlines over the last two months 7 In Depth Key stories from around the live music world 16 Techno Files Revealing the hottest new technology in live entertainment
Features 18 The New Bosses 2014 Ten future industry leaders in the spotlight
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22 The Konzert Powerhaus Chris Austin gives the business in Germany a health check 34 Stealing the Headliners The evolving relationship between festivals and agents 40 Tony Earns His Spurs Affable agent Tony Goldring marks 25 years in music 56 Flying Sourcers Robert Ashton finds out that air charter can be cost effective 62 Close to the Madding Crowd Eugenia Durante talks to the people who make our events safer
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Comments and Columns 12 Managing the Managers Volker May, updates us on the IMMF’s vital work 13 Live Support for Venues Music Venue Trust’s Mark Davyd reports on the progress of the organisation 14 Attracting the Digital Natives Tech expert Kevin Williams highlights the apps to attract future audiences 15 Planning for the Future Vladimir Kravchenko calls for more international music industry cooperation
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68 Members’ Noticeboard Keeping you posted on what ILMC members are up to 70 Your Shout On the back of the ice-bucket phenomena, what challenge would you create and who would you nominate? IQ Magazine September 2014
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Issue 55
Caveat venditor Gordon Masson looks back across a summer that taught ticketing start-ups some harsh lessons... It’s been a mixed summer for the live music industry, with various festival successes and failures around Europe and beyond. Usually at this time of year, the IQ team starts harassing festival organisers for their figures and reports on the season in our annual European Festivals Report, and while those initial emails will start arriving in inboxes soon, this year we’ve decided to extend the research by a few weeks so that we include the various events that close out the summer. One worrying trend, if I can call it that, from this summer appears to be the willingness of fledgling ticketing firms to offer festival promoters either part or full advances of their sales to help with cash flow, in a desperate bid to lure new business. But as you’ll see from our story on page 10, the repercussions of such decisions can well and truly bite everyone involved in the arse when the shit hits the fan, not the least of whom are the consumers who are left high and dry, scrambling around for refunds. Doubtless this will be discussed in detail at ILMC 27 next March, but any young ticketing companies out there considering such risky strategies would do well to reconsider, by noting the alltoo-real bank-busting consequences of such actions. Before I start reeling off the various features filling the pages of this issue, I have yet another sad duty to perform – relaying the news of the sad departure of yet another of the live music industry’s pioneers, Peter Grosslight. Peter was a giant of the business and used his influence not only to fight for the benefits of artists, but also to further such causes as civil rights and highlight international injustice, such as the plight
IQ Magazine September 2014
of the late Nelson Mandela. I only met the man twice, in my former life at Billboard magazine, and there aren’t many people I’ve encountered who instantly left such a positive impression. But I’ll leave it to another of those individuals, Ed Bicknell, to pay proper tribute to Peter (see page 11). From pioneers to the current crop of individuals making waves in the business, this year’s New Bosses (page 18) will definitely be the people to establish relationships with now, before their ascension up the industry ladder, if you’re not already familiar with them. One man that our gang of ten would do well to emulate is Tony Goldring – the subject of our main feature in this issue – who made the switch to or from the dark side, depending on your point of view, when he left his promoter past in the UK to become an uber-agent in the US. Celebrating his 25th anniversary in music, Tony’s story (page 40) is a mustread for one and all. Elsewhere in this issue, Robert Ashton looks at the air charter business (page 56), Gina Durante talks to some of the people improving event safety and security around the world (page 62) and I investigate the evolving relationship between festival organisers and agents (page 34) and the various headline acts who have reaped the benefit of demand outstripping supply this summer. And as if that was not enough, our market spotlight delves into Europe’s biggest music market, Germany (page 22), to discover just how the industry is faring as the country emerges from years of recession and the local population’s apparent growing desire for home-grown headline tours.
