Audience 187

For the International contemporary Live Music Industry issue 187 AUGUST 2015 UK £6.25 Europe €9.40 ROW $12.25

Blood on the road

Lianne La Havas takes new album on tour

Lieberberg leads Live Nation Germany SFX faces fraud claim as shares plunge The Agency Group sold to UTA

Not only do they have the ability to handle the big projects, but they have the balls to take them on DiGiCo’s James Gordon describing sound company Britannia Row

THE WIRELESS

MASTERPIECE.

Congratulations to Britannia Row on 40 years of making challenging gigs seem easy

DIGITAL 9000 Britannia Row is superb at handling challenging RF environments on shows such as the annual BRIT Awards. This year, Sennheiser’s Digital 9000 Series microphones helped them address the RF challenges with its steep filters allowing an extremely narrow set-up of radio frequencies within the available range DIGITAL 9000 – The Wireless Masterpiece. www.sennheiser.com

Perspective Late summer in the northern hemisphere is often when major business deals go down, possibly because it’s fairly quiet and to have things in shape for the busy autumn.

14 Contents

Live Nation has made one big move, partnered for another and is threatening a third, UTA has bought mighty booking operation The Agency Group, Paradigm has taken a stake in Windish and DEAG has secured major backing for MyTicket.

4-12 World News Industry news from around the globe

14-18 Market Focus: Brazil Monthly insight into an international tour market

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21 Events 24-29 Feature: Britannia Rules The Soundwaves A review of legendary sounds company Britannia Row as it marks its 40th year

Essential reading for industry professionals in more than 80 countries

30 City Focus: Prague, Czech Republic

Featuring the main venues for international artistes

32-35 Production News Developments in equipment and show production

36-41 Tour Plans Artistes, tour periods, agents

42 Festival News

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42 Lofty Ambitions Brought Down To Earth The trials and tribulations of tour manager Terry Tucker and his crew

News Editor: James Cox Editorial Contributors Europe: Mike Gartside, John Pagni USA/Canada: Jane Cohen, Bob Grossweiner Sales Director: Gareth Ospina

Sales Executive: Craig Swan

Subscriptions Manager: Ramz Shaft

Circulation Manager: Jack Dodd

Office Manager: Libby Culbert

Picture Manager: Alyse Kimsey

Credit Control: Murali Sri Balaskanda Editorial: James Cox +44 (0)20 7486 7007 james@audience.uk.com

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EDM festivals giant SFX would normally be up there with them, but things have taken a serious turn for the worse, with a meltdown in share value an a lawsuit claiming fraud.

Back on the agency front, individual agents on both sides of the Atlantic have been on the move seeking greener pastures, and changing the balance of power at the affected companies in the time-honoured way.

While a lot of it seems to be about entities getting bigger or striving for greater influence, let us not forget that the success of artistes, concerts, tours, venues and festivals usually comes down to the creative skills and determination of individuals who are rarely motivated purely by money or power.

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ISSUE 187: August 2015 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 info@audience.uk.com 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 187 • August 2015

contents

International festival activity

Publisher & Managing Editor: Stephen Parker

But the size and quantity of announcements over these past few weeks have been remarkable by any standards.

In one deal, 95 agents and their staff woke up to find their company had changed name.

3

Second time lucky for Live Nation Germany as Lieberbergs head new promoting venture

But they leave veteran twin rock festivals behind

world news

GERMANY Live Nation Entertainment (LNE) has succeeded in its second attempt to enter the market, with the pending launch of Live Nation Concerts Germany.

The new company will be headed by Marek Lieberberg Konzertagentur (MLK) founder Marek Lieberberg and his son Andre.

The deal represents a blow to ticketing giant CTS Eventim, which currently owns 71 per cent of MLK via its Medusa live music subsidiary.

CTS is also set to lose revenue from what LNE claims will be two million former MLK ticket sales a year, which will move to LNEowned Ticketmaster (TM).

From 1 January, when it is understood MLK’s contract with CTS/ Medusa expires, LNE will acquire the Lieberbergs and their team, but not the company name or the Lieberberg-founded twin festivals Rock Im Park (cap. 70,000) and Rock Am Ring (80,000).

“Our festivals Rock Am Ring and Rock Im Park will of course take place [next year] and will be produced by Marek Lieberberg Konzertagentur, a [now] 100 per cent subsidiary of CTS Even-

4

Marek Lieberberg with his son and business partner Andre

tim, which has been producing those two festivals for decades and will continue to do so,” CTS head of legal and communications Rainer Appel tells Audience.

However, he declines to say who will take over running the substantial events. “[The company] Marek Lieberberg Konzertagentur continues to belong to Eventim, and its activities will be continued seamlessly within Medusa group.

“We do of course regret his [Marek’s] transfer to Live Nation, although we can understand his motivation.”

Back-office bust-up It is only two years since LNE won a costly battle with CTS over a ticketing deal struck in 2008 (see issue 96). Then just promoter Live Nation (LN), the company wanted to launch its own ticketing operation and CTS agreed to licence LN its ticketing platform for North America and provide back-office ticketing services in Europe.

But shortly after agreeing the deal, LN decided to merge with Ticketmaster (TM), rather than rival it, which left the CTS deal somewhat redundant.

CTS accused LN – which became LNE after the merger with TM – of a breach of contract and filed a case with the Arbitration Court of the International Chamber of Commerce (ICC) in Paris.

The company was expecting to win a settlement worth tens of millions of dollars, but in a ruling that surprised many observers of the protracted legal battle, LNE was cleared of any liability (see Issue 161).

The three-year dispute was reported to have cost each party around $40 million in legal costs.

audience • Issue 187 • August 2015

Dynasty switch

The creation of Live Nation Concerts Germany sees Marek appointed CEO and Andre as president, tasked with promoting events across Germany, Switzerland and Austria.

“I have worked with Marek and Andre for over 20 years, and they are clearly among the top promoters in the world,” says LNE president and CEO Michael Rapino, who also describes Marek as “the fifth largest promoter in the world”.

“Having them lead Live Nation’s concert business for Germany is an ideal fit.”

Marek Lieberberg has more than 45 years experience in concert promotion, working closely with LNE – which once owned 20 per cent of MLK – for many years and staging tours with artistes such as U2, Madonna and Bruce Springsteen.

