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For the International contemporary Live Music Industry ISSUE 159 APRIL 2013 UK £5.85 EUROPE €7.60 ROW $12.32

Animal attraction Ke$ha’s world mission AEG rolls with the Stones Promoter clinches deal for US dates

Heavy metal still rocks Global expansion with ‘fans for life’

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Essential reading for industry professionals in more than 80 countries

T

he enduring strength of the heavy metal genre defies conventional music industry assumptions and appears to be immune to just about everything happening out there in the real world. As our central feature shows, it’s expanding into new markets, pulling large festival audiences and developing its own new talent. Those who work in the sector or observe from a modest distance will know the reasons for its success. HM cares about its fans and, as one leading international agent says,‘metal fans are for life’, but only if you look after them, he might have added. Sensible ticket prices, musical integrity, blistering live performances, artistes and events maintaining year-round contact with the fanbase and a general abhorrence of ticket abuse and touting all play their part… it’s obvious really. Some mainstream heritage acts have long followed the same philosophy, because they had to. Without a thriving record industry, those hardcore fans who keep the faith are all they have. Emerging artistes such as Muse have also learnt the trick: look after the fans and they’ll follow you anywhere, buying records and merchandise, and spreading the word as they go. So, as has often been said on this page, ignore the fans at your peril. But respect them and the whole live music industry has a more secure future.

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Contents 6-12 World News

32-33 Production News

Industry news from around the globe

Developments in equipment and show production

14-18 Market Focus: China

Monthly insight into an international tour market

34-37 Tour Plans

Artistes, tour periods, agents

20-27 Monsters of Metal

fanbase and the efforts of those at the top of this enduring genre.

38 Festival News

International festival activity

38 Playing Up To The Boss

 The trials and tribulations of tour

manager Terry Tucker and his crew

31 City Focus: Milan, Italy

Featuring the main venues for international artistes Publisher & Managing Editor: Stephen Parker

Subscriptions Manager: Fiona West

News Editorial: James Hanley

Administrative Manager: Aimee Field

Editorial Contributors Europe: Johnny Black, Mike Gartside

Credit Control: Murali Sri Balaskanda

USA / Canada: Jane Cohen, Bob Grossweiner Sales Manager: Gareth Ospina Advertising Sales Executive: Martyn Passey, Jonny Love

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contents

 Heavy metal continues to thrive thanks to a loyal

28 Forthcoming Events

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Editorial: James Hanley T: +44 (0)20 7486 7007 E: james@audience.uk.com Advertising: Gareth Ospina, Martyn Passey, Jonny Love T: +44 (0)20 7486 7007 E: gareth@audience.uk.com martyn@audience.uk.com jonny@audience.uk.com

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Subscriptions: Fiona West T: +44 (0)20 7486 7007 E: fiona@audience.uk.com Subscription Rates: £70 for 12 issues (UK) £80 for 12 issues (European Union) £90 for 12 issues (Rest of the World) Subscribe online at www.audience.uk.com Cover photograph – Rex Features Design: Jax Palmer Print: Premier Print Group www.premierprintgroup.com ISSUE 159: April 2013

AUDIENCE is published monthly from the UK by: Audience Media Ltd, 26 Dorset Street, London W1U 8AP United Kingdom T: +44 (0)20 7486 7007 F: +44 (0)20 7486 2002 E: info@audience.uk.com W: www.audience.uk.com

The opinion expressed by contributors to this publication are not always a reflection of the opinions or the policy of the publishers. Information on services or products contained within editorial sections does not imply recommendation by AUDIENCE. No responsibility can be accepted for errors or omissions. No part of this publication can be reproduced in any form without the written authority of Audience Media Ltd.

audience • issue 159 • April 2013

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Newsbites USA In a naming rights deal believed to be the first by a ticketing company, let alone a resale website, the multi-venue Home Depot Center in Carson, California, will be renamed the StubHub Center from June. Financial terms were not disclosed, but Home Depot paid $70 million for its 10-year naming rights sponsorship, which expires in May. The multi-venue AEG-managed complex includes 27,000 and 8,000-capacity performances spaces and hosts shows by acts such as Coldplay, Maná, The Cure and Green Day.

CANADA Jeff Craib, a 25-years veteran of The Feldman Agency, who has served as a director, vicepresident and senior Sam Feldman vice-president, has reached the top and been appointed president of the company. Craib is based in the Toronto office. “Jeff has been with us since the opening of our Toronto office and is a proven innovator with a monumental work ethic,” says agency founder Sam Feldman. Previously known as the SL Feldman Agency, the company also has offices in Vancouver and Los Angeles.

world news

ESTONIA The fifth edition of music industry conference and showcase festival Tallinn Music Week saw 233 artistes perform from 19 countries, with 748 delegates from 30 countries attending the 4-6 April conference at the Nordic Hotel Forum.

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AEG clinches deal for US Stones tour UNITED STATES Apparently after some last-minute wheeling and dealing, it will be AEG Live and not Virgin Live that stages the Rolling Stones’ nine-city, 18-date North American arena tour, celebrating the band’s 50th anniversary. More specifically, it will be AEG Live subsidiary Concerts West that presents the tour, while AEG Live in the UK stages the band’s two 65,000-capacity shows in London’s Hyde Park. The 50 and Counting US tour, set to run from 2 May to 21 June, will begin at AEG’s flagship Staples Center (20,000) in Los Angeles and take in multiple nights at venues such as the Honda Center (18,336) in Anaheim, California, the United Center (20,500) in Chicago, TD Garden (17,565) in Boston and the Wells Fargo Center (19,500) in Philadelphia. Tickets range from $85 to $600, with premium packages from $750 to $2,000. Tickets on resale website StubHub range from $210 to $10,000 for a pair of Tongue Pit Package passes, which have a face value price of $1,500 each. Virgin Live, a joint venture between Paul Dainty, of Australia-based Dainty Group, and Virgin Group’s Richard Branson, had been expected to win the tour, after producing the Stones’ shows at London’s The O2 (17,000), the Prudential Center (19,000) in Newark, New Jersey, and New York’s Barclays Center (18,103) in Brooklyn late last year.

No hard feelings

The 2012 shows were the first Stones’ dates in 20 years not to involve Canadian global promoter Michael Cohl. Speaking at the Canadian Music Week (CMW) conference

in March, Cohl said he was not bitter about having involvement. “I’ve had a terrific relationship with the Stones for over two decades and I lasted longer than any of Mick’s wives so, it’s pretty good,” joked Cohl, who claimed, “They went straight to AEG - AEG was trying to finance Dainty and for whatever reason … he turned them down.” Live Nation Entertainment (LNE) CEO for global touring Arthur Fogel, also speaking at CMW, told delegates that LNE had never been in the running. In early 2011, lawsuits between LNE and Cohl flew in each direction, as they fought over issues such as who would get what from a future Stones tour (see Audience issue 133). Matters became so strained that the Stones released a media statement which announced that the band became free of any contractual ties with LNE or Cohl after their A Bigger Bang tour in 2007, and had no plans to tour at the time. The Stones will also headline the UK’s Glastonbury Festival (140,000) in June for the first time, as well as the Hyde Park shows in July, where ticket prices start at £95 ($146). The AEG Live deal was sealed shortly after AEG founder and chairman Philip Anschutz took the company off the market, after failing to find a buyer prepared to pay in the region of $10 billion. Anschutz now plans to take a more hands-on role, with the departure of president/CEO Tim Leiweke, since replaced by Dan Beckerman, who previously served as chief financial officer and chief operating office. Jay Marciano, president/chief executive officer of AEG Europe, will relocate from London to Los Angeles to become chief operating officer.

SFX goes global with dance pioneers WORLD SFX Entertainment, which entered into a joint venture two months ago with Netherlands based electronic dance music (EDM) promoter ID&T (see Audience issue 156), has since acquired 75 per cent of the company, which is valued at $130 million. The New York Times reports the deal as being worth $102 million in cash and stock. It will also see ID&T’s acclaimed Belgium festival Tomorrowland (cap. 60,000) expand into America under the banner, TomorrowWorld. The new event will take place in Atlanta from 27-29 September. ID&T also promotes the Sensation arena show in 20 countries and Mysteryland festivals in the Netherlands (60,000) and Chile (25,000). “This is a hugely significant and strategically important acquisition for SFX,” says Robert FX Sillerman, chairman/CEO of SFX Entertainment. “With ID&T, SFX has an immediate global footprint in more than 20 markets worldwide.” ID&T CEO Duncan Stutterheim adds, “We welcome becoming part of the SFX family, where we will be at the heart of the most important platform in the space.”

audience • Issue 159 • April 2013

Tomorrowland festival

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MAMA plans to open office in Asia WORLD UK-based festivals and venues owner MAMA & Company has announced it is to open an office in Singapore, as part of its international expansion. The operation will be directed by Paul Hugo, who was appointed MD of MAMA’s GlobalGathering International earlier this year and has extensive knowledge of the region, says the company.

“Having spent much of the last 10 years travelling across Asia, putting on events from China all the way to Indonesia, it’s exciting to be able to take the MAMA & Company business to the next level in this region,” says Hugo. Starting later this year, MAMA intends to build on its existing presence in the region, which includes the GlobalGathering festival in Han River, South Korea and electronic music

shows under the Godskitchen banner in Taiwan, Thailand and South Korea. The move is part of MAMA’s restructure following its £7.3 million ($11.8m) buyout from HMV in December (see Audience issue 155). MAMA CEO Dean James said he was seeking overseas acquisitions, with plans to expand into Asia and America, to create a “global integrated live music business”.

Launch date nears for Brussels arena BELGIUM AEG Facilities is to run the new 15,000-capacity Brussels National Arena, Palais 12, which opens in June. The development is part of the Brussels Expo complex, which has 12 exhibition halls and attracts three million visitors a year. It will be the largest arena in the country. The $26 million renovation of the former exhibition hall will boast 12,000 parking spaces and a 500-seat VIP area, and will

host music, sporting and family events. As part of the agreement, AEG will provide services such as sponsorship and naming rights, premium seating sales, event booking and venue operation support. “AEG’s global presence, international resources and sponsorship experience will be the foundation for the success of the arena,” adds Brussels Expo CEO Denis Delforge.

Brussels National Arena

Ke$ha’s Animal instinct

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world news

WORLD Her 2010 debut track Tik Tok was the biggest-selling digital single in the world in the year of its release, according to the International Federation of the Phonographic Industry, and Ke$ha has shown no signs of being a flash in the pan. The Los Angeles-born 26-year-old’s first album Animal proved a global hit, and second studio album Warrior, released late last year, has kept up the momentum. Ke$ha’s, whose agent is Rick Roskin of CAA in Beverly Hills, is represented by Vector Management, which has offices in New York, Nashville and LA. Her managers are Ken Levitan and Jack Rovner, while her day-to-day managers are Nicki Loranger and Monica Cornia. “We believe Ke$ha’s ability to relate with her fans is the most important reason why she is becoming the global superstar we see on stage each night,” says Rovner. Upcoming concerts include North American shows with Pitbull at the MGM Grand Garden Arena (cap. 16,800) in Las Vegas, the AT&T Center (18,500) in San Antonio, Texas, and

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cover artiste the Molson Canadian Amphitheatre (16,000) in Toronto. European tour dates include the Rock Werchter (80,000) festival in Belgium, and the UK’s O2 Academy Brixton (4,921) and Yahoo! Wireless Festival at the Queen Elizabeth Olympic Park (60,000), both in London. audience • Issue 159 • April 2013


Site-share festivals given green light to expand Coachella

UNITED STATES Goldenvoice, a division of AEG Live, has received approval from the city of Indio, California, for the expansion of its Coachella and Stagecoach festivals, at the Empire Polo Club, with a renewed licence until 2030. As a result, the capacities of the spring festivals will be increased next year to 99,000 for Coachella and 75,000 for Stagecoach. This year, Coachella was held on consecutive weekends - 12-14 and 19-21

April - with identical line-ups featuring Red Hot Chili Peppers. the Stone Roses, Blur and Phoenix. Stagecoach took place on 26-28 April with headliners Toby Keith, Lady Antebellum, Zack Brown Band and Hank Williams Jr. Goldenvoice has also been given the go-ahead for two autumn festivals with capacities of 99,000 and 75,000, also starting next year. The event’s present capacities are 95,000 for Coachella and 65,000 for Stagecoach.