LIVE MUSIC INTELLIGENCE THE ILMC JOURNAL, Sept 2014
IQ Magazine
7 Jeffrey’s Place London, NW1 9PP info@iq-mag.net www.iq-mag.net Tel: +44 (0)20 7284 8945 Fax: +44 (0)20 7284 8947
Publisher
ILMC and Suspicious Marketing
Editor
Gordon Masson
Associate Editor Allan McGowan
Marketing & Advertising Manager Terry McNally
Design
Martin Hughes
Sub Editor
Michael Muldoon
Production Assistant Adam Milton
Editorial Assistant Eugenia Durante
Contributors
Robert Ashton, Chris Austin, Ed Bicknell, Mark Davyd, Vladimir Kravchenko, Emmanuel Legrand, Volker May, Kevin Williams, Adam Woods
Editorial Contact
Gordon Masson, gordon@iq-mag.net Tel: +44 (0)20 7284 8945
Advertising Contact
Terry McNally, terry@iq-mag.net Tel: +44 (0)20 7284 8946
To subscribe to IQ Magazine: michael@iq-mag.net An annual subscription to IQ is £75 (print) or £60 (electronic).
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News
Movers and Shakers The Event Safety Alliance is continuing its international expansion with the appointment of veteran crowd management and event safety consultant Jon (J.C.) Corbishley as chairman of its new Australian affiliate. Corbishley will oversee the operations of ESA Australia and serve as the organisation’s primary delegate within the region.
New Name for New Zealand Venue Christchurch’s biggest indoor arena, the former CBS Canterbury Arena in Addington, has been renamed Horncastle Arena following an agreement on naming rights with local home-building company Horncastle Homes and building operator Vbase. Financial details were not disclosed, but the two companies will work together for five years to promote the venue and bring benefit to the city and the Canterbury region. “The values of Horncastle
Homes are a perfect fit with Vbase’s long-term goals and vision for the arena,” says Vbase general manager Darren Burden. “Like Vbase, Horncastle Homes is a company with a focus on the local community and its people.” Horncastle Arena has a capacity of almost 9,000 and among the upcoming events are a major Disney on Ice production, followed by the visit of Bob Dylan and his band, the SkyCity Breakers and The Dire Straits Experience.
Joe Mead is exiting his project ticketing manager role at Kilimanjaro Live in London to relocate to Melbourne, Australia, where he is joining Dainty Group as tour coordinator. UK motion control specialist Kinesys has opened a new American operation and has placed industry veteran David Martin in charge. Kinesys USA Inc. is headquartered in Atlanta, Georgia, but will be a commercial hub for business in Canada, Central and South America. An automation control expert, Martin’s career has included stints at Rhino Services, Dragone, Cirque du Soleil and Atlanta Rigging. Cheryl Paglierani has left CAA to join The Agency Group. Based in the company’s New York office, her roster includes A$AP Ferg, Asher Roth, Danny Brown, Sir Michael Rocks and Yelawolf. Former Ticket Factory general manager Will Quekett has joined London-based financial services outfit JM Marketing Ltd as business development manager. Rachel Esson has departed her post at LS-Live and Backstage Academy to take on the role of senior account manager at National Schools Partnership.
Kate Webb has been appointed as the new marketing director at The Ticket Factory. Previously she worked at Codemasters, will now be territorial, instead Vision Express and the Volvo Group, but in her new role she of The Agency Group’s stand- will be responsible for driving the sale of tickets through digital ard Responsible-Agent system. marketing and e-commerce solutions, as well as taking the lead The Agency Group’s on the customer journey and CRM strategies. founder, Neil Warnock, says, James Drury is stepping back from the day-to-day operations “Nashville – the home of so of Festival Awards, to take on a new role running online many music legends – it has listings guide Londonist.com. Drury remains a director and always been a central ambi- will continue to be involved, but is handing over daily control tion of The Agency Group to of the Festival Awards UK and Europe to Amy Wright. increase our presence here, and with the Bobby Roberts Company joining us, it will bring even greater strength and purpose going forward.” For his part, Bobby Roberts comments, “We now have This year’s edition of EXIT Budva and Dukley Gardens the resources, tools and addi- Festival, and its related Sea and with the support of the tional agents to better serve Dance festival in Montene- Government of the Republic and enhance the touring needs gro, raised €140,000 for Flood of Serbia, the Government of of our artists. The possibilities Relief Aid, a fund for flood Montenegro, Budva Tourism are endless for our roster with victims in the Balkans, which organisation and Hipotekarna The Agency Group’s team of saw the worst floods in more Bank. Special DJ sets by the professionals and their various than a century, causing huge artists at the luxurious Dukdepartments, and under the damage, losses and deaths. ley Gardens complex were a combined leadership of Nick As part of the Exit Aid sell-out success and helped Meinema and Lance Roberts, Programme, Jamiroquai to raise more than €80,000 we will have much to offer art- and Example hosted the Be in goods for the Flood Relief ists, managers and the overall Human events in collabora- efforts, in addition to the Nashville music community.” tion with the Municipality of €140,000 in funding.