Andre Lieberberg tells Audience, “We’re still at MLK until 1 January and there will be no further comment from our end on the [LNE] appointment until then.”

LNE’s previous attempt to establish an office in Germany began with the acquisition of Johannes Wessels’ Music Pool Europe (MPE) in 2010 (see issue 123), launching Live Nation Germany with Wessels at the helm. It meant LNE pulling away from long-time partner Lieberberg and selling its 20 per cent stake in MLK to CTS, which already owned 51 per cent via Medusa.

At the time, Lieberberg said he was disappointed that, despite his best efforts, a way of “continuing the relationship [with LNE] couldn’t be found”.

However the new venture fell apart just four months later, with Wessels leaving abruptly and returning to independence, after which the office closed.

On the launch of Live Nation Concerts Germany, prof. Jens Michow, president of promoters and agents association BDV, tells Audience, “I believe competition is really good for a market and now we will see more under the big players, not only for live concerts, but most probably also in the ticketing sector, with a strengthened Ticketmaster facing our market leader CTS Eventim.

“As long as Lieberberg is at the front of this new venture, it will be successful.”

CTS operates across 24 countries and is providing ticketing services for the Rio de Janeiro Summer Olympics in 2016. Its Medusa subsidiary also owns a majority stake in promoter Peter Rieger Konzertagentur and has a partnership with pan-Europe festival promoter FKP Scorpio, in which it previously owned 50 per cent.

First attempt abandoned

LNE predecessor Clear Channel Entertainment (CCE), which was spun off by its parent company Clear Channel Communications (CCC) as Live Nation in 2005, also failed in as attempt to set up a German office in 2001. A deal to acquire Hans Peter Riegel’s promotion, marketing and ticketing group epm, was abandoned shortly after being announced

by Riegel. CCC had acquired Robert FX Sillerman’s first SFX Entertainment for $4.4 billion in 2000, renaming it CCE.

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SFX fights fraud claims and share price plunge UNITED STATES EDM festivals giant SFX Entertainment’s problems have broadened considerably in the past few weeks.

Its share value has plunged a further 30 per cent, founder Robert FX Sillerman missed his 13 August deadline to show that he has the funds to take the company private, its Beatport subsidiary failed to pay royalties to record labels and a judge gave the go-ahead to a lawsuit against SFX, alleging fraud.

The stock slumped to $1.02 a share on 18 August, down from a high of $13 when SFX went public in September 2013 (see Audience issue 154).

In its second quarter (Q2) financial report, released on 10 August, SFX reported a net loss of $48 million, up from $35.3m in the same period last year, despite Q2 revenues having increased 48.3 per cent to $121.1m, up from $81.6m in Q2 2014.

Long-term debt was $295.2m at 30 June, while total liabilities were $505.3m.

Apart from an apparent lack of available funds, perhaps the most serious challenge is the fraud claim.

On 29 July, a District Court in Los Angeles

judge approved court action by plaintiffs Paolo Moreno of Disco Donnie Presents, artiste manager Lawrence Vavra of Deckstar Management and Gabriel Moreno, Paolo’s brother.

Their lawsuit’s 11 counts include constructive fraud, breach of contract, fraudulent inducement and breach of a joint venture/partnership agreement. The plaintiffs are seeking at least $100m in damages and costs.

The defendants are SFX, Sillerman and the company’s chairman of strategy and development Sheldon Finkel, with a trial date set for 6 October.

The Morenos and Vavra claim to have entered into a joint venture agreement with Sillerman and “identified and facilitated” the acquisitions of seven of the eight principal assets listed when SFX offered shares to the public. The three allege that the defendants reneged on an agreement to provide them with a stake in the new company.

The lawsuit includes evidence from numerous emails, including one where Sillerman said, “We have a deal,” where the plaintiff’s compensation and ownership interests were spelled out, namely a joint venture to “identify, acquire, consolidate, and operate assets in the [EDM]

industry,” with Sillerman financing it.

As for trouble at digital download platform Beatport, the subsidiary was unable to pay quarterly royalties to labels and artistes, apparently because funds were frozen by parent SFX while Sillerman tried to take the business private.

Beatport has since announced that “all payments will be able to be made … in the next few weeks”, with both Sillerman and Beatport expressing embarrassment. SFX paid more than $50m for Beatport in 2013.

Meanwhile, Sillerman is still hoping to be able to take the company private, perhaps with one or more new partners, and avoid the glare of public scrutiny. The latest plan, which includes the potential for a sell-off of assets, has a 2 October deadline to allow potential bidders and their financing sources to examine SFX’s accounts.

Perhaps the only good news is that a lawsuit against Sillerman and fellow directors claiming they significantly undervalued the stock in their first buy-back offer to shareholders (see issue 185), is somewhat undermined by the further plunge in share price.

UTA acquires The Agency Group

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A Celebration of Scottish Songwriting Friday 18 September, Paisley Town Hall, £22.50, Doors 7pm

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Youth Music Day Saturday 19 September, Paisley Arts Centre, FREE, 11am-4.30pm

www.bringitallhome.co.uk Box office:0300 300 1210

audience • Issue 187 • August 2015

world news

WORLD As Audience went to press, it was announced that America’s United Talent Agency (UTA) has acquired multinational booking operation The Agency Group (TAG).

TAG’s seven offices across North America, the UK and Sweden, along with its 95 agents and more than 2,000 artistes, were immediately rebranded United Talent Agency, with TAG founder Neil Warnock appointed UTA’s head of worldwide music.

The combined agency roster now includes Kanye West, Mariah Carey, Muse, David Gilmour, The Black Keys and Paramore.

“This is a major value-add for our clients, utilising their scale and complementary resources to bring new and exciting business opportunities for all of Neil Warnock our artistes,” says Warnock.

UTA’s interests also span film, television, digital, broadcast news, theatre, video games and books.

In April former UTA head of music Rob Prinz and agent Nikki Wheeler moved to ICM Partners (see Audience, issue 183), taking with them acts such as Celine Dion and Rick Springfield. A week earlier, 10 comedy agents and their acts moved to UTA from CAA. A month later, Joe Brauner joined TAG from William Morris Endeavor, while TAG’s Bruce Solar moved to Agency for the Performing Arts (APA), following in the paths of Steve Martin, Andy Somers, Van Wolfe and Seth Rappaport, who left TAG for APA in the previous 16 months (see issue 184).