Tourist team keen to attract more shows “We work with local and international Tourism organisation promoters to help bring in international the Malaysia Convention & Exhibition acts and make things run smoothly,” MyCEB Bureau (MyCEB) is encouraging more CEO Zulkefli Haji Sharif international acts to stage tells Audience. shows in the country. MyCEB general Established in 2009 by manager Tony the Malaysian Ministry of Nagamaiah adds, “The Tourism, MyCEB has already infrastructure is here, worked with events such and GDP has grown as the Future Music Festival five to six per cent on Asia (cap. 45,000) at the average in recent years, Sepang F1 Circuit, which Zulkefli Haji Sharif Tony Nagamaiah so the country is doing featured Armin van Buuren, pretty well. We are lobbying hard to attract PSY, Rita Ora, The Prodigy, Bloc Party and The more international artistes and productions.” Chemical Brothers.

world news

MALAYSIA

Trucking pioneer Edwin Shirley dies UNITED KINGDOM Edwin Shirley, a pioneer of rock ‘n’ roll tour transportation, has died following a long battle with cancer. An ex-actor, Shirley founded Edwin Shirley Trucking (EST) with partners Roy Lamb and Dell Roll in 1974 and the trio formed Edwin Shirley Staging (ESS) in 1980. Both companies grew to be world leaders in their respective fields, working with artistes such as Led Zeppelin. ABBA, Pink Floyd, Michael Jackson, the Rolling Stones and Queen. In an Audience feature on the companies in April 2001 (issue 16), Shirley recalled how EST got started. “I bought an old bread van and we did a Uriah Heep tour and David Bowie’s Ziggy Stardust tour with it. I then bought a vehicle from North Thames Gas Board. So now we had two, a bread van and a gas van.” Shirley, who was 64, was also one of the founders of freight company Rock-it Cargo. He is survived by wife Diane and children, Rebecca and Raphael. He was no longer with Diane, but the pair remained friends. He had shared his life with Marg Pascoe since the early-90s.

Crowds on the rise at Dortmund venue Germany Dortmund’s Westfalenhallen is hoping to build on its recent success after recording an increase in visitor numbers in 2012. Attendance figures at the venue rose to 1.4 million last year, around 100,000 more than in 2011, aided by acts such as Justin Bieber, Chris Brown and Duran Duran performing at 15,380-capacity arena, Wesfalenhalle 1. “This proves the great appeal of the products and services we have to offer,” says Sabine Loos, chairman of Westfalenhallen Dortmund GmbH. Artistes who will appear at the venue in the coming months include P!nk, MIA, Pet Shop Boys and Black Sabbath, along with a number of domestic performers. The original building was built in 1925 but was destroyed during the Second World War. Down the years it has hosted global names including Madonna, Pink Floyd and Prince.

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audience • Issue 159 • April 2013

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AEG Facilities has signed a multi-year deal with 13,000-capacity the Gwinnett Center in Duluth/Atlanta, Georgia, to provide services such as event-day operations, sponsorship, concessions, marketing and a switch from Ticketmaster to AEG’s AXS Ticketing system. who have played the arena include Eric Clapton, The Who, Lady Gaga and Red Hot Chili Peppers.

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“It seems like a logical outgrowth of our efforts to support the development of new artistes,” says Diamond. “The acts signed thus far are unique and very exciting.” Paradigm’s music roster includes Coldplay, Aerosmith, Black Eyed Peas, Dave Matthews Band, Dwight Yoakam and Phish. Last year the company entered into a joint venture partnership with dance music agency AM Only, which represents acts such as David Guetta, Skrilles and Tiësto.

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UNITED STATES Paradigm Talent Agency has launched a new music label, Big Picnic Records that is being funded by private investors. Agent Marty Diamond, head of Paradigm’s East Coast music, will provide A&R support to the label’s general manager Patti Hausema. Distributed by Sony’s RED Music, the label’s first release is by British singer-songwriter WALL, with others planned by UK act Foxes and Los Angeles duo Johnnyswim.

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Agency enters the label business

Alaska Airlines has obtained a 10-year, $6.3 million naming rights deal for the 5,600seat University of Alaska Anchorage arena, currently under construction. The contract takes effect on 1 July 2013. The $109m arena is scheduled to open in August 2014.

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Wembley Arena

The Live Nation Entertainment (LNE) board of directors has appointed president/CEO of Liberty Media Corporation Greg Maffei as the company’s non-executive chairman. Maffei joined Liberty in November 2005, became CEO in February 2006 and has served on its board since February 2011. Liberty bought another 1.7 million LNE shares for $19.38m on 12 March, bringing its stake in the global promoter to more than 26 per cent.

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UNITED KINGDOM AEG will have to wait until 5 September to find out whether its deal to manage London’s Wembley Arena (cap. 12,500) has won approval from the Competition Commission, after it was referred to the body by the Office of Fair Trading (OFT). The OFT has raised concerns about the deal, as AEG already owns London’s The O2 (17,000), co-owns Hammersmith Apollo (5,000) and has taken over promoting concerts in Hyde Park (65,000) from Live Nation Entertainment (LNE). AEG signed the deal with Wembley Arena owner Quintain Estates & Development, after LNE’s contract to manage the venue expired (see Audience issue 156).

Newsbites

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AEG faces five-month wait for Wembley approval

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Live industry upbeat at ILMC

world news

International music gathering marks 25th anniversary

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WORLD Time travel was the theme of the 25th edition of the International Live Music Conference (ILMC), and industry figures were staying upbeat about the future, despite the challenging economic climate in most markets. The event, which was held at London’s Royal Garden Hotel, kicked off with The Open Forum: A Time Experiment panel. “Business is pretty good,” Australian promoter Michael Chugg of Chugg Entertainment told delegates. “It seems to be picking up everywhere. If you look at some of the end of year results that have been released, there’s a lot of tickets being sold, but there ain’t much money being made. “We’re all fighting economies, but we’re still breaking acts, young acts are coming through. “One of the reasons we’ve survived so well for the last three years is that we don’t have secondary ticketing [in Australia], which would probably have killed us off a lot quicker than we’d kill ourselves off,” said Chugg. “We’ve got some great promoters in Australia, we’ve also got some real idiots, who book acts and bring them back too early because the agents take the money.” Live Nation Spain’s Pino Sagliocco said, “Spain is not in the best place at the moment. I hope we’re really going to have understanding from agents and artistes that the market really is in dangerously bad shape. “The fanbase is always there, we just need to take care of them a little bit more.” But agent Barry Dickins of ITB interjected, “I have a simple theory: if you can’t afford it, don’t go. Artistes are running a business … they’re not going to sit there and go ‘hey, let’s charge €10’, they’re just not going to go.” He added, “We have to build a future. Most of the people that were the top grossers in America and on a worldwide basis were what you would call heritage acts. Probably the exception would be Coldplay and they’ve been around for 10 years. “We’ve got to find global acts, and it’s very important we build those young acts.” US agent Ted Kurland of Ted Kurland Associates said, “What I am observing in the United States is that there is almost a paradigm shift. “There’s a great number of young, entrepreneurial producers, festival producers, putting massive festivals together, featuring a lot of artistes that are just coming on the scene and they’re pricing and marketing their concerts and

L-R Ted Kurland, Barry Dickins, Moderator Greg Parmley, Pino Sagliocco and Marcel Avram

programmes using very little paid advertising, it’s mostly social media strategies and it’s changing the paradigm.” Chugg agreed, “There’s this huge underbelly out there and sooner or later it’s going to explode, just like The Beatles did, just like the 1979 wave of punk and new music, it’s there, it’s going to happen and we [older promoters] are not in touch with it at all.”

For and against

On the issue of secondary ticketing, panelist Marcel Avram of European Concert Agency, based in Switzerland, spoke out in defence of controversial practice. “I am not so much against secondary ticket sales because they [touts] are taking a risk as well, “he said. “We do need this secondary market and I don’t see it like they always make money, They are also losing money and nobody talks about that.” But Dickins insisted, “They’re not risking the whole event. Their risk is minimal. You should be able to buy for the price that’s on the ticket.”

The UK’s Harvey Goldsmith also hit out at the practice during The Dragon’s Den with Harvey Goldsmith session. “A ticket is an entry into an experience, it is not a commodity to be traded,” he stated. “Everything I do when I negotiate with an agent or with a manager is based on a set of costs, and you finally come to a deal and set the ticket price. So how come [touts] can buy a load of them and then resell them for 10 times the price? It turns off the real fans. Every time we rip them off it’s another tick in the black book and eventually they’re going to say ‘forget it’.” Stuart Galbraith of Kilimanjaro Live (UK) was among those who discussed new marketing opportunities in Selling the Show: Going to market. “As an independent promoter, we don’t want to be at the behest of a ticketing company,” said Galbraith. “So we are spending a great deal of time building our own database, building our own social networks … working very closely with artistes, because the best sales person for an artiste is the artiste, and we have got examples of tours that we have sold out exclusively on Twitter or Facebook before any of our above the line advertising can even hit.” Fellow panelist Dean DeWulf from the UK office of AEG’s AXS ticketing system spoke of the increase in mobile ticketing. “All of the tours we’re doing right now are tracking at 22 per cent via mobile, that’s going to double at least I think by the end of the year,” he predicted. Organisers say the 8-10 March event attracted more than 1,000 delegates from 62 countries.

Market Focus: China See pages 14-18 audience • Issue 159 • April 2013

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LIVE DIFFERENT THE WORLD’S LEADING INDEPENDENT LIVE MUSIC BUSINESS OWNING SOME OF THE UK’S MOST ICONIC VENUES AND AWARD-WINNING INTERNATIONALLY ESTABLISHED FESTIVALS VVEEN UEESS NU THE

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Touring legends take centre stage at Canadian Music Week

world news

CANADA Global touring heavyweights Arthur Fogel and Michael Cohl were among the big-name speakers at the 31st edition of Canadian Music Week (CMW). Held at the Downtown Marriott Eaton Centre in Toronto from 19-24 March, the event’s Live Touring Summit saw the Canadian duo take the stage for separate interviews with music journalist Larry LeBlanc. Live Nation Entertainment (LNE) global touring CEO Fogel spoke of the complexities of organising a full-scale world tour. “I think generally it’s a lot easier these days than it used to be on any number of levels,” he said. “When I started at CPI [Cohl’s Concert Productions International] in the early-‘80s, it was all about the record and everything that was in done in terms of touring and promotional activity was really about driving record sales. But this amazing transformation is taking place where … the concert business has become the centre of the universe and the driver for everything else. “We started in 1989 when we did our first global tour, the Rolling Stones. It was a very different landscape throughout the world. In 20plus years since you can see the development across the globe, whether it’s Asia, Latin America, the Middle East, Eastern Europe, as concert markets, it’s really created an entirely new global landscape for touring.” On secondary ticketing, Fogel claimed, “It’s a fact of life and it’s not going away, end of story. It’s just like you can say to people, ‘Hey,

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PRODUCTIONS

Concerts Promotion Booking Production Communication Consulting audience • Issue 159 • April 2013

Arthur Fogel

tomorrow can everybody stop downloading music without paying?’ Things evolve and you can’t turn back the hands of time. The secondary market isn’t going away, so you’ve got to figure out how to deal with it.” Asked about his future projects, Fogel revealed U2 were likely to tour next year. Cohl, the pioneer of global touring deals and

ex-LNE chairman, told delegates, “I had a deal with Live Nation, we had a huge scrap, it’s not a secret to anybody. “They stiffed me for a contract and, read the court records, you’ll see that at the end of the day, nobody wins in a situation like that [see below]. But ultimately, if there was a victor, it was us. “As far as Live Nation is concerned, I get along great with [Michael] Rapino and Arthur [Fogel]. We had a scrap and we’re best buddies now.” Re-signing as an LNE consultant, Cohl says, “I gave them my non-compete for five more years, because my core interest these days, and the core of what my company is doing, is much more what I call broad demographic shows for arenas, like Spider-Man. “We think there’s a whole opportunity to create a new platform of shows for the baby-boomer grandparents and their kids, and their grandkids.” Overall, CMW featured more than 1,000 showcasing acts at over 60 venues, including concerts with artistes such as Rihanna at the Air Canada Centre (cap. 18,800) and Nick Cave and the Bad Seeds at Massey Hall (2,752). CMW 2014 will take place from 6-10 May. LNE sued Cohl and his S2BN Entertainment in 2010, claiming $5.35 million for non-payment of fees associated with his post-LNE noncompete agreement. Four months later, Cohl counter-sued. It was settled last year (see Audience issue 150).