Growth for The Agency Group It has been a big summer for The Agency Group in the United States. In addition to opening a new office in Miami, the company has acquired Nashville booking operation The Bobby Roberts Company, which represents a diverse roster of country music artists. Earlier this year, The Agency Group celebrated the second anniversary of its Nashville office led by Nick Meinema and home to agents Scott Galloway, Justin Bridgewater, Stu Walker and Justin Hill. That operation will now see the addition of newly appointed vice-president Lance Roberts and booking agents Travis James, Josh Garrett, Matt Rizor and Alec Vidmar with their respective rosters. As part of the agreement, Bobby Roberts will be involved as a strategic consultant. Meanwhile, the system of booking dates by agents in the Nashville office
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Exit Foundation Boosts Flood Relief
IQ Magazine September 2014
Comment
Live Support for Venues Mark Davyd, venue operator, and founder and CEO of the Music Venue Trust, reports on the progress of the work of this essential support organisation…
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he Music Venue Trust was formed in January of this year to look at a number of issues facing small- to medium-sized venues. These venues are the breeding ground of UK music, and have faced a succession of challenges in recent years. We started the Trust because there were two or three things happening which, put together, were resulting in a tidal wave of potential and actual closures. Rising property values, planning and noise abatement legislation, and rising costs in a climate of falling attendances are all significant challenges to keeping this network alive. Unlike more recognised cultural venues such as arts centres and theatres, the majority of independent music venues operate in isolation with little support from local or national grant-giving bodies or the networks they provide. There have been a number of attempts over the years to create a representative body for these independent venues, and those have met with varying success. We felt the time was right to unite these venues around specific national issues, which they all share, whilst supporting existing informal, regional and local networks. We think the independence and individualism of these venues is a key part of their appeal and success, but it became clear that government and the industry needed to hear about certain issues in a much more forceful way. The Trust’s first campaign was to reach out to audiences across the country and seek to work with them to place venues on the Register of Community Assets. This requires someone who feels passionate about their local venue to volunteer to be a venue champion and lead the process of recruiting a minimum of 20 other local people to sign the nomination form. An asset of community value is “a building or land used to further the social well-being in particular, though not exclusively, the cultural, recreational or sporting interests of the local community” so the Trust believes that the action of nominating an independent music venue will challenge current perceptions of that building and what goes on there. The aim is to bring a large number of music venues into the cultural sector and provoke a rethink by local authorities and the arts sector about where they sit within the cultural fabric of the UK, potentially opening up funding, but also limiting the ability of developers to close down venues without consulting with local communities. The second campaign, launched on 28 May, is centred around a national petition to HM Government that calls for an urgent and thorough review of Noise Abatement legislation. The petition attracted over 10,000 signatures in the first six days of being live, and has lit-up social media with a range of interactive campaigns centred around #SaveLiveVenuesUK.
IQ Magazine September 2014
Our message is simple and all our petition is really demanding is that a bit of common sense be allowed to prevail. The Music Venue Trust believes that venues should be good neighbours, engaging with their local communities and addressing concerns around noise and anti-social behaviour. But we believe that
“The Music Venue Trust believes that venues should be good neighbours, engaging with their local communities and addressing concerns around noise and antisocial behaviour. But we believe that being a good neighbour is a reciprocal process.” being a good neighbour is a reciprocal process, and that people who choose to live near to community spaces are accepting the responsibility to behave as a good neighbour to their adjoining music venue, church or community space; anywhere it is inevitable and should be acceptable that noise will exist. We believe this is a common-sense approach – if you hate sport, why move next to a football stadium? If you hate music, why move next to a live music venue? Patrons of the trust include musicians from all aspects of the live music scene, including established stalwarts such as Andy Dunlop of Travis, David Gedge of the Wedding Present, Jeremy Pritchard of The Times Breakthrough Artist winners Everything Everything, and Kerrang! Award winners Enter Shikari; alongside rising stars such as Moya and Savages. Musicians are joined by cross-party parliamentary political support, MPs Mike Weatherley (Conservative, Hove), Kerry McCarthy (Labour, Bristol) and Lord Tim Clement Jones (Liberal Democrat); and by senior music industry figures such as Barry Dickins (ITB), Geoff Meall (The Agency Group), Paul Buck (Coda) and Scott Thomas (X-Ray). The Trust’s petition has reached more than 15,000 signatures and must now receive a formal response from the Department of the Environment. The Trust is continuing to push for more signatures to reach the goal of 100,000, when it will be called for debate in the House of Commons. You can view and sign the petition by visiting: http://qr.net/sign