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Live Nation-Gaiety announces successful MAMA take-over UNITED KINGDOM The joint venture between Live Nation Entertainment (LNE) and Irish live music entrepreneur Denis Desmond’s Gaiety Investments, LN-Gaiety, has confirmed its acquisition of MAMA & Company as exclusively predicted in Audience (issue 186).

It is the third major deal struck by Paul Latham the alliance

after its acquisition of the Mean Fiddler Music Group (MFMG) in 2005, which spawned Festival Republic – operator of the Reading (cap. 85,000), Leeds (80,000) and Latitude (35,000) festivals, and then venue chain Academy Music Group (AMG) in 2006.

The takeover of MAMA was confirmed on 4 August and is believed to have ousted, at the 11th hour, a deal AEG Live thought it had in place.

“MAMA has made great strides with its festivals and the creativity it has demonstrated will be com-

world news

Live Nation reports a Q2 profit

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UNITED STATES Live Nation Entertainment (LNE) beat financial analysts’ expectations for the second quarter (Q2), reporting revenue of $1.9 billion, up 12 per cent from the same period in 2014, and a Q2 profit of $15.1 million, down from last year’s $22.9m, The company says revenue growth was driven by a seven per cent increase in attendance at its events, at 15.5m people overall. It also cited increased North American arena and festival activity.

Concert revenue was up 14 per cent at $1.3bn compared to $1.2bn in Q2 2014. Festival attendance was up 77 per cent for the quarter to over 2m people, as the number

of LNE festivals in the quarter increased from 18 to 23.

Arena attendance was up 35 per cent to over 5m people attending 600 shows, up from 450 in Q2 last year. The quarter comprised approximately 6,130 events, with 4,322 in North America and 1,798 international.

Subsidiary Ticketmaster’s revenue rose two per cent to $378m, selling 36.6m tickets, while management division Artist Nation reported revenues of $89.3m, up 13 per cent from $79.2, during Q2 last year.

Long-term debt decreased to $1.973bn compared to $2.04bn a year ago. Short-term debt is $162.9m.

plimentary to LN-Gaiety’s existing portfolio,” says Paul Latham, LNE chief operating officer for UK and Ireland.

Among the nine venues its festivals include Lovebox (30,000) in London and multi-venue showcase event The Great Escape in Brighton.

However, Audience has learnt the deal may not include Wilderness (30,000), co-founded by MAMA and Secret Productions, which is believed to be subject to a breakaway clause should the ownership of MAMA change. A spokesman for Secret Productions declined

The Forum

to confirm this, but the event’s name has not featured in LNGaiety announcements.

Windish joins Paradigm UNITED STATES Paradigm Talent Agency has acquired a “major equity stake” in The Windish Agency, adding it to partner companies EDM agency AM Only and UKbased Coda Agency.

Finer details of the deal have not been revealed, although a Paradigm spokesman describes it is “a mutually beneficial arrangement”.

Paradigm announced a joint venture partnership with Brooklynbased AM Only and acquired a 50 per cent stake in Coda in January last year.

“It is both an equity and strategic partnership,” the company’s Brad Turell tells Audience. “Tom Windish is a visionary, and he now has

access to our resources and senior management team.”

Paradigm formerly a literary and talent agency, entered the music business with the acquisition of Monterey Peninsula Artists in 2004, acquiring Marty Diamond’s Little Big Man agency shortly after.

“We have an incredible team of agents representing hundreds of amazing artistes, and we do not anticipate any staff changes as a result of this partnership,” Windish Agency president Tom Windish tells Audience.

Paradigm has 130 agents across four US offices. With artistes such as Aerosmith, Coldplay and Black Eyed Peas.

Media backing for DEAG’s ticketing division Myticket germany Newspaper publisher BILD Group and live event management operator’s concert tickets through the platform.

DEAG CEO professor Peter Schwenkow says the investment will and promotion company Starwatch Entertainment have announced a help the ticket arm grow into a strong force in the marjoint media-for-equity investment in Myticket, the ticketing diket, currently dominated by CTS Eventim, with Live Nation vision of Deutsche Entertainment AG (DEAG).

Entertainment-owned Ticketmaster about to dramatically Both companies acquire a 20 per cent share of Myticket in expand (see news story on page 4). return for advertising on their relative platforms, to a value of “This investment by leading German media companies will €9 million ($9.9m) each. sustainably strengthen the prospects of Myticket,” he says.

Starwatch, owned by TV network ProSiebenSat1, will offer TV “We are planning rapid growth.” spots and BILD will provide newspaper and internet advertising.

DEAG also expanded its ticket platform into the “The deal affords us opportunities for growth in an exciting UK last month (see Audience 186) for events by DEAG market,” says BILD Group chairperson Donata Hopfen. majority-owned promoters Kilimanjaro Live and Raymond Myticket.de was launched last year and DEAG says that, in Gubbay Presents. its first quarter, it sold five per cent of the promoter and venue Peter Schwenkow

audience • Issue 187 • August 2015

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Havas steps up a gear

SMG Europe embezzlement probe

WORLD Lianne La Havas is back with a new album and her biggest world tour to date.

The London-born singer burst onto the scene in 2012 with Mercury Prize nominated debut album Is Your Love Big Enough?. But, it was her live performances that really won her accolades, including a BBC Sound of 2012 nomination.

She is now promoting new album Blood, and embarking on a 22-date North American tour in October, playing venues such as Washington DC’s 9:30 Club (cap. 1,200), New York’s Terminal 5 (3,000) and the Commodore Ballroom (995) in Vancouver.

Back in Europe, she will play 20 shows before finishing at London’s O2 Academy Brixton (4,921) on 14 December.

“I have seen her play everywhere from tiny solo club shows through to major festival stages and she invariably wins over the audience,” says her international agent Paul Wilson of CAAs UK office.

“With a new record out, key summer festival spots and her biggest headline tour to date, we expect to see her following continue to build.”

Her manager is Thomas Haimovici of UK-based Au COVER ARTISTE Contraire Management.

Leeds’ First Direct Arena

UNITED KINGDOM Multi-venue operator SMG Europe has discovered evidence of historical embezzlement by an employee and has called in the police Fraud Squad to investigate.