Michael Cohl

Production news: See pages 32-33

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Metal singer cleared of fan’s manslaughter

Top scores for talent exchange schemes

CZECH REPUBLIC US metal band vocalist Randy Blythe has been acquitted of the manslaughter of a teenage fan at a concert in Prague in 2010. The Lamb of God frontman had been on trial accused of pushing the 19-year-old off stage during the show at the Abaton (cap. 2,000). The fan hit his head when he fell to the floor and later died of his injuries. But presiding judge Tomas Kubovec cleared him of the charge, ruling Blythe’s actions had not constituted a crime. Prosecutors immediately announced their intention to appeal against the verdict. Blythe, 41, was first detained upon his arrival at Prague airport in June last year and was freed on bail in August, after spending 38 days behind bars, but had to post eight million koruna ($414,380) bail. If convicted, Blythe faced up to 10 years in jail. The fan’s family was also asking for 10 million koruna ($517,735) in damages.

EUROPE The European Talent Exchange Program (ETEP), which helps emerging artistes perform at festivals across the continent, is on course to top last year’s success. Organised by the Netherlands-based team behind the Eurosonic Noorderslag showcase and conference events, ETEP has already confirmed 133 appearances by 55 artistes from 18 countries for the coming festival season. Last year saw a new record Ruud Berends set for the scheme, which began in 2003, with 259 confirmed shows by 95 European artistes from 20 countries. “We are very happy with these first results,” says Buma Cultuur’s Ruud Berends. “It is a very diverse list of artistes coming from all European countries and that is precisely what

ETEP and CEETEP are about, the circulation of European music. “We are happy with every show booked, but I think this is a very promising start and it is likely we will beat the 2012 figures and that would be amazing.” Acts to have appeared at the most festivals through the scheme include Jake Bugg, Palma Violets and Kodaline. Meanwhile, sister project the Central Eastern European Talent Exchange Program (CEETEP), which was launched last year by ETEP, Hungary’s Sziget Festival (cap. 70,000) and Serbia’s Exit Festival (47,000), has so far confirmed 11 shows by nine artistes from eight European countries. Other festivals working with CEETEP include B’estfest (30,000) in Romania, Poland’s Coke Live Music Festival (30,000), and INmusic Festival (25,000) in Croatia.

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Live Nation and Gaga sue Dance agents insurers for non-payout sign to CAA UNITED STATES Live Nation Entertainment, production company LGTours, Lady Gaga’s production vehicle Mermaid Touring and The Atom Factory (owned by Gaga’s manager Troy Carter), are suing three Lloyd’s of London insurance syndicates for not paying out on terrorism cover, after the cancellation of a sell-out Lady Gaga stadium concert in Jakarta, Indonesia. Members of the Islamic Defenders Front threatened to disrupt the 3 June 2012 show, claiming it amounted to “satanic worship”. The lawsuit, filed on 3 March in US District Court in Los Angeles Legal, is being brought

against Lloyds’ underwriters Beazley Syndicate 623 and Talbot Syndicate 1183. According to the lawsuit, plaintiffs say they have “suffered significant damages” as a result of the cancelled show and accuse the defendant of “despicable conduct that subjected Plaintiffs to cruel and unjust hardship in conscious disregard of the Plaintiffs rights ... with the intent to vex, injure or annoy the Plaintiffs, such as to constitute oppression, fraud or malice ...” The plaintiffs are seeking damages of at least $1150,000 for breach of contract and breach of good faith and fair dealing, as well as legal costs and further punitive damages.

world news

EDM world set for Ibiza summit

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SPAIN Business leaders from the world of EDM will be heading for the Mediterranean island of Ibiza in late May for the annual International Music Summit (IMS), which is celebrating the successful launch of a spin-off event in America. Around 200 people attended IMS Engage in Los Angeles in early April, where speakers included Swedish House Mafia manager Amy Thomson and Lady Gaga’s manager Troy Carter. The gathering was marred Ben Turner by a reported altercation between representatives of Hastag Management and Kevin Kusatsu, manager of US DJ Diplo, following a panel. “The incident which has made the headlines was a result of a discussion about authenticity in social media, and clearly sparked a lot of debate and then rage,” says UK-based IMS founding partner Ben Turner. “Aside from this, it was an incredible show of strength from major American industry players, independents and the bigger companies. I

think we made a mark and delivered our stamp of authority and authenticity on electronic music.” Attention will now turn to the Ibiza Gran Hotel from 22-24 May for IMS: Beyond The Boom Boom! Around 500 delegates are expected to attend the event, which will feature an interview with Jean Michel Jarre. Other speakers will include Shelly Finkel of SFX Entertainment, Duncan Stutterheim of Belgium festival Tomorrowland (cap. 60,000) and Marc Geiger of WME in Los Angeles. Each day will be rounded off by performances from acts such as Tong, Fatboy Slim and Sven Vath. “We have opportunities all over the world now to bring IMS in varying forms, testament to the fact that we feel we deliver something unique to the genre,” adds Turner. “It’s too early to say what else we will do but now we’re just ensuring Ibiza and LA continue on their own paths delivering their own messages to their relevant markets.”

UNITED STATES The Los Angeles branch of CAA is looking to further increase its influence in dance music after announcing that three agents from TorontoRob Light based The Rebel Agency have joined the company. Jazz Spinder, Matt Kingsley and Inbal Lankry will work closely with the agency’s EDM specialists Maria May, Mac Clark, Alex Becket, Hunter Williams and Roman Trystram. “With its vast resources, existing resources and global reach, CAA provides our family of artistes with an expanded range of opportunities,” says Spinder. The trio represents emerging and established DJs and electronic music producers such as Damian Lazarus, Jamie Jones, Hot Natured, Art Department, and Lee Foss, all of whom will also be making the move to CAA. “Jazz, Matt, and Inbal are among the most respected agents in the electronic genre,” says CAA’s head of music and managing partner, Rob Light. “Their deeprooted knowledge of the landscape, ability to identify and cultivate emerging talent, and collaborative approach will be great assets as we continue to expand the agency’s global business.”

METAL FESTIVAL

www.sauna-open-air.fi

8.-9.6.2013 • RATINA FESTIVAL PARK • TAMPERE

VOLBEAT

MAIN STAGE

NIGHTWISH

SABATON OPETH

CHILDREN OF BODOM audience • Issue 159 • April 2013

Special Feature: Monsters of Metal See pages 20-27

PARK STAGE

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audience • Issue 152 • September 2012


market focus:

Photo: Zhang Qianli

China

China Population (billion): 1.35 Language: Standard Chinese, Mandarin Per capita GDP (US$): 9,100 Internet users (million): 574.6 Broadband households (million): 150.8 Economic growth (%): 7.8 Total music revenues per capita (US$): 0.1 Currency: Yuan Renminbi

Hong Kong Population (million): 7.2 Language: Cantonese, English Per capita GDP (US$): 50,700 Internet users (million): 5.2 Broadband households (million): 2.1 Economic growth (%): 1.8 Total music revenues per capita (US$): 5.5 Currency: Hong Kong dollar

Source: IFPI

Source: IFPI

market focus: china

Shanghai Midi Festival

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Hailed as a world superpower due to its emerging global economic influence, China’s rapid development into a more open market is reflected in the increasing number of international acts visiting the country. Progress has been slow since Wham! became the first Western band to appear in communist China 28 years ago, with promoters keen to make up for lost time. James Hanley reports

W

ith a population of over 1.3 billion, China’s potential as an important and lucrative stop on the touring circuit is enormous, and is finally starting to be fulfilled. Founded in 1949 after 20 years of civil war, the People’s Republic of China was governed by its leader Chairman Mao until his death in 1976, a regime which imposed strict controls on everyday life and cost millions of lives. The country was opened up to foreign investment in the late-‘80s, but remains under communist rule and political control remains tight. However, by 2000, its output had quadrupled and in 2011 it overtook Japan to become the world’s Adam Wilkes second biggest economy, behind the United States. After Wham! became the first Western act to perform in Beijing in 1985, it was another decade before the second, Roxette. But as the country has gradually opened up to commercialism, the

audience • Issue 159 • April 2013

“The band wisely insisted to price the tickets number of international acts who have visited at a very affordable level, starting at 180 yuan includes the Rolling Stones, Elton John, Beyoncé, [$29], and they quickly sold out a 30,000-capacity Lady Gaga, Bob Dylan and the Eagles. stadium in Shanghai.” “China’s live entertainment industry has grown Wilkes adds, “Popular Chinese artistes currently substantially in recent years,” says Adam Wilkes, tour arena and stadium productions through senior vice-president of AEG Live Asia. “Shanghai, 25-plus cities. In the near future, as these markets in particular, has become a strong market for continue to open and mature, certain Western Western artistes on par with more traditional Asia artistes will also have the opportunity to tour more tour stops like Hong Kong, Seoul and Singapore. cities in China as well.” Beijing and Guangzhou are not Alan Ridgeway, president of interfar behind. national and emerging markets at Live “Year-on-year for the last Nation Entertainment, agrees, “Outside decade we’ve seen the number of Hong Kong, the international business of acts performing here increase, is still largely focused on Beijing and and this trend will only continue,” Shanghai, but we expect to see more he says. “Celine Dion was the touring opportunities in the secondary first Western artiste to sell over Alan Ridgeway cities over the coming years. The major 35,000 tickets, which was quite a advantage that China has over a lot of other develmilestone for the market. oping concert markets is that there is no shortage “Bringing Linkin Park in 2007 was also pretty of venues, even in the secondary cities. amazing as the band is massively popular here “We are seeing an increasing interest from and it was China’s first ever stadium concert by a artistes wanting to play China and ticket sales major Western rock band,” says Wilkes.

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Sweden

Beijing

CHINA CHINA

Shanghai

Guangzhou Hong Kong

are becoming stronger, although in most cases sponsorship is still essential. “Some our most successful shows over the last couple of years include Bob Dylan, the Eagles, Avril Lavigne and Jason Mraz,” says Ridgeway, who is based in Dubai, United Arab Emirates. “The main challenge is determining which international acts will be well received in the market. Many of the popular acts in North America and Europe are not so well known in China, and so our local team undertake extensive research before bringing in a new act, and even Jessica Guo then you can misjudge the demand.”

Arena breakthrough

market focus: china

Built originally as a basketball venue for the 2008 Beijing Olympics, the MasterCard Center (cap. 18,000) became the first venue in Beijing to secure a naming rights deal. Acts to have appeared include Beyoncé, Usher, Akon, and Il Divo. “This is the first privately-owned arena in China, the majority are public-owned,” says general manager Jessica Guo. “Because it’s privately-owned, it has to make money. That’s why we approached it in the same way as US and European arenas do, in a very commercialised way. The majority of our revenue comes from sponsorship. “There are a lot more international artistes and events, especially in the three major cities, because the market is good and people do have money to spend on entertainment.” The Mercedes-Benz Arena (18,000) in Shanghai, which opened in 2011, has hosted acts such as the Eagles, Jennifer Lopez, Elton John and Maroon 5, as

well as The Beach Boys at The Mixing Room & Muse, here in the ‘90s, the audience was probably 70 per its intimate 800-capacity theatre. cent Westerners, whereas now it’s probably 70 per “I think China is the hottest destination right cent locals,” says Colleen Ironside of Hong Kongnow,” says general manager Michael Enoch. based Live Limited, arguably the most experienced “There are lots of artistes with big fame of international promoters operating consistently in who want to come to China. the market and promoting shows across Lots of agents are actively the region since 1999. contacting us to find chances “There is a lack of venues in Hong Kong and dates for their talent.” and one of the challenges we face in not Enoch says the arena works only here, but all the Asian countries, is closely with promoters White trying to find suitable venues that are Magnolia, AEG, KS Production , available at the same time as the acts Live Nation and Jiexing Culture. are available.” Michael Enoch AEG Live’s Wilkes adds, Hong Kong’s AsiaWorld-Arena (13,500) “Many of the past obstacles and opened in December 2005 as part of the challenges have been resolved, due to the major AsiaWorld-Expo complex, developed as a publicinfrastructure improvements of recent years. private partnership between the Hong Kong SAR “With the opening of the MasterCard Center and Government and a private sector consortium. Mercedes-Benz Arena, and new National Games Muse, Red Hot Chili Peppers, Westlife, Taylor Swift Arena (18,000) in Dalian, set to open later this year; and Justin Bieber are among artistes to have played China now has three state-of-art multi-purpose the arena. arenas that are the first of their kind here. “The market is very diversified now, compared to “These AEG-managed and operated venues days when the majority of shows were local Cantoallow top level artistes to produce their shows in pop with just a small number of international conChina at the same technical standard they would certs,” says Karen Kwan, AsiaWorld-Arena assistant require in any other major international city.” director of business development. “Nowadays we have a wide range of international concerts from the US, UK, Taiwan, Japan and Korea. International hub “Hong Kong has definitely become one of the Handed back to China in 1997 following 156 years key stops for most of the Asian concert tours.” of British colonial rule, after the lease ran out, Hong Kwan says the main regional promoters for Kong enjoys a high degree of autonomy under China’s “one country, two systems” formula, and has Western acts are Live Nation, AEG and Midas Promotions, and Singapore-based Lushington its own separate currency, the Hong Kong dollar. Entertainments and LAMC. For K-pop, J-pop and “The interesting thing about Hong Kong in particular, is that when we first started doing shows others, the key promoters include ELF Asia, G

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audience • Issue 159 • April 2013


Music, Triks, Puffin Entertainment and East Asia Entertainment. The Kowloon International Trade and Exhibition Centre (KITEC) in Kowloon Bay opened its doors in 1996. It was revamped in 2007 to include the 3,600 Star Hall, which has hosted shows by Bob Dylan, Adam Lambert and Macy Gray, and will welcome Kraftwerk’s 3D show later this year, with tickets priced at HK$680 (US$87.60). “I believe that there are many major artistes that would like to perform in Hong Kong, but due to the venue availability and capacity issues, the economics may not work out favourably for the promoter,” says venue director Stuart Wang “ “In view of the unique position of Hong Kong, we believe that there will be continuous demand just as long as quality content is provided. Also, one cannot discount the demand from mainland China, from where we see fans arrive by the busloads to attend concerts here, as ticket prices are generally more expensive there.”