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The New Bosses (left to right): Anna Bewers, James Simmons, Lukasz Tracz, John Rugemalira, Stephanie Clive, Teun Heijmans, Inga Esseling, Maarten Van Vugt, Charlotte Spooren and Dave Bradley
2014 marks the seventh year of IQ’s New Bosses spotlights, meaning that among those asked to nominate this year’s candidates were the 60 previous winners, many of whom have gone on to carve out stellar careers in the live entertainment industry. As you will see in the following pages, this year’s crop of rising stars is no less impressive. And the fact that the fairer sex account for 40% of the 2014 New Bosses is also heartening – perhaps next year we’ll have true equality with a 50/50 mix… When it comes to job roles, the agents are slightly outnumbered by the promoters this year. But the entrepreneurial spirit runs throughout your chosen ten, because many of the winners on the 2014 shortlist started their careers by establishing their own fledgling operations. Geographically, we’re also broad in range with winners based in America, Belgium, Finland, Germany, the Netherlands and the United Kingdom.
The criteria for the New Bosses remains constant: nominees need to be aged 30 or under and need to be impressing ILMC members with their approach to business. Our tenstrong winners are now in the running for the accolade of Tomorrow’s New Boss which will be awarded at the Arthur Awards ceremony during ILMC 27 next March (voting for which gets under way on the ILMC website later this year). In the meantime, if you’re looking to build relationships with individuals whom your peers predict will be the industry’s main decision makers in the coming years, then you could do worse than add the ten profiled New Bosses winners for 2014 to your contacts.
Anna Bewers (UK)
What are you currently working on?
Age: 29
Agent, The Agency Group
In the summer of 2005, and whilst completing a history degree at university, Anna worked as an intern at The Agency Group. After graduating she started working at the company again, as an assistant just a week later. She became an agent in August 2013. How is the role of an agent changing?
You have to be onto new bands so much earlier. A band may have a few demo songs; no management and no label; and have never played a show when you first come across them. You have to take a risk and sign bands earlier or someone else will. How do you identify new acts for your roster?
The music: it doesn’t matter what genre, if I like it, I’ll look into the band. For the majority of the bands on my roster I also have to see the live show before I sign. You can tell if an artist has the potential even in a terrible venue.
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Gordon Masson, editor, IQ Magazine
My day-to-day work varies. Being a relatively new agent I spend a lot of time developing new artists, so getting the band’s name out there and making promoters aware of them is just as important as getting a tour routed. What’s your proudest achievement to date?
I think being the first assistant at The Agency Group’s UK office to be promoted to agent. For my bands, probably Reading Festival this year. My first festival was Reading 14 years ago and I’ve been every year since. To have two bands I’m working with playing the main stage in my first year of being an agent is a highlight for me. Who do you turn to for advice?
Anyone at The Agency Group. I work with a wide range of bands from different genres so I don’t just turn to one person. If you need help and advice, we all have time for each other.
IQ Magazine September 2014
James Simmons (UK)
Age: 26
Agent’s assistant, International Talent Booking
While at university, James started working for independent promoter Melting Vinyl. In 2009, he started as an intern at ITB, and six months later began working with Lucy Dickins. James is now building his own roster, as well as assisting on Adele, Mumford & Sons, Laura Marling, James Blake, Hot Chip, and Jamie T, amongst others. What’s the trickiest part of your job?
Managing artists’ expectations with what’s realistically achievable, but still pulling the impossible out of the bag when it counts. How do you find new acts for your roster?
Keeping on it – listening to new music, spending lots of time watching bands and building good relationships with promoters, A&Rs, managers, lawyers etc. What are you currently working on?
What’s your proudest achievement to date?
Watching James Blake win the Mercury Prize was brilliant. It gave me such a buzz to be part of the journey and it was thoroughly deserved and a long way from the St Pancras Old Church shows where Lucy and I ran the box office! If you could change one thing about the live music business what would it be?