It relates to an alleged internal theft dating back several years, with complaints first filed in October last year.

The Manchester-based company operates venues such as Manchester Arena (cap. 21,000), Leeds’ First Direct Arena (13,500) and Newcastle’s Metro Radio Arena (11,250), “Internal controls at SMG picked up evidence of potential embezzlement, internally,” US-based SMG corporate council Bruce Hanson tells Audience. “We reported it to the police and are fully compliant with their ensuing investigation.”

Greater Manchester Police confirmed inquiries are ongoing and a list of suspects is being investigated.

Parent company US-based SMG operates 230 concert, conference and sports facilities around the world.

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audience • Issue 187 • August 2015

ETEP effect benefits 94 artistes eUROPE The European Talent Exchange Program (ETEP), organised

by Dutch industry body BUMA Cultur and the team behind the Eurosonic Noorderslag showcase festival and conference, has published its latest set of results.

The scheme helps emerging ar- Ruud Berents tistes perform at participating festivals across the continent, backed up by radio air-time and media support.

This year’s programme has resulted in 94 European artistes from 18 countries getting an overall 277 festival bookings, the results reveal.

The most successful ETEP acts were MØ from

Denmark with 13 festival bookings, the UK’s Kate Tempest and France’s Ibeyi, each with 12, along with Soak from Ireland and Aurora from Norway, each with 11 bookings.

Leading the way with the most acts are the UK and the Netherlands, both with 19, followed by Ireland and Iceland (both eight) and Belgium (seven).

“Eurosonic Noorderslag is very happy with the ETEP results,” Ruud Berends, head of international marketing and promotion, tells Audience. “Our main mission is to stimulate the circulation of European artistes and we are grateful it is working so well.”

Meanwhile, the Central European Talent Exchange Program (CEETEP) results confirm 19 shows by 14 artistes from 11 largely south-east and eastern European countries.

ETEP started in 2003 and has since facilitated 2,294 shows by 810 European artistes from 30 countries at the 90 ETEP-affliliated festivals.

The next edition of Eurosonic Noorderslag, where festival organisers select acts from showcase performances, takes place from 1316 January, with conference passes currently at €285 ($317).

world news

EDM event grows for 20th edition IFF announces

8

NETHERLANDS The Amsterdam Dance Event (ADE), which combines a business conference for electronic music and multi-venue EDM festival, has announced an extra 15 music venues for its 20th edition.

The five-day festival will feature 2,200 artistes playing in 100 venues across Amsterdam, featuring acts such as Carl Cox, David Guetta, Tiësto and Nicky Romero.

The event takes place on 14-18 October and runs alongside the ADE conference, a business networking forum focussing on music and technology, brands, sustainability and other issues in the EDM market.

ADE is organised by the Amsterdam Dance Event Foundation, an initiative of BUMA Cultuur, with Samsung a key sponsor.

“The music festival itself continues to grow, with the addition of 15 venues this time around,” says BUMA Cultuur’s Remko Gorter.

The conference will include exhibitions, in-store showcases, tech workshops, and film screenings across the city centre.

A five-day pass for conference Amsterdam Dance Event and festival costs €405 ($445).

Barclays Center raises roof with eco project UNITED STATES New York’s Barclays Center (cap. 19,000) is building a 135,000 sq ft green roof covered in plants and vegetation.

The venue is owned by Greenland Forest City Partners (GFCP), a joint venture between Greenland USA and Forest City Ratner Companies and operated by AEG Facilities.

Work to install the new roof covered in 34,000 trays containing turf and summer flower seeds, began last November and will be completed by early September.

It has been designed by SHoP Architects, which also designed the arena, to catch rainwater and dampen sound from concerts.

“The Zen-like garden will greatly improve the quality of life for nearby residents, wheth-

audience • Issue 187 • August 2015

er passing on the sidewalk or overlooking the site,” says SHoP partner Chris Sharples.

Artistes who have played the arena include the Rolling Stones, Paul McCartney and JayZ, with upcoming concerts featuring Motley Crue, Madonna and Ariana Grande.

Barclays Center, New York

first speakers

UNITED kngdom The International Festival Forum (IFF), launched by the team behind the International Live Music Conference (ILMC) and aimed at festival promoters and agents, has announced keynote speakers.

John Giddings, promoter of the Isle of Wight Festival (cap. 55,000) and head of Solo Agency, will feature at the even, which will take place in north London venues Proud Camden and Dingwalls on 30 September to 1 October.

The sold-out conference and showcase event will also feature Stephan Thanscheidt of pan-Europe festival promoter FKP Scorpio, based in germany, will chair a panel looking at how agents and festivals book direct with each other and Dany Hassenstein, of Swizterland;s Paléo Festival (35,000), will examine formulas for success in a post-headliner festival world.

The IFF event sold-out with 250 visiting delegates.

Newsbite UNITED STATES AEG Live has acquired regional New Orleans promoter Winter Circle Productions (WCP) along with its twoday festival BUKU Music + Art Project (cap.

14,000), located on the Mardi Gras World site. WCP will continue to co-produce the event with local event company Huka Entertainment and AEG’s Southern California division, Goldenvoice. This year’s event featured acts including Passion Pit and TV on the Radio with tickets from $139.50. Founded in 2009 by Reeves Price and Dante DiPasquale, WCP produces 100 events per year.

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THE MOST IMPRESSIVE VENUE OF THE NETHERLANDS

The most impressive venue of The Netherlands Being host for AFC Ajax, the Dutch National Team, concerts of world’s leading artists, dance event Sensation, the 2013 UEFA Europa League final and four games of the UEFA Euro 2020 tournament, the Amsterdam ArenA is one of the leading Stadiums within Europe.

The dynamic ambience, the central location, good accessibility and sufficient parking space make it a unique location for any event.

The spacious ArenA can be divided in many smaller areas to make it suitable for all kinds of events, concerts and festivals. Our most popular settings host between 10 and

68 thousand visitors. Amsterdam ArenA has recently invested in the future. The newly built ArenA Business Club is a state-of-the-art venue that provides more than 6000m2 of functional hospitality space which is suitable for more then 5000 people.

As for our green policy the new building meets the highest standards to operate more sustainable.

At only 15 minutes from Amsterdam City Centre and Schiphol Airport, the Amsterdam ArenA is situated, next to Station Amsterdam Bijlmer ArenA (train, bus, metro). 3 hotels with 700 rooms within walking distance complete the area.