KITEC

China is these days prepared to embrace great art and great artistes.” She adds, “The disappointing fact was that so many of the Western media, including in China, couldn’t help but report the negative side of this event – not report the positive fact that despite having a hiccup, the Chinese authorities allowed the Guangzhou concert to go ahead and a great night was had by all.” According to Ironside, marketing techniques for concerts are not dissimilar to the West, with TV, radio and newspaper adverts and social media all employed, though Hosking laments, “Regular adverts are very expensive.” Facebook and Twitter are banned in China due to the country’s policy of internet censorship, but there are an estimated 597 million people active on approved equivalent social networking sites, which include Tencent Weibo, Sina Weibo and Tencent’s QZone.

Festivals emerging

While still in their relative infancy in the country, the number of music festivals is growing fast and are modestly-priced by Western standards. “There is already an established festival scene but it has plenty of potential to grow,” says Ridgeway. “Attendances are still relatively low compared to European and North American festivals, with audiences of 10,000-20,000 rather than the 50,000-plus that you would see elsewhere. Most of the festivals also tend to be city centre-based rather than camping festivals. “We produce the China Valley Music

market focus: china

“The authorities can stop a concert if feel an artiste is making a statement, or actually doing anything offensive to culture and beliefs.” Elton John was reportedly interviewed by police last year after dedicating a concert at the MasterCard Center to dissident artist Ai Weiwei, while Bjork caused controversy by shouting “Tibet, Tibet” during a performance at the Shanghai International Rules and regulations Gymnastic Center (4,000) in 2008. The Chinese government’s notoriously The Rolling Stones, who had wanted to tight control of live performances has perform in China since the 1970s, finally regularly attracted the attention of the Colleen Ironside got the green-light in 2006, after agreeing Western media. to drop five “sexually-suggestive” songs from their Acts must submit lists of songs, lyrics and cast set at the Shanghai Grand Stage (8,000). and crew members before they are allowed to Britney Spears, meanwhile, was given the goperform on the mainland. ahead to play in 2004, only on the condition her “Occasionally we run into issues related to costumes weren’t too revealing. censorship and/or political sensitivities,” says Ironside, however, believes the negative “Michael LoJudice, general manager of Beijing and press is unfair. “We toured Elton John in Asia last New York-based music entertainment company December,” she recalls. “Elton loves the art of Xue Modern Sky Entertainment. “ Visa permission Wei Wei, who at times is considered a bit letters always take forever to get back of a dissident in China, of which Elton was and to artistes, there’s almost always a unaware. Elton was only aware of him as bit of stress leading up to the event on an artist, having seen his exhibition at the that end.” Tate Modern in London, and mentioned Michael Hosking, co-founder of Midas him at his Beijing concert. Productions, which has an office in “In years gone by this would have Hong Kong, says, “It’s a lot easier now resulted in any future performances being than when we took Roxette to China cancelled - we had a show in Guangzhou in 1995. But there are still quite a lot Michael Hosking [International Sports Arena] a week later. of rules and regulations that you have However, this didn’t happen, the show went ahead to follow, such as having to submit song lyrics as scheduled and 14,000 people enjoyed a great beforehand and signing affidavits saying they will concert. I think this was testament to the fact that make no political statements.

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Mercedes-Benz Arena

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audience • Issue 159 • April 2013


market focus: china

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audience • Issue 159 • April 2013

AsiaWorld Expo

Festival (15,000), which is held at a ski resort on the outskirts of Beijing and, although we offer camping, the majority of the audience travels out from the city for each day of the festival.” Avril Lavigne, The Jesus & Mary Chain, Pixie Lott, Joss Stone and Glasvegas are among acts to have played the event. A three-day ticket for last year’s event cost 480 yuan ($78). MSE, which was founded by artiste Shen Lihui as a music magazine and small record label in 1997, has grown into various other sectors such as concert promotion and ticketing. In 2007 it produced its first music festival, Beijing’s Modern Sky Festival, a three-day music and arts festival featuring more than 100 performers over five stages including Mogwai and the Yeah Yeah Yeahs. The company will produce upwards of 10 festivals in mainland China this year, the biggest of which will be the Strawberry Music Festival in Beijing and Shanghai (caps. 40,000 and 30,000). Travis are set to headline the 2013 event. “We are able to attract top talent from around the world, it’s not too difficult as we have good relationships with agents and artistes,” adds LoJudice. “However, producing a major music festival in China is not the same as doing so in a London or New York. Acquiring proper permits and visa permission materials for international artistes can be tedious, and currency exchange/ bank transfers can take time.” Organised by the Beijing Midi School of Music and Midi Productions, the country’s largest rock event, the Midi Festival (30,000) launched in Beijing in 2000 and also now takes place in Shanghai and other cities. Three-day tickets cost 280 yuan ($45). International acts who’ve played the event include The Wombats, Dave Stewart and Soundtrack Of Our Lives. The Clockenflap Festival (20,000) in Hong Kong has hosted artistes including Primal Scream, Klaxons, Bombay Bicycle Club, The Cribs and Azealia Banks. “Clockenflap began life in 2008 with 1,500 attendees and we’ve been growing the event organically since then,” says organiser Justin Sweeting. “Festivals as Karen Kwan they’re known in the West aren’t really sewn into the fabric of the culture yet, so we’re very much in developing and as such, it is very interesting times. “On one hand, Hong Kong isn’t a major music market for international acts and we can’t reach the level of fees which major festivals around the world can. Nor is it a place that can be toured, so logistically we often need to work with other cities to ensure the maths work for everyone,” he explains. “There was no real precedent for doing what we do in Hong Kong, so many challenges stem from the fact that there isn’t a framework in place, meaning almost constant hoop jumping,” says Sweeting. “It does get easier for us every year, and our approach has always been to work handin-hand with the authorities so everyone best

It is frustrating at times to see that there are numerous shows by acts of a similar genre coming at the same time Colleen Ironside

understands our motives and thinking on what we’re ultimately striving to achieve.” Founded in 2009, the pop and rock Zebra Music Festival (ZMF) is in Chengdu, Sichuan. “In 2008, the region experienced a severe earthquake and we were invited by the local government to do a series of events,” explains Scarlett Li, CEO of Zebra Media, who claims 150,000 people attended last year’s three-day event. “Through this process we developed the idea to create a festival for Chengdu.” A three-day ticket costs 300 yuan ($48.50). The event has featured artistes such as Backyard Surgeons from Australia, France’s Nasser and Tahiti 80, and Useless ID of Israel. “It was certainly the success of ZMF in Chengdu that provoked various local governments to start to invest and promote in festival projects,” says Li. “In comparison to a few years ago there were only a few festivals in Beijing, today there are hundreds of music festivals spread out in China. “There has been a music festival boom, in terms of investment, for the past few years, which cause an increase of artiste fees and lower sponsorship prices, which is not great news but normal for a growing market.”

Premium tickets

“Asia has had its own recession twice in the last 15 years,” says Hosking. “But in general, the sheer volume of people starved of Western entertainment in the last 40 years means it is a growing market, although the cost of tickets for foreign artistes is prohibitive.”

Ticket prices are often sky high. Beyoncé commanded tickets priced equivalent of 1,900 yuan ($300) at the Mastercard Center, while Taiwanese singer Faye Wong sold out five concerts with tickets priced up to 2,540 yuan ($400). Tickets for Westlife at the venue cost between 180 and 1,288 yuan ($29-208). Meanwhile, The Beijing Workers’ Gymnasium (13,000) charged between 680 and 1,080 yuan ($110-175) for a show by James Blunt. “The real challenge from the agents and the promoters is to make sure we don’t over-saturate the market,” adds Hosking. “In the past, people went to everything when there were just a few shows, now they pick and choose. We just need to be aware of it.” Ironside warns, “While there are more and more acts coming through, I think agents and managers need to be reminded that Western music is still only a small percentage of the market in comparison to local artistes, and timing is everything. “It is frustrating at times to see that there are numerous shows by acts of a similar genre coming at the same time, and that means that not only do the acts suffer with ticket sales, but more importantly, so do the punters as they want to see them all but simply don’t have the money.” China has made great strides as a live music destination in a short space of time and its status as the most populous country in the world makes its potential appear limitless. But as with every boom period, there will be a tipping point. The challenge for promoters is to ensure that as the quantity shows increases, the quality and demand is maintained.

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ONE NATION UNDER MUSIC Bringing the best in domestic, regional and international music to Greater China

ent entertainm leading live 's , ld or om w r.c e th Ticketmaste SE: LYV) is om ket leaders: nment (NY r.c ar ai te m rt as te ur tm fo En n ke ed of work. Tic Live Natio ny, compris Nation Net merce sites, erce compa ion and Live at top five ecom N 's and ecomm t ld is rt or A w s, e rt th ce Concerts of n on e io C on at n d Live Natio sites. Live N g leader an r tin ou ke t si tic vi t ly. al Artist ho even artists glob illion fans w is the global ts. than 2,300 over 119 m e of or er 200 artis m se r ov ba g fo ta ly with a da ent , representin ows annual ny nm sh pa ai m rt 00 ,0 te co t 22 en er agemen ovider of produces ov p artist man e leading pr ion e world's to Network, th the 250 mill n io to at in N p Nation is th ta ve Li to s er forms. er w is at po rt pl l es ve ta ss ad ent and digi nearly 800 ev These busine g e lin liv ab ts en , h lutions ally throug marketing so delivers annu Live Nation s er um ns co

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special feature

Arguably the most consistently strong and enduring musical genre, heavy metal continues to evolve and expand its influence around the globe. But, although the classic acts are still at the top and new ones are finding their way through, promoters and agents have to stay ahead of the game to keep the fans satisfied and buying tickets Johnny Black reports

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“F

or Iron Maiden, ticket sales continue to get stronger on a global basis,” declares Rod Smallwood, their manager

since 1979. “We do three million tickets on a global tour and our highlights this year will include Download [cap. 110,000] in the UK and the New National Stadium, Stockholm, which sold out over 50,000 tickets in two hours,” he says. “Every tour in America is stronger for us; 15,000 a night on average, but South America is even stronger, with 45,000-50,000 a night.” When Audience last took a long, hard look at the state of heavy metal, in 2009 (issue 117), business was booming and, for major players like Iron Maiden and Metallica, it still is. Despite 2009 being the early days of global financial crisis, there was a planet-wide upsurge of metal-oriented festivals. Europe’s touring Sonisphere was perhaps the most ambitious and successful, but ticket sales for tours and one-off shows were also healthy. There were concerns around secondary ticketing and about the dearth of new young bands emerging to replace the old guard,

audience • Issue 159 • April 2013

Jouni Markkanen

Rod MacSween

but by and large, things were looking good. Five years on we’ve lived through the collapse of record sales, the even wider emergence of the internet and the opening up of new international touring markets. Inevitably, these factors have radically changed the marketplace. Alexander Milas, editor of Metal Hammer magazine in the UK, feels the effects have been substantial. “One interesting thing we’ve been noticing about the live metal scene is something akin to a chandelier effect,” he says. “You shake one part of it and the whole thing rattles” “Metal Hammer split from Metal Hammer Germany in 1986. Metal Hammer UK is based in

Andy Copping

Alexander Milas

the UK but we’re licensed in over a dozen countries and distributed internationally, our online monthly reach exceeds two million. The prime chandelier-shaker, Milas feels, is, “the decline of the record labels, spiralling towards the void, as record sales fall away. The result is too many bands out on the road trying to compensate for lost album sales with touring revenues.” Similarly, veteran rock agent Rod MacSween, co-MD of UK-based ITB (see feature, Audience issue 157), says, “In the last five years the record industry has nearly collapsed, while the new digital world has changed methods of marketing.” Finnish Metal Events promoter Jouni

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Wacken Festival - Dimmu Borgir

Devin Townshend’s recent visit, “was very successful. He did two shows at Cirkus [1,500] and then went out on tour. So, people will still come to see a quality band that puts on a great show, especially if they don’t tour too often.”