Artists need time to develop rather than being written off after their first record. That way, there would be more care and attention paid to career longevity rather than hyping ‘the next big thing’. It’s not sustainable and that’s why there aren’t enough acts to headline major festivals. No good for the artists, the industry or the fans. Who do you turn to for advice?
Lucy and Barry Dickins. Enough said! I’m also lucky to work with people throughout the industry who I can chat to openly about ideas and issues over a drink or two.
Setting things up for Eaves this autumn; Vance Joy’s European tour early next year; Mumford & Sons have a few ideas; and Jamie T’s return is really exciting.
What’s the biggest lesson you’ve learned at ITB?
Lukasz Tracz (USA)
in 2007 to a 25,000-people festival in 2013 at the Sun Life Stadium (where I grew up watching my favourite sport teams) is just incredible. This year we are turning it into a two-day festival where we are expecting over 55,000 fans.
Age: 29
Chief marketing officer, Life In Color
Lukasz is a co-founder of Life in Color – The World’s Largest Paint Party – where he handles the overall marketing and social media initiatives for the brand. Born in Poland, he relocated to America in 1994, where, along with twin brother Patryk and two college friends, he created and developed a concept that revolutionised dance music. What’s the best thing about your job?
Our team and our fans. I love the people I work with. Through the last five years we built a dream team and it’s what makes my job so special. There have been multiple times I stood on stage and started to tear up looking at the energy of our crowd and seeing thousands of smiles. It’s always been about the fans – we always say, “The real VIP is on the dance floor.” What’s your proudest achievement to date?
Seeing our Miami show grow from a 900-people club show
John Rugemalira (Finland)
Age: 30
Head promoter, RL Concerts
In 2005, John started organising parties with business partner Hardi Loog. Their big break came in 2008, promoting Good Charlotte in Tallinn, Estonia. Ice Cube, Talib Kweli and Sebastian Bach soon followed and RL’s broad range has seen John work with everyone from Wu Tang Clan to Nigel Kennedy, and Rise Against to Paul Anka. Recently the company launched its Weekend Festival and, this year, the sold-out 25,000-capacity Weekend Festival Electro Disco Edition. What are the main challenges in the Finnish market?
With its 5.5 million residents, combined with the short summer period for outdoor shows there’s a lot of competition over summer events. There has been a bit of a struggle selling tickets to these bigger summer shows and, when the artist and production costs remain high due to the fact that Finland is a bit off geographically not every promoter can survive the summer.
IQ Magazine September 2014
Be respectful because it’s a small industry and you never know who you’ll end up working with in the future.
What difference has the SFX takeover made to Life In Color?
SFX has been a blessing in disguise for our company. Aside from helping us financially, they have helped us expand into more than 30 countries, with some shows doing over 15,000 in attendance and receiving amazing feedback – and it’s only the tip of the iceberg. What do you see yourself doing in five years’ time?
I love being on set and directing videos – it’s where I’m in my element. I really see myself making movies and investing some of my own money into some independent films. It’s a dream and goal I’ve always had, and like I always say: set a goal, and don’t stop until you get there. How do you build relationships with professionals in other countries?
It started with just randomly emailing agents and hitting management offices with an occasional phone call, only to realise the agents are always in a meeting. After a while, and a few successful smaller shows, we got some credibility for ourselves and set-up an actual meeting with an agency, so we suited up and tried to look professional. Then we found ILMC, dressed casual, got drunk and meeting different people felt easier. What is the best lesson you have learned so far?
You don’t always need to offer the sum the agent is quoting, and it’s ok to sometimes pass on a possible show. The markets are different, make an offer for your market. Take risks, but don’t be stupid! What one thing would you change about the business?
I’d like to change some city councils’ or politicians’ attitudes and restrictions towards events and music festivals, but that’s a whole different story.
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Stephanie Clive (UK)
Age: 29
Agent, Coda Agency
Stephanie began her career as an intern for Festival Republic and soon had a paid position working on the Latitude and Reading/Leeds festivals. She moved to Coda Agency in 2010 as Rob Challice’s assistant. At the same time, she became general manager of the Summer Sundae Weekender festival. In 2012, she started booking acts for Rob, and soon began developing her own roster. What are you currently working on?
I’m currently working with some new acts I’m pretty excited about. Rosie Lowe, All We Are, Denai Moore, Gwilym Gold, Sylvan Esso. Plus booking for more established acts like Blonde Redhead, Erlend Øye and Tune-Yards. What’s the best thing about your job?