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Live Nation reviews strategy for Latin American touring LATIN AMERICA Live Nation Entertainment (LNE) has announced the end of its deals with Corporacion Interamericana de Entretenimiento (CIE) in Mexico and CIE-owned Time4Fun (T4F) in Brazil.

LNE, a strategic partner in the formation of T4F, has had talks with at least one regional promoter as it explores its options, although another leading player who wished to remain anonymous, suggests LNE might be “posturing for a better deal with CIE”.

“We have not renewed either of those deals nor plan on renewing them,” says LNE president and CEO Michael Rapino in the company’s

A T4F Brazil spokesperson says, “As second quarter financial report. the story is about Live Nation, T4F “We plan on taking our content prefers not to comment.” and establishing a [direct] presence in Meanwhile, another major promotthose markets.” er Phil Rodriguez of Move, which has However, CIE chief financial officer offices in Brazil, Peru and the US, says Jaime Zevada says it’s business at usual he is open to negotiation with LNE. between the companies, which both “It seems to be a natural progreshave equity stakes in Ticketmaster Michael Rapino sion for them to enter Latin America Brazil. as it’s one of the last remaining markets,” he “He [Rapino] was referring to the South says. “Our doors are always open to opportuniAmerican market and T4F, not Mexico,” Zevada ties.” tells Audience. “We have worked with Live NaCIE is Latin America’s largest live entertaintion since 1 January without an exclusivity deal ment conglomerate and T4F Brazil has proand in line with our traditional terms.”

world news

Solomon Parker joins Coda UNITED KINGDOM Solomon Parker has joined Coda Agency, leaving his position as a vice-president of William Morris Endeavour (WME) in the UK. Parker brings with him roster of acts that includes Take That, The Prodigy, Cheryl Cole, Matt Corby and Haelos, who he represents worldwide excluding North America.

“The main attraction for me was the team here and the hot new acts they are signing, which make them an incredible force,” Parker tells Audience. “I didn’t hesitate at the opportunity to join.”

Parker started his career at Concorde International Artistes and represented acts such as All Saints and Girls Aloud, becoming MD in 2000 after his father Louis, who founded the agency, died.

“I started at Concorde as chief tea maker and made several thousand cups of tea, including for Kurt Cobain and Courtney Love. One liked it strong with sugar and the other strong without,” Parker recalls.

In November 2006, America’s William Morris Agency set up a London office and signed Parker and his roster, spelling the end of Concorde less than a year later.

“The fact I have brought my acts with me proves this business is all about personal relationships,” he adds.

He was named Agent of the Year at the UK’s Live Music Business Awards in 2011.

Coda represents acts such as Bastille, Ellie Goulding, Example, Imagine Dragons, Clean Bandit and Black Crows.

Lollapalooza heads to Colombia COLOMBIA The Lollapalooza festival franchise continues to expand globally, this time in Bogata.

Promoter T310|Absent Papa, in partnership with US-based Lollapalooza founder Perry Farrell, William Morris Endeavor Entertainment (WME) and C3 Presents, wil stage the event in the city’s Simón Bolívar Park, next year, suing a site capacity of 40,000.

Dates and line-up are yet to be announced.

“The T310|Absent Papa team has shown great success producing innovative and successful festivals from the ground up in Colombia,” says C3 Presents partner Charlie Walker,.

Lollapalooza Colombia will be the franchise’s fourth international edition, alongside Chile, Brazil and Argentina.

“We have had the ambition to bring Lollapalooza to Colombia for some time and have found partners who are true professionals,” says Farrell, who is also the frontman of Jane’s Addiction.

T310|Absent Papa promotes more than 50 shows a year, including the Festival Estero Picnic (20,000).

In pursuit of excellence

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Thursday 15 October 2015 www.livemusicawards.co.uk audience • Issue 187 • August 2015

www.audience.uk.com

Jazz Summers dies The next stage UNITED KINGDOM Jazz Summers, the veteran music manager who worked with acts such as Wham!, Lisa Stansfield, Snow Patrol and The Verve during a career spanning four decades, has died after a two-year battle with lung cancer, aged 71.

After starting in the music business as a pub band promoter in London during the 1970s, while working part-time in a radiographer hospital, he introduced the revolutionary concept of a house PA to save bands having to bring their own Promoting led to management, with his big break coming when Simon Napier-Bell asked Summers to co-manage Wham! with him in the early ’80s.

In 1986, he co-founded Big Life Management with Tim Parry, who describes Summers as his “partner, mentor and friend”.

“I met Jazz 38 years ago when he came to see my band The Crooks,” he says. “Jazz set me up with my first management clients, The March Violets. I watched his personal journey with amazement from hard drinking, chain smoking part-time manager to Jazz Summers clean living music industry legend.”

Born 15 March 1944, Summers joined the army aged 15, where he served as a radiographer in Hong Kong and Malaysia.

Through Big Life, he represented acts including Lisa Stansfield, Soul II Soul, Badly Drawn Boy, La Roux and London Grammar. He and Parry also established Big Life Records, with releases from The Orb, Yazz (to whom he was briefly married) and De La Soul.

“He was a great friend, a great businessman and a real geezer,” says Neil Warnock, CEO of the Agency Group, who worked with Summers as the agent of Lisa Stansfield.

UNITED KINGDOM Sister publication LIVE UK‘s annual Summit conference and networking event will have a special focuses on venues and the power of artiste managers, when it returns as The Next Stage on 15 October.

With venue operators competing hard for headliners at all levels and from digital technology bringing opportunities, the sector is more vibrant than it has been for years.

“People who run venues such as pubs, clubs, arts centres and concert halls are the backbone of the live music business, from where just about all talent emerges,” says executive producer Steve Parker. “Supporting them is crucial and we will increase our efforts in that respect.

“Meanwhile, artiste managers and especially the Music Manager’s Forum, have been in the news, fighting for transparency and fair deals for their acts,” he says. “And this is another sector where the industry should pull together.” n The Summit is held at the Radisson Blu Portman Hotel in London’s West End, with registration currently available at £138 including VAT ($216) via www.liveuksummit.com. It is followed by the Live Music Business Awards in the same venue – www.livemusicawards.co.uk

Thursday 15 October 2015

Radisson Blu Portman Hotel | London

ss people behind

For the busine

contemporary

live music

Big plans for Big Concerts International largest number sold for a single artiste, with 183,000 people attending two shows at the FNB Stadium in Johannesburg and one at Cape Town Stadium, in March.