Careful packaging

With so many artistes out there, one strategy has been to create multiple act bills which set the

events apart from one-act shows. “Package tours have been around for years and still offer value for money,” reasons Andy Copping, senior vice-president of music at Live Natrion Entertainment UK. One successful example was the Jagermeister tour package in March 2013, offering The Defiled, Ghost and Gojira, usually with local supports, in 3,000 to 5,000-capacity venues around the

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PRESENTED BY

THANKS to all Agents for Bringing LOTS OF GREAT METAL ACTS TO AUSTRIA‘s NOVA ROCK FESTIVAL OVER THE LAST YEARS! EWALD TATAR & NOVA MUSIC ENTERTAINMENT

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THANKS to all Agents for Bringing LOTS OF GREAT METAL ACTS

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audience • Issue 159 • April 2013

special feature

Markkanen in Helsinki has been quantifying the results of this kind of thinking. “In December 2012, in Helsinki we counted something like 31 live metal events spread across five venues, without including the very small venues. I was thinking it was way too many, then I realised 11 of them were my shows.” Happily, the scene in Finland isn’t entirely doom and gloom, and Markkanen notes that

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Showsec at Download Festival

merchandise is significant in the USA and Europe but here, I don’t think so. To start with, ticket sales are too poor.”

Big outdoors

The archetypal festival image of long-haired, denim-clad youths cavorting in grassy pastures is a cliché but like all good clichés, there’s a reason for it. “Apart from Glastonbury [140,000], Download is the biggest festival in Europe,” Copping points out. “Ticket sales are always increasing and it has grown from 35,000 to over 100,000 in 10 years.” Mainland Europe is similarly blessed with Germany’s Wacken Open Air (75,000), foremost

special feature

owner of promoter Rock N’ Rock in UK, for a £5 ($7.62) ticket. Needless Spain, enthuses, “We have achieved to say, at that price, ticket sales were great success for four shows in not going to turn a profit. Is the loss late June with the package of Def being made up with a split of profits Leppard, Whitesnake and Europe. Def from merchandising, food and drink? Leppard are playing Spain for the first ”The Jagermeister tour is a unique time in 17 years, so people are very situation,” explains agent Nick Peel interested and shows are selling well.” at Miracle Artists in London. As the It’s an acknowledged fact that, as man who first brought Metallica record sales dwindle, bands also atand Slayer to Europe, Peel’s grasp of Pierre Sabbag tempt to compensate for lost income the mechanics of metal finances is deeper than most. “Jagermeister sponsor the tour, by selling more merchandise on tour. Andrea Pieroni, MD of Live Nation Italy pay the bands and cover their costs. They expect explains. “Music has become so easy to get on to lose money at the shows, but the advantage is download, and you have million of ways to listen in marketing their beer. It’s a branding exercise.” to a record without actually buying it. Merch is Elsewhere, though, packages have proved different, because you need to purchase a physiless than successful. Markkanen observes that, cal item, like a T-shirt, to own it.” although packages with strong headliners Andy Copping adds, “Merchandising is a huge can succeed, “We have seen packages of five source of income for artistes nowadays. Bands bands with ticket price of 15 euros [$20] which is like Iron Maiden, Metallica and AC/DC can earn not a lot, but still people don’t show up. almost as much from merchandise as We’ve seen tours cancelled and from performance fees.” bands going home.” For Rod MacSween, merchandising Another potential downside is also represents a return to the tradiemphasised by South American tional values of, “Cash at the door with regional promoter Christian Kramer the artiste at the creative controls.” of CK Concerts, based in Colombia. “I Once again, though, the profits are don’t see packages working not seen universally. German Andrade well here,” he reasons, “especially at another Soutyh American regional because flight and hotel costs are promoter, Matrix Entertainment, also too expensive. “ Andrea Pieroni based in Colombia, reckons, “Maybe On the upside, Pierre Sabbag,

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View from the top

Rod Smallwood has managed Iron Maiden since 1979, and nurtured their growth from a successful rock band into a global mainstream phenomenon which has outgrown its genre identity. Here he explains how he has done it. What’s the strategies for such global success? “The most important thing for live is timing. In the early days of a band’s career, you have to sync the tour with record releases, but if a band progresses, as Maiden has, then you don’t actually need a product to tour with. You can tour profitably because people just want to see you. In fact, our last album, Final Frontier, was released after we’d done the North American tour.”

among many and hailed as the largest metal festival on the continent. Thomas Jensen of Germany’s ICS Festival Services, founded and still runs this massive, long-established event. This year’s Wacken, headlined by Deep Purple, Alice Cooper and Anthrax, sold out very quickly, and Jensen believes that, “festivals and tours can exist side by side; each one helps the other. “This year’s Metallica, Iron Maiden and Motorhead tours German Andrade have all gone very well,”

What major changes have you seen over the years? “Iron Maiden was fortunate in to grow up before there was a categorisation of metal, so we could play with 38 Special, Judas Priest or Scorpions with no problem whatsoever. Now there are so many sub-genres you get bands refusing to play with other bands because they’re ‘the wrong sort of metal’. To me, rock is rock.” How have festivals changed since Maiden started? “Even when Donington [Monster of Rock in the UK] started, you’d have eight acts in the day, so you could start at the bottom and work your way up. Actually, we didn’t do Donington until we headlined it in ’88 and there was over 100,000 people there to see those eight bands. I don’t feel that festivals with 150 bands on 25 different stages really do anybody a lot of favours. There’s so much to see that fans actually find it confusing.” What does a new band need to succeed? “Individuality. An awful lot of bands out there do pretty much the same thing. Slipknot, a few years ago, became major headliners by having a different approach. Right now, Bring The Horizon are different and they’re set for great things. They had a Top 3 album in America recently.”

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audience • Issue 159 • April 2013


special feature

he says. “Young bands find it harder, but they must learn to do the work themselves, they must create interest and work their way up.” A more recent arrival has been festival brand Sonisphere, launched in 2009 by UK-based John Jackson of K2 Agency, whose artistes include Iron Maiden and Metallica, and Stuart Galbraith of promoter Kilimanjaro Live. Galbraith also played a founding role in the launch of Download, when he was UK MD of Live Nation. With Metallica as a frequent Sonisphere headliner, its first three years were largely successful, expanding from six to nine countries. But the event’s UK editions in 2012 and this year had to be abandoned through Memo Parra lack of strong headliners, which demonstrated starkly that there is a limited number of top-flight metal acts that can draw 30,000-50,000. Nevertheless, Sonisphere is continuing in several territories this year. Festivals include

Alice Cooper

For Persson, it is the stability of the metal market and its audience that makes his event an ongoing winner. “Classic rock bands with all their hits is what people want to hear. It does not matter if those bands make new records with new songs ... it is the old songs that people want to hear.” This year’s festival in June will be headlined by Kiss, Rush and Europe. “We are about the only festival in Sweden that presents classic metal bands mixed with some of the new up coming ones,” says Persson. “The main attraction is the metal bands, and we sell out every year.” Elsewhere, Finland’s Jouni Markkanen sees festivals hitting the same problems as tours – there are just too many. “There will be two festivals on the same weekend [28-30 June] in Helsinki, less than five kilometers apart. We’ve been running our Tuska Festival [14,000] for 16 years. After we

The key to success is to get to a point where fans make the festival their own Ben Barbaud 40,000-capacity, one-day events in Madrid and Barcelona, Spain, and at Italy’s Fiera Milano Live Rho (capacity not available at press time), with a 30,000-capacity, two-day event in Amnéville/Metz, France, All festivals are in May-June. Galbraith has indicated that Sonisphere will return to the UK in 2014. The Sweden Rock Festival, held in Norje, near Solvesborg, is in its 22nd Paulo Baron year and still going strong. It was founded by former record store owner Ingolf Persson who has overseen its growth into a four-day event, with over 120 acts and an average attendance of 30,000-35,000.

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audience • Issue 159 • April 2013

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Next editioN oN juNe 21-22-23 with KiSS, deF LePPARd, ZZ toP, VoLBeAt & mANy moRe.


special feature

Bloodstock

Global views Pierre Sabbag, Rocknrock, Spain “Unfortunately there are very few fresh, new young metal bands and many of the smaller bands are touring too often. I understand they need to do it, because of low record sales, but that means less people every time. Most of them change agents and use different promoters, after almost every tour. “ German Andrade, Matrix Entertainment, Colombia “Too many bands are touring at the same time. As a result, too many people – rookies, established promoters and agents – are pushing for the same bands. This has created a fee battle which ends up reflected in ticket prices. There’s no sponsors for metal shows, so promoters have to take all the risk themselves.”

announced this year’s, headlined by Nightwish and King Diamond, all of a sudden, Live Nation announced a new festival, Rock On The Beach, with major acts including Green Day and Rammstein. “I’m glad to say that Tuska tickets are selling pretty well, all things considered. In fact, we’re ahead of last year’s sales at the same time,” Markkanen reports. In Italy, Pieroni at Live Nation has an even more serious problem. “Italian audiences don’t like festivals. Only Maiden or Metallica can headline a festival and sell a considerable amount of tickets. Any other potential headliner would sell less tickets for a festival than they would for a stand-alone show.” Ben Barbaud, whose eight-year-old, three-day Hellfest (35,000) is held in the medieval town of Clisson, France, in June, sums up the overall state of metal festivals when he says, “I think the market is stable and should stay so, because events like Download, Graspop, Wacken, Sweden Rock and others have really worked on creating unique brands for their festivals, which has created a large and loyal fan base. “The key to success is to get to a point where fans make the festival their own, and this requires back-and-forth communication with them. That takes time and patience, but is absolutely essential.”

Heavy metal keeps its fans for life Rod MacSween

Fawaz Kanaan, M Premiere, United Arab Emirates “Dubai is the centre of rock and metal music in the Middle East, but there have been no proper rock Fawaz Kanaan or metal shows here since 2009. However, our Dubai Desert Rock Fest returns on 6 July, with Yngwie Malmstein and Epica, and we are planning another event in November with a major act, but I cannot yet reveal the headliner.” Ben Barbaud, Hellfest, France “The future lies in events made by the fans for the fans, rather than in massive events that have ‘produced by’ stamped all over them. And this is a good thing to work for, in my opinion.”