Getting to speak to people all around the world, listening to lots of music, and, of course, seeing gigs, especially the ones I’ve been involved in. Seeing all the detail from the computer
Teun Heijmans (Netherlands)
Age: 26
Agent/promoter, Belmont Bookings
Although Teun started going to shows and playing in bands at an early age, he says he never thought about going into the music business. However, he worked as a stage manager at Utrecht music venue EKKO for four years and alongside that started working at Belmont Bookings in 2010. Does being a promoter/agent give you an edge?
Not really, as it’s not about me, but it does keep you sharp. You have to be on it all day every day and seize the right moment in order to pave the way for your artist. Also, don’t be an asshole – it’s about what’s best for the artist. What are the biggest challenges for live music in your market?
screen turned into a truly exciting live show is brilliant. I especially like being a part of Coda as it’s a really open and collaborative environment. What’s your proudest achievement to date?
Adding a new artist that you love to the roster is always a proud moment. Aside from the above, Noah and the Whale and Raury are two acts I was very happy to help bring into Coda, and seeing all the hard work pay off when Bon Iver played Wembley was great. What one thing would you change about the business?
More women around please!
What advice would you give to anyone who wants to become an agent?
Listen and learn as much as you can about all facets of the industry. Find a good mentor. I’ve been really lucky to start working with Rob Challice and the other directors at Coda Try to balance going to shows/networking/listening to music with being organised and attentive to detail. music to the masses. Then there are a thousand festivals without identity that thrive on subsidies. What do you enjoy most about your job?
Working together with amazing and passionate people from all over the world, and seeing the artists you love reach new heights. What are you currently working on?
Expanding our Netherlands network, being friends with everybody, and the 2nd edition of Nordic Delight festival. What’s your proudest achievement to date?
Setting up my first European tour, which was financially stable, had solid routings, a happy band and happy promoters. And also this year’s Beaches Brew festival, a three-day free festival on the beach in Ravenna, Italy.
Expensive tickets, and all those brand-new, vibe-less multimillion venues. We really miss the equivalent of college radio in the US. We have no real platform to bring alternative
What would you change about the business?
Inga Esseling (Germany)
opportunities for newcomers, the classical and most farreaching media – the radio – is still very important to make an act really successful. Germany is not the best country for these opportunities – it’s difficult to convince radio stations to play acts that don’t have a mainstream sound. Online radio, as well as Spotify, will hopefully help in the future.
Age: 27
Promoter, FKP Scorpio
Inga‘s first point of contact with the music business was in 2008 while organising a little festival at the university of Münster. After graduating with a bachelor degree in economics, she joined FKP Scorpio in 2010 as one of the assistants to CEO Folkert Koopmans. Three years later she found herself running his touring division, promoting shows for the likes of the Foo Fighters and Placebo in Germany. What’s your proudest achievement to date?
More communication, tighter collaborations and more artistcentric, long-term thinking. We’re in this together, for the artists. Oh, and be nice!
What are you currently working on?
I have a very busy year handling tours with Blink 182, Avicii, James Blunt, Tame Impala, Ed Sheeran, The Gaslight Anthem and many more.
I have worked on many successful and sold-out tours, especially this year, with Ed Sheeran, James Blunt, etc, but looking back, actually getting into the business is probably my biggest achievement. It’s not easy without having any connections because everyone wants to work in the “cool” music industry. You have to always give 100% to get a foot in the door, but you also need a little luck and I was certainly in the right place at the right time.
What’s the biggest lesson you’ve learned in your career?
What are live music’s biggest challenges in Germany?
Central European Time should be the daytime all over the world, this would keep my working hours limited...
Apart from the online marketing, with which you gain new
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You have to stay in people’s minds. The business is all about relationships and networking. Once people know you and appreciate you’re doing a good job, the chance is high that they will get back to you and work with you again. If you could change one thing about the business, what would it be?
IQ Magazine September 2014
Maarten Van Vugt (Netherlands) Age: 27 Promoter, Greenhouse Talent
Maarten studied International Media and Entertainment Management at University. He became the co-owner and founder of Boogiedown Festival in 2007. In 2011, he started working at Greenhouse Talent, where he works with artists such as Kanye West, Trey Songz, Selena Gomez, Birdy, J. Cole, Nas, Jason Derulo, Kid Ink, Schoolboy Q, Elvis Costello, Lindsey Stirling and Coely. How relevant is technology/social media to what you do?