Tickets cost from R395–915 ($30-70.5).

Big Concerts has already sold 460,000 tickets for 100 shows

since January, including four concerts each with Kenny Rogers, Michael Bublé and James Blunt, and three by The Script and One Republic.

“We’ve had a very nice and busy year so far and we are working hard to get approximately 16 tours

confirmed for next year,” van Wyk tells Audience.

A Pharrell Williams tour is scheduled in September, calling at Cape Town’s Grand Arena (cap. 7,000) and the TicketPro Dome (13,000) in Johannesburg.

Tickets range between 395-735 rand ($30-58).

world news

south africa Big Concerts International CEO Attie van Wyk already planning for a bumper 2016, following strong sales this year which included recordbreaking stadium shows with One Direction.

The band set records for the fastest selling tickets and the

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audience • Issue 187 • August 2015

UNITED STATES Celebrating their historic eight-night, sell-out run at New York’s Madison Square Garden (cap. 19,025) in July, U2 are pictured backstage with (L-R) Live Nation Global Touring president Arthur Fogel, MSG Entertainment (MSGE) bookings and entertainment senior vice-president Laurie Jacoby, MSGE senior vice-president of West Coast business operations Dana Dufine and U2 manager Guy Oseary of Maverick Management.

John Gammon chasing Bill Graham? says, “John was straight and on the band broke up in 1995. news, and really keen about the As a writer, Gammon often history of people in our business. We ruffled feathers but kept the respect of will miss his sense of humour.” senior figures.

LNE president and CEO Michael ”John was a very investigative Rapino remembers, “He was a good journalist, who often uncovered a man and always fair to me when I story before anyone else,” says Folkert lived in London.”

Koopmans of German pan-Europe Long-time friend and Audience festival organiser FKP Scorpio. “He’s John Gammon probably already driving [the late] Bill Graham, publisher Steve Parker believes Gammon is a Barry Fey and Fritz Rau mad with all his questions.” particular loss to the live music business.

“He was one of the very few with an Live Nation Entertainment (LNE) international chairman Thomas Johansson in Sweden says, objective eye on the industry and not afraid ”John was not only a journalist with great to write things as he saw them, although not integrity, he was also a great agent for Katrina always to people’s liking. But they still took his calls because he had journalistic integrity and the Waves.“ Barley Arts Promotion’s Claudio Trotta in Italy and understood the business.”

world news

UNITED KINGDOM Live music industry journalist John Gammon, whose four-decade career included being an agent and manager, died of cancer on 10 August, aged 63.

Gammon was European news writer for US industry publication Pollstar for 15 years, following a spell at Audience, where he helped to establish the magazine.

His biggest act while an agent at Concorde International Artists was Katrina and the Waves, who he discovered and toured internationally.

Now a solo artiste Katrina tells Audience, ”He had a fantastic sense of humour and could not tolerate nonsense or drama, saw through bullshit and couldn’t abide time-wasters.”

In the early ‘90s he co-managed Kingmaker, achieving UK and international success, until the

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audience • Issue 187 • August 2015

www.audience.uk.com

market focus

Brazil

market focus: brazil

Covering 47 per cent of South America and claiming the same share of the continent’s recorded music revenue, Brazil is a powerhouse on which other countries depend on as a financial anchor for regional tours. But political and economical turbulence is giving its promoters and venue operators cause for concern. James Cox reports

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B

razil stretches from the Amazon Basin in the north to vineyards and Iguaçu Falls in the south, and borders all other South American countries except Chile and Ecuador.

It is also the largest Portuguese-speaking country in the world.

The country is resource rich and a major lure for international touring acts, but has been plunged into recession and political uncertainty recently, with the Government and state oil company Petrobras under investigation for corruption and its currency, the real, weak against the US dollar.

Promoting concerts, festivals and operating a portfolio of key venues, Time For Fun (T4F) is a prominent live entertainment presence in Latin America.

It has operations in Brazil, Argentina, Chile and Peru, and has overseen tours by U2, Madonna, Black Sabbath and AC/DC, promotes music festivals Lollapalooza Brazil and Electric Daisy Carnival (both cap. 65,000) as well as pioneering Broadway musicals in the country.

Until now, (see news story, page 10) it has been a partnership between Latin America’s

audience • Issue 187 • August 2015

in Porto Alegre Estádio do Morumbi (68,900) largest live entertainment conglomerate, in São Paulo, with tickets from R80 ($23) and Mexico-based Corporacion Interamericana R100 ($29) respectively. de Entretenimiento (CIE), and Live Nation T4F and LNE-owned Insomniac will coEntertainment (LNE).

“We are currently facing the challenge of the promote the first edition of Electric Daisy Carnival in December, bringing the dollar rate appreciation, what affects largest North American live dance ticket pricing and all production costs event to South America for the first for overseas acts,” says T4F artistic time. The venue is Autódromo de director Alexandre Faria, “But at the Interlagos in São Paulo. Tickets range same time, we are used to dealing from R170-780 ($49-226). with this kind of thing and the effect March next year will see T4F on ticket pricing. and Lollapalooza US partners C3 “We just have to be strategists to Presents and William Morris Endeavor define the content we are betting on. Alexandre Faria Entertainment (WME), bring the festival We are optimists at T4F.” brand to São Paulo for the fifth time.

He believes the 2016 Olympic Business is still good for one of Games in Rio de Janeiro will attract country’s biggest although occasional tourists to Brazil and increase audiplayers, International events organences for live music events. iser Artplan Comunicação, whose This year T4F is promoting shows Roberto Medina founded the Rock In for Muse at venues including the Rio festival.