Expanding markets

Over the past couple of decades, new touring markets have opened in formerly impenetrable parts of the globe, including Russia, South America, India and even China. In the past five years, the flow of HM traffic along these routes has increased dramatically. “Overall, the market is getting bigger,” reckons Miracle’s Nick Peel. “There are now opportunities for bands in territories like China, Thailand and even more so in India. Major bands like Maiden and Leppard have played those markets for years, but now if you’ve got even a small-tomedium-sized band going to Japan or Australia, you can jump into Bangkok along the way.” Memo Parra of Mexico-based promoter OCESA sees, “A new generation of fans embracing classic acts. Those that sold 10,000 tickets 10 years ago now sell 50,000.” He points out, though, that this is only the case with established acts. “Mexican metal audiences are really into classic. It’s hard to sell more than 5,000 tickets with newbies.” Parra cites Metallica’s recent visit as typical,

We have promoted in Latin America:

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DISTURBED, SLASH, MOTÖRHEAD, SAXON, BLIND GUARDIAN, ANTHRAX, TESTAMENT, AND MANY MORE www.ckconcerts.com

audience • Issue 159 • April 2013

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with eight shows in Mexico City shifting 160,000 tickets, and he keenly anticipates the arrival this summer of Iron Maiden with Slayer, followed by Black Sabbath with Megadeth. Further south, Paulo Baron, president of Brazil’s Top Link Music, recently mounted his Live N Louder festival in Sao Paulo, headlined by Twisted Sister and Molly Hatchet. However, he says, “The financial situation in Latin America is not good. A lot of bands come here, but they charge more, as they don’t sell so many CDs. We, as promoters, are forced to raise the ticket price, but this can reduce the audience.” Yet, even in South America’s straightened circumstances, Christian Kramer of CK Concerts is pleased to be able to report that, “We recently had the second edition of The Metal Fest Chile, the biggest metal-only festival on the continent, and achieved pretty much the same attendance as last year, with almost 10,000 people.”

Fans for life

It’s often argued that the HM live market is propped up by classic bands and Memo Parra’s observations about Mexico are echoed by Andrea Pieroni, whose homeland of Italy one of Europe’s hardest-hit recession economies. “People will give up going to a show because, if they have a little

Nick Peel

Iron Maiden

money, they use it for primary needs,” he says. In times like these, he feels people have turned to ‘lighter musics including hip-hop, electro and indie’, so HM is slightly contracting. Even so, the old reliables can still pull big numbers. “Our Iron Maiden / Sonisphere festival is selling very well. It will probably be Maiden’s largest audience ever in Italy, around 30,000 people. Also Rammstein are selling extremely well. We expect to do around 40,000 tickets over their three shows.” “There is an element of people being only interested in classic long-lived acts,” concedes Copping, “but they are turned on by new acts when they see them at festivals and as support acts to established bands.

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“There are many new acts, Bullet For My Valentine, Bring Me The Horizon and Asking Alexandria for example, coming through on the international market,” reports Copping. It’s hard to deny that certain sectors and geographical regions are facing trying times but metal never really goes away. “Heavy metal keeps its fans for life,” reckons ITB’s Rod MacSween. “Look at Black Sabbath, whose recent shows attracted fans aged from 16 to 60. Their demographic has actually got younger, because classic music holds its appeal.” It’s a sentiment that could be accused of being idealistic and nostalgia-driven, but then so is the music. “Metal is not a fashion thing, it is always there,” concludes Nick Peel. “The careers of individual bands wax and wane, but the genre carries on.”

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audience • Issue 159 • April 2013


events Dates

Country, City

The details shown below have been compiled from information provided to Audience and whilst we make every reasonable effort to ensure accuracy, we cannot be held responsible if data is incorrect

Event

Information

Dates

Country, City

Event

Information

May 4-7 Italy, 134 AES Tel: +1 212 661 8528 Rome Convention www.aes.org/events/134 Claimed to be the largest gathering of audio professionals and enthusiasts on the planet, attracting delegates from over 100 countries.

Sep 26-28 Germany, Reeperbahn Tel: +49 40 431 79 59 0 Hamburg Festival www.reeperbahnfestival.com 300+ new artists and 1,000+ represented companies from 35+ countries at 3 days in 70+ venues, 400+ events.

May 5-8

Oct 15-19 USA, CMJ Music Marathon Tel: +1 917 606 1908 New York Conference www.cmj.com/marathon College Music Journal’s influential conference and showcase event, with keynote speakers, debating sessions, exhibition area and live performances.

th

USA, Musexpo California

Tel: +1 323 782 0770 www.musexpo.net

The 9th annual must-attend, independently organised, global music industry event MUSEXPO 2013, which is held in the No.1 most influential music market in the world - Los Angeles - has confirmed additional participants to its stellar lineup for this year’s edition. May 16-18 UK, The Great Escape Tel: +44 20 7688 9000 Brighton www.escapegreat.com Conference and festival with panels, parties and new music showcases across more than 20 venues.

Oct 16-20 Netherlands, Amsterdam www.amsterdam-dance-event.nl/ Amsterdam Dance information@amsterdam-dance-event.nl Event Conference and music festival taking place across more than 75 venues throughout the city. Oct 16-17 UK, LIVE UK Tel: +44 20 7724 2442 London Summit www.liveuksummit.com LIVE UK magazine’s annual conference with keynote speakers, conference panels, forums, Q&As and networking.

Jun 7-10 China, Palm Expo Tel: +65 6411 7777 Beijing Fax: +65 6411 7778 Oct 17 UK, Live Music Business Tel: +44 20 7724 2442 http://palmexpo.net London Awards www.livemusicawards.co.uk palmexpo@informa.com nd Recognising the best characteristics and talent amongst promoters, venue 22 International Exhibition of Pro Audio, Light, Music and Technology held at operators, festival organisers and agents, among others. China’s International Exhibition Centre in Beijing. Jul 9-13 USA, New York Latin Alternative Tel: +1 818 763-1397 City Music Conference Fax: +1 818 763 1398 www.latinalternative.com The 14th annual event includes industry panels, discussions, showcases and free concerts. Jun 18 -20 Germany, Showtech Tel: +49 211 90 191 240 Berlin www.showtech-messe.com Three day trade professional sound, lighting, stage and studio technology trade fair and conference.

events

Jul 17-19 USA, Ticket Summit Tel: +1 860 416 5767 Las Vegas www.ticketsummit.org This signature event brings together hundreds of industry leaders and experts from the ticketing and live entertainment communities for a unique networking opportunity. Jul 23-25 Australia, Entech 2013 Tel: + 61 2 9556 7988 Sydney http://www.entechshow.com.au/ Once every two years at the Sydney Convention and Exhibition Centre, ENTECH and SMPTE co-locate their major trade shows to bring together the very best in Pro-Audio, A/V, Integration, Lighting & Staging services and technologies.

Oct 17-20 Russia, Music Moscow Tel: +7 495 300 0519 Moscow www.musicmoscow.ru The largest in Russia and CIS and the fourth on size in the world among exhibitions on which musical instruments, professional sound, light, radio-and the film-equipment, studio and scenic technologies are presented. Oct 19-22 USA, IEBA Conference Tel: + 1 615 679 9601 Nashville www.ieba.org info@ieba.org 43rd annual Five-day event for entertainment buyers, sellers, promoters, agents, managers and related professionals world. Featuring keynote speakers, panels, awards banquets and artiste showcase. Oct 23-27 UK, WOMEX Tel: +49 30 318 614 30 Cardiff www.womex.com WOMEX is the biggest conference, trade fair and showcase festival exclusively dedicated to world, roots, folk, ethnic, traditional, local and diaspora music of all kinds. Nov 22-24 USA, LDI Conference Tel: +1 215 489 9556 Las Vegas www.ieba.org Fax: +1 913 514 6420 www.ldishow.com North America’s largest trade show for entertainment design and technology. The interrelated events of The Entertainment Technology Week attract the top professionals and vendors of lighting, video-display/projection, pro-audio, staging, rigging, special effects and much more.

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Coming soon … The World’s Best Arenas For Live Music is published annually in August and is free to Audience subscribers worldwide, including the operators of more than 200 venues in the sector. As well as reviewing the latest developments in the various regions and interviewing the leading players, The World’s Best Arenas looks at content supply, ticketing pricing and practices, naming rights deals and the impact of digital and social media marketing. This is an essential publication for anyone involved with the ever-expanding global network of arenas.

The

World’s BEST Arenas for live music 2013

Sectors will include: ✓ ✓ ✓ ✓ ✓ ✓ ✓

Europe Asia/Pacific Middle East North America South America South Africa Related Organisations

AN

REPORT

Advertising is limited to arena operators and sector organisations FOR FURTHER INFORMATION CONTACT the sales team: +44 (0)20 7486 7007 Gareth Ospina: gareth@audience.uk.com Martyn Passey: martyn@audience.uk.com Jonny Love: jonny@audience.uk.com

www.audience.uk.com


Malmö Arena welcomes Europe to the

Eurovision Song Contest 2013

– www.malmoarena.com –


city focus

Milan, Italy

Audience takes a look at the world’s major cities and venues most used by international artistes Teatro della Luna

Mediolanum Forum

A: Via Giuseppe Di Vittorio, 6 – 20090 Assago T: +39 02 48857 215 E: mediolanumforum@forumnet.it W: www.mediolanumforum.it Principle contact person: Gabriella Raddato Policy: Hire only Capacity: 11,200 In-house Concert Sound System: No In-house Concert Stage Lighting: No Past/forthcoming shows: George Michael, Paul McCartney, Red Hot Chili Peppers, Rihanna, Lady Gaga, Laura Pausini, Eros Ramazzotti, Mark Knopfler, Kiss, Peter Gabriel.

Live Forum

Factory

A: Via Corelli 36/7 E: info@factorymilano.com W: www.factorymilano.com Principle contact person: Bartolo Quattrocchi Policy: Hire and self promote Capacity: Three rooms –1,20, 250, 500. Last two can be one at 750. In-house Concert Sound System: Yes In-house Concert Stage Lighting: Yes Past/forthcoming shows: Living Colour, Sick Of It All, Imagine Dragons, Danko Jones, Billy Talent, Afterhours, All Time Low, Dj Jamie Jones, Dj Nina Kravitz, Dj Raresh.

Magazzini Generali

A: Via Pietrasanta, 16 T: +39 02 53939 48 E: info@magazzinigenerali.it W: www.magazzinigenerali.it Principle contact person: Erica Verardo Policy: Hire Capacity: 1,056 In-house Concert Sound System: Yes In-house Concert Stage Lighting: Yes Past/forthcoming shows: James Morrison, Pendulum, Fear Factory, The Mars Volta, Asking Alexandria, Bring Me The Horizon, Gaslight Anthem, MIllencolin.

Alcatraz

A: Via Valtellina n°25 T: +39 02 690 163 52 E: bookingconcerti@alcatrazmilano.com W: www.alcatrazmilano.com Principle contact person: Cinzia Vendramin Policy: Hire and self promote Capacity: Two rooms - 2,700 and 1,300 (Stage B) In-house Concert Sound System: Only Stage B In-house Concert Stage Lighting: Yes Past/forthcoming shows: Korn, The Offspring, The Hives, Mr. Big, Staind, In Flames, Bullet For My Valentine, Portishead, Gogol Bordello, A Day To Remember, Gaslight Anthem.

Blue Note

A: Via Pietro Borsieri 37 T: +39 02 69016 888 E: info@bluenotemilano.com W: www.bluenotemilano.com Principle contact person: Alessandro Cavalla Policy: Hire and self promote Capacity: 350 In-house Concert Sound System: Yes In-house Concert Stage Lighting: Yes Past/forthcoming shows: The Yellowjackets, Kurt Elling, Sarah Jane Morris, The Blackbyrds, The Duke Ellington Orchestra, James Taylor Quartet, Fred Wesley & The New JBs.

city focus

A: Via Giuseppe Di Vittorio, 6 – 20090 Assago T: +39 02 48857 215 E: liveforum@forumnet.it W: www.liveforum.it Principle contact person: For hire Gabriella Raddato For self-promote Paolo Marrone Policy: Hire and self-promote Capacity: 420 In-house Concert Sound System: Yes In-house Concert Stage Lighting: Yes Past/forthcoming shows: The Mosh Live Fest 2013 featuring Emmure, Chelsea Grin, Obey The Brave, Attila and Buried In Verona; The Flatliners, George Watsky, Gallows.

A: Via Giuseppe Di Vittorio, 6 – 20090 Assago T: +39 02 48857 215 E: teatrodellaluna@forumnet.it W: www.teatrodellaluna.com Principle contact person: Gabriella Raddato Policy: Hire and self-promote Capacity: 1,728 In-house Concert Sound System: No In-house Concert Stage Lighting: No Past/forthcoming shows: Tarja, Buena Vista Social Club, Steven Wilson, Steve Hackett, X Factor.