It’s of major importance. Even though magazines are still great for in-depth info, it all happens online. Social media is the place where I find a lot of new stuff and stay up to date on what’s happening, but also inevitable in the B2C part of my job: creating awareness for events and selling tickets How did you find yourself working in this business?
During my studies in Breda, I founded a hip hop festival in the south of the Netherlands with some classmates and friends.
Charlotte Spooren (Belgium)
Age: 26
Assistant Promoter, Live Nation
Aged 17, Charlotte’s thesis project at school was How to organise a festival. Having completed a bachelor degree in social work, she realised this was not her calling, so embarked on a degree in event and project management. In April 2012, Charlotte landed an intern slot working on Rock Werchter and I Love Techno. A position opened up in Live Nation’s concert division and she grasped her chance. What are you currently working on?
This week I have been working on shows for The Black Keys, Pharrell Williams, Lenny Kravitz, Dimitri Vegas & Like Mike, Oscar & The Wolf and Lady Gaga. What are the biggest challenges in your market?
While I gained experience, it was not financially successful enough to make a decent living. I was working as a chef to pay the rent and got a call from Greenhouse Talent who were looking for a young booker. What are the major changes you’ve noticed in the industry?
Touring is becoming more important and so is the money that needs to come out of it – our job as a promoter is becoming more important for the artist’s income. We’re noticing this when it comes to VIP packages (even on smaller shows), presales and other forms of ticket scaling.. How is your role changing?
Factors such as timing and momentum are more important nowadays. An artist can blow up very quickly because of Soundcloud, Youtube and Spotify and bringing him/her/them over at the right time is of major importance. More important and I’m speaking to agents and managers at an earlier stage now than at the beginning of my career. no knowing what will be next. The key will be to keep the focus on the live aspect of music and to embrace the emerging technologies and use them to our advantage. Who do you turn to for advice?
My promoters, Sarah Schueremans and Kris Verleyen, taught me everything about the business. But what should not be forgotten is our ticketing department and my marketing colleagues. It’s all about team work! What one thing would you change about the business?
Ban ticket resale on the black market.
What’s the biggest lesson you’ve learned in your career?
Choose a job you love. Take a risk and follow your dreams. Not choosing a safe job was the best decision of my life. What would you like to be doing in five years’ time?
Live music is as popular as ever, people still prefer the atmosphere of a live event over the virtual reality alternatives but new technologies are emerging all the time and there is
In five years it will be about time to start organising the reunion concert for Oasis, I guess…
Dave Bradley (UK)
What the best thing about your job?
Age: 29
Promoter, Live Nation/Download Festival
Dave has been a national promoter at Live Nation for 18 months, in which time he has also become deputy festival promoter for Download Festival. He began his career at Roadrunner Records before moving to Live Nation’s marketing team. He ran his own independent promotions company, putting on rock, metal and punk shows across London. That was the catalyst to joining Live Nation’s promoter team where he works with Skindred, Architects, Bury Tomorrow and Marmozets among others. What’s the biggest challenge the live music industry is facing?
It has to be over-saturation in the festival market. There are only a certain number of headline-sized acts, especially in the rock world, so by stretching the pot too far for short-term gains there is a very real danger of damaging the wider market in the long term. Last year, there were three major rock/metal festivals in the UK during the summer, inevitably affecting attendance across the board.
IQ
Booking bands for Download Festival is right up there. After giving Bury Tomorrow their debut Download slot on the 3rd stage in 2013, it was an amazing moment to be able to step them up to the main stage in 2014. As a New Boss, what would you change to make the business healthier?
I’d encourage an environment of collaboration. It’s something I do with the marketing team at Live Nation for my tours. We work in such a fast-paced, adaptable environment, so having a team who are working with you as opposed to for you is definitely the way to go. What is exciting you at the moment?
I’m constantly excited by how far new bands can push the boundaries. The fact that rockier acts like Royal Blood are breaking into the mainstream is also another great sign of the times. I constantly mention how much can change for a band, genre or scene within just a year – there’s always the next big thing around the corner!
This is a preview of some content from the latest issue of IQ Magazine. To get instant access to the magazine’s comprehensive features, research, news, analysis and comment, you will need to subscribe. For more information about subscribing to IQ Magazine, simply click this box. Magazine September 2014
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