HSBC Arena (12,289), in Rio de Roberto Medina Last January, Rock in Rio, an event Janeiro, with tickets from R125-700 that has grown into a global brand and ($36–203) and Sâo Paulo’s Allianz Parque changed the face of the domestic festival (45,934), where tickets are R110 ($32). It is also scene, celebrated the 30th anniversary of its promoting a Pearl Jam tour in five cities in November, calling at Arena do Gremio (43,491) first event, with a US edition launched in Las

www.audience.uk.com

Brasília

HSBC Arena Brazil

292.7 Portuguese Brazilian Real (BRL) 12,100 +2.3% 107.9

and Iron Maiden have played the in Brazil. festival across its 13 editions in Brazil, Four years later, Rodriguez broke Portugal, Spain. away and formed Move Concerts, “It wasn’t easy organising Rock re-branding the whole company and in Rio 30 years ago,” says Medina. “It opening an office in Argentina. The was a dream that I struggled to make name Move comes from the first two reality. I went from door to door and letters of Mondo and the first two overcame countless barriers to bring letters of Evenpro reversed.

Phil Rodriguez something different to the audience, “Our mantra is to be lean and mean, something that would change the history of no operating fat, and to be able to adapt to the music in the country.” constant changes in our markets without losing On various dates throughout September, our focus,” says Rodriguez. “We have the reach Brazil hosts another edition of Rock in Rio at and ability of the big boys without losing the Rio de Janeiro’s City of Rock, where the festival hand-made qualities of a boutique operation.” began. Katy Perry, System Of A Down, Queens Move’s team in Brazil is headed by William of the Stone Age, A-Ha and John Legend are Crunfli, MD and partner, while the company among acts performing. also practices a profit sharing policy with staff.

Organisers say they have invested R1,261 Upcoming shows include a sell-out concert billion ($359m) in the brand, across all editions from Queen with Adam Lambert at Ibirapuera with R55 million ($15.6m) invested in social Arena (8,948), with tickets from R151-601 and environmental projects. ($43-171) and Katy Perry at Allianz Stadium (35,700), where tickets at priced at R105-608 ($30-173).

Keep moving “Reduced demand from China for goods “Brazil is going through a very tough period, and the world markets have compounded our brought on by years of government incompeproblems resulting in a weakened currency, tence, high levels of corruption – it finds itself higher taxes, high inflation – the highest in in the midst of the biggest corruption scandal 11.5 years,” Rodriguez adds. of its history, and unaffordable populist “There is increased unemployment, and an programmes the last two governments have up turn in crime. This has resulted in a drop implemented,” says Move CEO Phil Rodriguez. in morale and in fact there is somewhat of a Move started life as Mondo Entertainment, migration taking place of upper middle class the Brazilian leg of Evenpro Group, until it sold and upper class Brazilians moving to the USA to ABC Group in 2010 and became XYZ Live

market focus: brazil

Vegas to mark the occasion. Acts appearing included Taylor Swift, No Doubt, Metallica and Ed Sheeran.

“It’s been an amazing journey with Rock in Rio fans and the artistes that have taken part and we were thrilled to see the construction of our first US City of Rock [festival site],” says Medina.

When it was established in 1985, Brazil was still in transition to democracy after years under a military dictatorship.

Originally in Jacarepaguá, Rio de Janeiro, the first edition took place over ten days attracting around 138,000 people each day.

Queen, AC/DC, James Taylor, George Benson, Rod Stewart, Yes, Ozzy Osbourne

Population(million): Language: Currency: Per capita GDP (US$): Economic growth: Internet users:

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audience • Issue 187 • August 2015

Rock in Rio, Lisboa

Sound sensation

Gabisom Audio Equipment has provided sound for large-scale events and festivals in Brazil for more than 30 years and caters for large format events and international tours coming through the region.

It has been an integral part of Rock in Rio since 2001, both in Brazil and in Europe, and this year worked on the first US edition in Las Vegas, held to mark the festival brand’s 30th anniversary.

Based in São Paolo, Gabisom provided a massive PA system for the main stage, but had the new challenge of heat and dust of Nevada.

“With relative humidity as low as eight per cent and gusty winds lifting dust into the air, we tuned various parameters within Performance Manager. This is quite unusual for this system, on which we normally make a few changes, if any,” says MD Peter Racy.

Gabisom has also helped deliver Lollapalooza and music and ecology festival SWU, which featured headliners such as Kings of Leon, Dave Mathews Band, Peter Gabriel, Linkin Park, Kanye West and Duran Duran.

“We are an audio-only rental company and strive to provide the most up-to-date equipment. We are continually investing in the most requested brands of consoles and PA systems like JBL VTX, or Vertec, d&b J series, L-Acoustics V-DOSC and Meyer Milo,” says Racy.

www.audience.uk.com

Monsters of Rock (72,337), Skol Rock (25,000), Ruffles Reggae (40,000) and Close Up Planet (20,000). It was also the first company to bring Broadway shows to South America.

In 2000 it was acquired by CIE and its promoting division OCESA Presents, with Mercury pesident Jose Muniz remaining with them for seven years until the company renamed as T4F, then he oversaw the South American operation from an office in Florida, US, until 2012.

In 2014 Muniz re-established Mercury Concerts launching South American tours with acts such as Aerosmith, Guns N’Roses, Kiss, Ozzy Osbourne, Judas Priest, David Garret and Deep Purple.

“The current political situation is affecting the exchange rate in a big way making the business more challenging than ever,” says Muniz.

“The Brazilian economy has been a rollercoaster for the last 30 years, but the established promoters have learned how to deal with it, and adapt to the circumstances.”

He says there are six or seven good markets outside of São Paulo and Rio, giving last year’s Guns N’Roses, which played sold out shows in Porto Alegre, Curitiba, Florianopolis, Brasilia, Belo Horizonte, Recife and Fortaleza, as an example.

Mercury is currently working on the programme for Monsters of Rock 2016 and a new domestic festival it has yet to announce.

Venue dilemma

Rio’s main venues are the Engenhao Stadium (45,500), Fundição Progresso (5,000), Vivo Rio (3,500) and HSBC Arena (18,000) which was built for the Pan-American Games in 2007.

It also has the Ginásio Maracanazinho (12,000), which was refurbished for the 2014 World Cup. In São Paulo, they are Morumbi Stadium (60,000), Anhembi Arena (30,000), HSBC audience • Issue 187 • August 2015

market focus: brazil

promoted the Guinness World Record breaking Paul McCartney concert at Maracanã stadium in 1990 for 184,000 people, the Rolling Stones at Copacabana beach in 2006 for 1.5 million Luiz Oscar Niemeyer people and, in the last two Jose Muniz years, shows by Red Hot Chili Peppers, Stevie Wonder, Linkin Park and Kings of Leon.