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audience • Issue 159 • April 2013


Production news SSE-Wigwam deal will counter Clair in Europe UNITED KINGDOM Audio company Wigwam, known for its touring work with artistes such as Coldplay, George Michael and One Direction, has been acquired by SSE, creating what the new owner describes as the largest audio hire, sales and installation group in the country. Former owners of Wigwam Mick Spratt and Chris Hill have sold the company for an undisclosed cash sum, plus a joint 10 per cent stake in SSE. “This move positions the company at the forefront of the UK audio market, not just in hire, but also in sales,” SSE MD John Penn tells Audience. “Consolidation is the way forward. Too many players have spent too much time competing aggressively

and the fragmentation has meant that [rival US audio company] Clair has dominated in Europe.” Penn says the companies will merge in the same way SSE did with Canegreen, which it acquired in

John Penn with wife and SSE financial director Heather Penn

2008 and which still retains its brand identity. “Wigwam had grown massively but they didn’t have a strong middle management, so Mick and Chris had too much on. They engaged Andrew Leigh as business manager and he will continue to develop that side of the business. We will consolidate administration systems, including stock management and human resources,” explains Penn. As well as competing in the concert touring market, SSE provides audio for festivals including Reading (cap. 80,000), Leeds (75,000), the twin V festivals (87,500 and 85,000), T in the Park (83,000) and Download (105,000).

production news

Harman’s buyout of Martin Kalkbrenner says Guten Tag with MLA Professional is complete EUROPE Berlin-based Complete Audio is supplying an MLA sound system by Martin Audio for the sevenmonth Guten Tag tour by German electronic artiste Paul Kalkbrenner, which takes in venues including the Zenith (cap. 6,300) in Paris, Munich’s Olympiahalle (14,000) and Luxembourg’s Rockhal (6,500). The company has opted for a 26 enclosure system with a main hang comprising between nine and 13 MLAs, and near-fills and in-fills added depending on venue size. Among the tour’s challenges, according to Complete MD André Rauhut, is the

positioning of the bass units, the MLX subs. “We tried them with and without a cardioid [heartshaped] layout,” says Rauhut. “But after a couple of shows, we found the best set-up to be three MLX stacked on top of each other, outside on each flank, with the other MLX’s arranged in stacks of two facing forward alongside the stage. This provides both an even coverage and some real punch. “MLA is the only system I know that can cover a large arena with almost no difference in sound or level throughout the entire venue,” he says.

WORLD American entertainment products are used internationally on productions with The Killers, Lady Gaga, technology giant Harman has completed Barry Manilow and Paul Simon, will be an its purchase of Danish lighting “excellent complement” to Harman’s pro manufacturer Martin Professional, audio business, according to following the announcement Harman CEO Dinesh C Paliwal. of the €110m ($144m) deal at “With the acquisition of the end of last year. Martin Professional, we will be As part of the acquisition, able to offer a full audio and Martin Professional’s former lighting electronics solution CFO Lars Dige Knudsen for events and the live stage, as becomes vice-president and well as permanent avenues and general manager of Harman installations,” he says. Professional’s Lighting Strategic Lars Dige Knudsen Harman Professional Division president Business Unit (LSBU), taking over from Blake Augsburger adds, “As we institute Martin’s former CEO Christian Engsted. Martin Professional as a business unit within Meanwhile, Martin’s head of Europe, Harman Professional, our customers from Middle East and Asia sales Villads both the lighting and AV disciplines will Thomsen is promoted to vice-president be able to capitalise on joint innovations global sales LSBU. and efficiencies.” Martin, whose Mac range and other

united Kingdom +44 (1708) 687 440 info.uk@mojobarriers.com

32

international +31 (30) 242 82 00 info.int@mojobarriers.com

check our website for rental distributors netherlands united states Australia +31 (30) 242 82 00 +1 (717) 664 0158 +61 (0) 2 9648 2097 info.nl@mojobarriers.com info.us@mojobarriers.com info.aus@mojobarriers.com

BT Live, Hyde Park, London

worLdwide crowd conTroL soLuTions

audience • Issue 159 • April 2013

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Newsbites

It requires balls from SGM for Petra to fly SWEDEN More than 3,000 LED balls by manufacturer SGM formed an interactive canopy, conceived by lighting designer Henrik Lundin, for singer-songwriter Petra Marklund’s tour. The hammock-like structure, which hung above the stage for shows at venues such as Stockholm’s Cirkus (cap. 1,650) and Kulturens Hus (1,000) in Lulea, was originally designed as a video light curtain, while the white, semi-transparent LED balls (LB-100’s) each contains two RGB LEDs to create a 3D effect. “Petra wanted to create a warmer environment within the large concert halls, to give her more intimate engagement with her audience,” says Lundin. “She recalled seeing a more basic concept, with conventional lightbulbs, and I knew I had found the artiste to debut the LB-100’s in Sweden.” The canopy consisted of a matrix of 60 x 56 of the balls covering around 6m x 6.5m of a fixed 8m x 8m stage, with six metres clearance overhead to the power distribution units (PDU’s). Lundin pixel-mapped the array using a Hippotizer media server, running the show from a grand MA2 console running

Petra Marklund

MaNet software run over a Luminex network. “In this way I created two separate worlds, using specially made content from Hippotozer or using the balls as conventional RGB fixtures. When Petra performed her Hands To Heaven single, it’s as if she is flying through clouds,” he says. “With 15,000 different lighting parameters on this tour, there was a lot that could go wrong, but the LED balls behaved perfectly.”

House lights join the show at Ziggo Dome NETHERLANDS Amsterdam’s new 17,000-seat arena, the Ziggo Dome has been fitted with over 400 Selador LED fixtures by ETC, in what the manufacturer says is one of the greenest house lighting systems in the world. The arena, which has hosted shows by Mumford & Sons

and Marco Borsato, has concerts with P!nk and Beyoncé in April. According to the venue’s facilities manager Ruud Bongers, the new lighting is a departure from the traditional harsh sodium or fluorescent fixtures used by older venues, and can be incorporated by designers into stage shows. “We were keen to include a lighting scheme which extended to the whole arena, making the house lights part of the show lights,” he says. “At the touch of a button, we can make the house lighting change colour, brighten or dim from one of nine touch panels located around the building.” The installation includes 80 ETC Selador Desire Lustr+ LED fixtures above the main arena, and 370 ETC Selador Classic Vivid-R LED fixtures in the surrounding corridors and foyer areas, while ETC says its x7 Color System ensures the lighting is suitable for broadcast productions, reproducing accurate skin tone.

WORLD Lighting rental company Neg Earth has invested in five Kinesys Digihoist controllers for Muse’s The 2nd Law tour, which plays venues such as Canada’s Bell Centre (cap. 21,250) in Montreal, Spain’s Estadi Olimpic (55,900) in Barcelona and the Netherlands’ Amsterdam Arena (52,350), before it ends in September. Kinesys was specified by the band’s stage designer Oli Metcalfe and automation specialist Gareth Williams, who say the system helps them with the accuracy of complex automation cues.

USA Bruce Judd and Earl McCoy, audio engineers with the Allman Brothers Band’s shows at the 2,900-capacity Beacon Theatre in New York, chose a Studer Vista 5 SR digital console for the first time at this annual residency. The band is known for their level of improvisation, according to Judd, so versatility and ease of use were significant considerations when specifying the desk. “The Vista 5 SR is the best sounding digital console out there,” he reckons.

production news

Ziggo Dome

JAPAN Lighting manufacturer High End Systems has sold its new flagship console, Hog 4, to its first Japanese buyer – production company Lighting Big1. The company’s Makoto Shimizu used the console on a tour by ‘80s pop band Kome Kome Club on shows at Nippon Budo-kan (cap. 8,000), Yokohama Arena (17,000) and Marine Messe Fukuoka (13,000). “The Hog 4’s quick response time takes the stress out of programming,” he says. “You never have to press a button and then wait.”

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tour plans a guide to artistes, tours & agents Artistes

tour plans

Alec Empire Allan Holdsworth Band Anna Coogan (duo) Anne Clark Atari Teenage Riot Belinda Carlisle BLACK aka Colin Vearncombe Blaenavon Boomtown Rats with Bob Geldof Brinsley Forde Canned Heat

Period Territory Contact Details Jul-Sep Worldwide Jeff Aug T +49 8324 933 851 MAXIMUM Booking info@MAXIMUMBooking.com Oct-Nov Worldwide Jeff Aug T +49 8324 933 851 MAXIMUM Booking info@MAXIMUMBooking.com July USA Bob Paterson T +44 1359 230357 BPA Live bp@bpa-live.com Jul-Sep Worldwide Jeff Aug T +49 8324 933 851 MAXIMUM Booking info@MAXIMUMBooking.com Jul-Sep Worldwide Jeff Aug T +49 8324 933 851 MAXIMUM Booking info@MAXIMUMBooking.com Jul-Aug Europe Tony Denton T +44 20 8447 9411 Tony Denton Promotions tony@tdpromo.com Jun-Oct Europe, UK Henry McGroggan T +48 22 894 60 35 Central European henry@centraleuro.org Organisation Jul-Oct UK Josh Adley T +44 2075807773 ATC Live josh@atc-live.com Jun-Sep Worldwide Alan Cottam T +44 125 466 8471 Alan Cottam Agency alan@alancottamagency.co.uk Jun-Aug UK Paddy Haveron T +44 1483 419 090 Create Artists Patrick@createartists.com Nov Europe Sabine Trunzer T +49 6861 9399827 Kultopolis Gmbh agentin@kultopolis.com

UFO

Johnny Cash Roadshow Artistes Chains of Love

Period Territory Contact Details Jun Europe

Serena Parsons Primary Talent

T +44 20 7400 4500 serena@primarytalent.com

Chrysta Bell Jun-Jul Europe Paul McGivern T +34 9 3424 9332 Get Your Acts paul@getyouractstogether.net Together David Lindley Jul Europe, UK Tom Gold T +1 415 386 3456 The Rosebud Agency tomg@rosebudus.com Dennis Ellsworth Jun-Jul Canada Bob Paterson T +44 1359 230357 BPA Live bp@bpa-live.com DeWolff Nov Germany, Sabine Trunzer T +49 6861 9399827 Switzerland, Kultopolis Gmbh agentin@kultopolis.com Austria, Poland Emeli Sandé Jul-Aug Asia, Europe, Nick Matthews T +44 20 7456 8888 South America Coda Music Agency nick@codaagency.com Ethan Johns Jun Europe, UK Alex Bruford T +44 20 7580 7773 onwards ATC Live alex@atc-live.com Epica Jun Europe Nick Peel T +44 20 7935 9222 Miracle Artists nick@miracle-artists.com fDeluxe Jul, Aug, Europe Quentin Geerinckx T +32 475 73 50 49 (prev. The Family) Oct QG Enterprise quentin@qgenterprise.com Fiction

Jun-Oct Europe

Alex Bruford ATC Live

T +44 20 7580 7773 alex@atc-live.com

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Artistes

Period Territory Contact Details

Gary U.S. Bonds Sep-Oct Europe

Alan Cottam T +44 125 466 8471 Alan Cottam Agency alan@alancottamagency.co.uk

Gene Loves Jun-Sep Europe Carlos Pinto T +351 21 274 5759 Jezebel Inter-Music International inter-music@ip.pt Grace Jones Jul-Sep Europe Georg Leitner T +431 914 86 15 Georg Leitner Productions gleitner@glp.at Heather Small Jun-Aug Europe Sarah Casey T +44 20 8741 4453 Leighton-Pope Organisation sarah@l-po.com Jessie Evans Jun-Aug UK/Europe Ania Marzec T +48 22 894 60 35 Central European ania@centraleuro.org Organisation Jet Flower Sep-Oct Europe Carsten Hilding Larsen T +45 40717722 SSM Music chl@ssmmusic.com Joe Cang Jun-Oct Europe Ania Marzec T +48 22 894 60 35 Central European ania@centraleuro.org Organisation Jun-Aug Europe Mark Lundquist T +44 1483 224118 Concert Promotions mark@marklundquist.com Jun-Aug UK/Europe Nick Peel T +44 20 7935 9222 Miracle Artists nick@miracle-artists.com Jul-Aug Europe Rob Challice T +44 20 7017 2500 Coda Music Agency rob@codaagency.com Jun-Jul Europe Jezz Haigh T +44 1225 428 284 ACA Music j.haigh@acamusic.co.uk Management Jun Worldwide Tim Jennings T +44 121 454 7020 onwards Big Bear Music admin@bigbearmusic.com

Kyla La Grange

Jun Europe Alex Bruford onwards ATC Live

T +44 20 7580 7773 alex@atc-live.com

La Frontera

Jun-Sept Europe Carlos Pinto Inter-Music

T +351 21 274 5759 Inter-music@ip.pt

Larry Graham & Graham Central Station Maggie Reilly

Jul, Nov Europe Quentin Geerinckx T +32 475 73 50 49 QG Enterprise quentin@qgenterprise.com Jun-Nov Europe Debra Downes T +44 20 7733 0508 Dawson Breed debra@dawsonbreedmusic.com Music

Maroon 5

Jun UK, Ireland

Rod MacSween ITB

T +44 20 7637 6979 rod@itb.co.uk

Artistes Matt Andersen

Period Territory Contact Details Jun Canada Bob Paterson BPA Live

T +44 1359 230357 bp@bpa-live.com

Matt Schofield Jun-Oct UK, US, Wayne Forte T +1 212 633 2600 Canada, Entourage Talent wayne@entouragetalent.com Asia Associates Ltd Miles Electric Oct-Nov Europe Jeff Aug T +49 8324 933 851 Band MAXIMUM Booking info@MAXIMUMBooking.com Misia Missy Elliott Moe Morbid Angel Mud Morganfield Band Nile Oli Brown

Jun-Oct Europe, Henry McGroggan T +48 22 894 60 35 UK Central European henry@centraleuro.org Organisation Jul-Sep Europe, Georg Leitner T +43 1914 8615 Africa Georg Leitner gleitner@glp.at Productions Jul Europe Jeff Aug T +49 8324 933 851 MAXIMUM Booking info@MAXIMUMBooking.com Jun-Jul Europe Nick Peel T +44 20 7935 9222 Miracle Artists nick@miracle-artists.com Jun-Jul UK/Europe Mike Hellier T +44 1209 860067 Nov Movinmusic mike@movinmusic.co.uk Jun-Jul Europe Nick Peel T +44 20 7935 9222 Miracle Artists nick@miracle-artists.com Jun-Aug Europe, Wayne Forte T +1 212 633 2600 US, Canada Entourage Talent wayne@entouragetalent.com Associates Ltd

tour plans

Johnny Cash Roadshow Jools Holland Kaizers Orchestra Katy Thorn King Pleasure & The Biscuit Boys

Mud Morganfield

35

Acer Glade, Black Tup Lane, Arnold, Hull HU11 5JA t: +44 (0) 1964 563464 f: +44 (0)1964 564312 e: mike@mmbandservices.co.uk w: www.mmbandservices.co.uk

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tour plans a guide to artistes, tours & agents

36

Period Territory Contact Details

Original Silent Disco Puggy Richard Walters Roger Eno SD-Jem

Jun-Aug Worldwide Dan Silver Value Added Talent Apr-Dec Worldwide Clotaire Buche Junzi Arts Nov UK, Europe Phil Simpson Regent Music Jun-Aug Europe, UK Henry McGroggan Central European Organisation

Schiller Sezen Aksu Schmidt Symphony X System 7 and ROVO Tangerine Dream Tasmin Trio

Sep Europe Netty Turner T +44 7733321647 BPA Live netty@bpa-live.com Oct-Dec Europe Riza Okcu T +902 1224 52424 StageArt Organisation rokcu@stageartorg.com Jul-Sep Worldwide Jeff Aug T +49 8324 933 851 Maximum Booking info@MAXIMUMBooking.com Jun Europe Nick Peel T +44 20 7935 9222 Miracle Artists nick@miracle-artists.com Sep-Dec Worldwide Dan Silver T +44 20 7704 9720 Value Added Talent dan@vathq.co.uk Jun-Jul Asia, Europe Georg Leitner T +431 914 86 15 Georg Leitner Productions gleitner@glp.at Oct-Dec Europe Riza Okcu T +902 1224 52424 StageArt Organisation rokcu@stageartorg.com

Jun-Jul Europe

T +44 20 7704 9720 dan@vathq.co.uk T 33 06 43 88 84 45 clotaire@junzi-arts.com T +44 1539 528808 ps@regentmusic.com T +48 22 894 60 35 henry@centraleuro.org

Harry Finegold T +44 1225 428 284 ACA Music h.finegold@acamusic.co.uk Management

The Coronas

TACTS,

N STRY CO U D N I C I US 10,000 M PHONE APP E ONE FRE pliers sup 00 event ues • Over 4,0 1,000 music ven n a rs e is n a • More th org l contacts 0 festival an festiva • Over 50 700 UK & Europe an ts • More th ss contac 00 busine • Over 1,5 1,300 studios an es • More th ing servic ies 00 record ,5 1 r compan rd • Ove o c re an 700 • More th . oon! ch more.. ckberry coming s u m d n A • la B d n a d iPa Android,

LiveUk_TradeAd.indd 1

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Schmidt Artistes

Period Territory Contact Details

10cc Oct-Nov Worldwide Steve Parker T +44 20 7935 9222 Miracle Artists steve@miracle-artists.com Ten Years After Sep-Oct Europe Sabine Trunzer T +49 6861 9399827 Kultopolis Gmbh agentin@kultopolis.com Terry Bozzio Oct-Nov Europe Jeff Aug T +49 8324 933 851 MAXIMUM Booking info@MAXIMUMBooking.com The Barr Brothers Sep Europe Stephanie Clive T +44 20 7017 2500 Coda Music Agency rob@codaagency.com The Blow Jul-Aug Europe Tony Denton T +44 20 8447 9411 Monkeys Tony Denton Promotions tony@tdpromo.com The Jun-Aug Europe Mark Lundquist T +44 1483 224118 Commitments Concert Promotions mark@marklundquist.com (Stars from) The Coronas Jul, Aug Europe Carsten Hilding Larsen T +45 40717722 SSM Music chl@ssmmusic.com The Eve Jun USA Bob Paterson T +44 1359 230357 Selis Band BPA Live bp@bpa-live.com

D OR OW SE NLO AR A CH D U FO SIN R“ GY SH O OW UR CA iPH SE ON ” IN E Q TH R R E A EA PP DE ST R OR E

tour plans

Artistes

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Artistes The Gathering The Gentlemen The Gypsy Queens The Hoosiers The Inspector Cluzo The Orchestra The Sadies The Selecter

Period Territory Contact Details Sep, Oct Europe Nick Peel T +44 20 7935 9222 Miracle Artists nick@miracle-artists.com Jun-Jul Europe Jezz Haigh T +44 1225 428 284 ACA Music Management j.haigh@acamusic.co.uk Jun-Aug Europe Sarah Casey T +44 20 8741 4453 Leighton-Pope Organisation sarah@l-po.com Jun-Jul Europe Mark Lundquist T + 44 1483 224118 Concert Promotions mark@marklundquist.com Jul-Sep Germany Jeff Aug T +49 8324 933 851 MAXIMUM Booking info@MAXIMUMBooking.com Jun-Aug Worldwide Alan Cottam T +44 125 466 8471 Alan Cottam Agency alan@alancottamagency.co.uk Nov UK & Europe Serena Parsons T +44 20 7400 4500 Primary Talent serena@primarytalent.com May-Dec Europe Bart Quintens T +32 16 77 76 70 Artist Agency bart@artistagency.be

Artistes

Period Territory Contact Details

The Sheepdogs Jun-Aug UK & Europe Alex Bruford T +44 20 7580 7773 ATC Live alex@atc-live.com The Young’uns Oct-Dec UK & Europe Phil Simpson +44 1539 528808 Regent Music ps@regentmusic.com Tia McGraff Jun-Aug UK, Ireland Nancy de Natris T +49 160 909 47 265 Surconvey nancy.de.natris@surconvey.com Tom Russell Jul USA Bob Paterson T +44 1359 230357 BPA Live bp@bpa-live.com Treetop Flyers Jun-Oct Europe Alex Bruford T +44 20 7580 7773 ATC Live alex@atc-live.com Trombone Shorty Jul, Europe/UK Tom Gold T +1 415 386 3456 & Orleans Avenue Sep-Oct The Rosebud Agency tomg@rosebudus.com Tuomari Jul-Sept Europe Kari Possi T +35 850564 1950 Nurmio Blue Buddha Agency possi@bbmgmt.com & Management Ltd. UFO Unleashed Vanessa-Mae

Jun Europe Nick Peel T +44 20 7935 9222 Miracle Artists nick@miracle-artists.com Jun-Aug Europe Nick Peel T +44 20 7935 9222 Miracle Artists nick@miracle-artists.com Jun-Jul Worldwide Corrado Canonici T +44 20 3086 9993 World Concert. corrado@worldconcertartists.org Artists Ltd

Wild Nothing Woodkid Wyclef Jean

Aug Europe Rob Challice T +44 20 7017 2500 Coda Music Agency rob@codaagency.com Apr-Dec Worldwide Clotaire Buche T 33 06 43 88 84 45 Junzi Arts clotaire@junzi-arts.com Jul Europe Walter Laurer T +431 914 86 15 Georg Leitner Productions wlaurer@glp.at

tour plans

Wyclef Jean

The Selecter

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festival news Sziget promises a ‘unique experience’ Caring for festival-

HUNGARY Organisers of Sziget Festival, held on an island in the Danube river near Budapest, are promising something a little different as a follow-up to last year’s landmark 20th event. The 70,000-capacity festival, held from 5-12 August, will feature artistes such as Blur, Biffy Clyro, Mika, Dizzee Rascal and Skunk Anansie. A five-day pass with camping costs 67,500 forints ($298). “We are setting up a new kind of approach at the festival, which consists of two main elements,” explains Kádár Tamás, CEO of Sziget Cultural Man-

agement. “One is of course the line-up of over 400 concerts we present to our visitors, and the other is the creation of a unique atmosphere which can’t be compared to any of the major festivals in Europe. “We are preparing special installations, a unique beach on the sandy shores of our island, color parties every day, a giant wheel, a ruin pub area, an end show featuring David Guetta, and a lot of other spectacular scenes and locations which are there to make the festival experience a unique one,” adds Tamás.

Sziget

festival news

Biffy Clyro become kings of the castle NORWAY Held in the grounds of a ruined medieval castle in the country’s oldest city, Tønsberg, the 10,500-capacity Slottsfjell festival is adapting to meet increased demand. Its main stage is nestled into the side of the castle hill, while the second stage, alongside the castle ruins, boasts panoramic views of the city. “Only day tickets remain available for the festival, which is especially great news, as we have significantly increased the number of festival passes available,” says booker P-C Rae. “We’ve moved our arena around slightly to accommodate the numbers, and will be building a second giant set of scaffolding steps up the hill.” Biffy Clyro, Kendrick Lamar and Alt-J are among headliners at the event, which has been running for 10 years and will take place from 18-20 July.

“In terms of acts, right now we’re busy booking our Kastellnatt (cap. 2,500) club stage, which sold out all three nights in advance for the first time last year,” adds Rae. Tickets cost 795 krone ($137).

audience • Issue 159 • April 2013

PORTUGAL Super Bock Super Rock (cap. 35,000) organisers are far from complacent despite securing The Killers, Arctic Monkeys and Queens of the Stone Age to headline the 18-20 July festival. Jwana Godinho Launched in 1994, the event is held in Meco, a coastal resort just outside Lisbon, with a three-day camping ticket costing €90 ($117). “We are incredibly pleased with the lineup, as we have a combination of acts that include highly-anticipated newcomers like Miguel, Azealia Banks or Toy, and some established acts that bring back some of the best memories of live performances at the festival, like The Killers and the Arctic Monkeys,” says Jwana Godinho, head of booking at promoter Musica No Coracao. “However, we are continuing to invest on the structures and the comfort of festivalgoers, with more grass on concert areas, while also respecting the wilderness of Meco. “We will be extending the number of free buses to the beach while also giving people the option to walk through a special trail we have constructed to go there from the festival site.”

Capacity boost for Nova Rock Slottsfjell

Tour Manager Terry Tucker’s Tribulations

38

goers still a priority

by Newman-Parker

AUSTRIA This year’s Nova Rock festival looks set to be the biggest yet after being handed a capacity boost. The event, from 14-16 June, will be headlined by Rammstein, Kiss and Kings of Leon. Other acts scheduled to appear include Thirty Seconds To Mars, Stereophonics, Biffy Clyro, Korn and Paramore. “The campsite and parking site have increased a little bit, and we have permission to extend the capacity from 50,000 to 60,000,” says promoter Ewald Tatar of Nova Music Entertainment. In 2011 the company signed a six-year contract to host the event at the Pannonia Fields site in Nickelsdorf. Since its inception in 2005 the festival has hosted artistes such as Metallica, Guns N’Roses, Pearl Jam, Rage Against The Machine, Iron Maiden, Linkin Park and Green Day. Tickets are priced at €139.90 ($183) for a threeday pass, including parking and camping.

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