Master plan “The biggest challenge promoters have “Brazil is in a very complicated politically right now are similar to those had 20 years and economically at the moment,” says Luiz ago,” adds Niemeyer. “I call it the Brazil Risk Oscar Niemeyer, CEO of Planmusic.

– devaluation, inflation, lack of government He says biggest challenges facing the management. But we are used it.” country include a 10 per cent rise in inflation and local currency devaluation to the US dollar of around 40 per cent since December.

Thick of it “It went from R2,40 to R3,40 today and Mercury Concerts was originally founded in the rate of unemployment has grown 7 1991 and it was a market leader in the 1990’s per cent,” adds Niemeyer. “The scenario is with tours from Bon Jovi, AC/DC, KISS and certainly the worst in South America.”

Deep Purple.

Planmusic, which started in 1987, It also promoted various festivals such as and other countries.

“That said, in my 37 years in this business I have seen us go through other very tough times and come out of them. From the military dictatorship in the ‘70s and early ‘80s, to the hyper-inflation of the ‘90s. Brazilians have an uncanny ability of finding their way out of a hole.”

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market focus: brazil 18

Brasil (5,000), Espaço das Américas (8,000 standing, 3,500 seated) and Credicard Hall (8,000).

Other cities beyond Rio and São Paulo also have venues capable of hosting concerts and other music Leonardo Duarte events. These include Curitiba’s Master Hall (4,000), Fortaleza’s Siara Hall (10,000) and Porto Alegre’s Pepsi Onstage (7,000).

However, Move’s Rodriguez bemoans a lack of modern indoor arenas.

“To think the city of São Matthias Prill Paulo with a population of over 11 million does not have a proper indoor arena that can host concerts, sports and family shows is embarrassing and surreal,” he says.

“This is a huge limitation as one is forced to go to outdoor options if a show has a potential to sell 14,000 plus tickets. It is insane.

“The one arena the city has, Ibirapuera [11,000] was built in 1957. Billions were spent on stadiums for the World Cup of which the majority will have minimal usage at best outside football games.”

Three of the country’s key venues are owned by T4F, namely São Paulo’s Citibank Hall, Rio’s Citibank Hall and Belo Horizonte’s Chevrolet Hall (5,500).

Meanwhile, AEG Brazil manages Allianz Parque (60,000) in São Paolo which last year featured Paul McCartney and is due to host Kay Perry and Rod Stewart in September, Muse in October and the Rolling Stones in next February.

It also manages Itaipava Arena Pernambuco (46,000) in Recife and Rio’s Maracanã Stadium (78,500).

Taxing issues

Paulo Baron, owner of promoter Top Link, has overseen more than 6,000 shows during his 26 years in the business.

He says recent years have been as tough as any he can remember.

“Brazil at the moment is going through a recession and troubled political times,” he says.

“Unfortunately this directly affects the entertainment industry and I believe it will take a long time until this is resolved.”

Top Link was established in 1989 and has also contact offices in Mexico and the UK. “Every day we seek not only artistes that sell more tickets, but acts who please us personally,” says Baron. “I am happy and grateful to have made a living from music for so many years.”

He has promoted shows for artistes such as Chuck Berry and Jerry Lee Lewis, Scorprions, audience • Issue 187 • August 2015

Allianz Parque

Creedence Clearwater and recently Air Supply at São Paulo’s HSBC Brasil (14,981) and Tarja in Complexo Armazém (10,000).

“The biggest challenges promoters are facing at the moment are high taxes that we have in the country,” he adds.

“The government does not encourage the shows promoter. Many music fans are willing to see their idols and go to the shows but the absurd taxes end up hindering not only the promoter but the people who enjoy watching the show.”

of South American touring leading to auctioning of artistes without considering long them relationshsips with promoters.”

MP Tourmanagement also manage and implement the the Brazilian branch of German production company satis&fy, which will next year be providing equipment for the Olympic Games in Rio.

Ticket talk

TicketBrasil was founded in 2006, initially serving São Paulo, before going national in 2008.

Chief executive Leandro Duarte says his Balancing act company is continuing to invest despite the Matthias Prill is a manager and head of gloomy outlook in the media. promotion company MP Touring, which “Economically, the tickets sale market is has been operating across South America still firm and promising, even though there is since 1988. a certain pessimism conveyed by the national He has also managed Marky Ramone since 1997 and looked after artistes such as Nuclear media,” he says.

“This is mirrored and reproduced by a Assault, Dead Kennedys and Andy Rourke. few sectors of our country. Despite that, “Inflation is a major issue. A US dollar in TicketBrasil keeps on investing, positive that October 2014 cost R2,46 compared to R3,48 the effects of the speculation that surrounds today, which results in lower box office the current political scene are temporary and income in hard currency leading to higher with no real or objective basis.” breakeven ratios,” says Prill.

He says the average ticket price for small “Adjusting ticket prices in Brazilian currency events is R50 ($14), R150 ($43) for middle sized concerts and R400 “Music fans are willing to… go ($115) for big events.

“In São Paulo’s scene, there is a to the shows, but the absurd lot of competition,” adds Duarte. taxes end up hindering not only “However, we noticed that the offer of services to producers as to the promoter but the people” end-consumers are lacking in some Paulo Baron aspects, and we are investing in offering a solution for those.

“The Brazillian public is very excitable, but not less demanding, and we want according to exchange rate variation will to answer to this excitement by providing drive customers away.” services for the experiences they expect and He also says the tour market is being look forward to.” saturated by badly organised events.

Ticket Brasil offers a mediation service “These collapse half way through and shine between promoters and customers, has a bad light on the many professional promotreduced consumer costs by introducing ers, venues and agents,” Prill adds. e-tickets and continues to invest in “Also there is a lack of interest by artiste technology, such as smartphone apps. representatives to understand the dynamics www.audience.uk.com

23 – 26 SEPT. 2015 CONFERENCE · SESSIONS · ChRis BaRtON (Shazam) · DiEtRiCh BRüggEmaNN (FIlmmakEr) · iNEkE DaaNs (PIaS) · mONika EigENspERgER (radIO Fm4 / OrF) · ChRistOF ElliNghaus (CItySlaNg) · DiEtER gORNy (BuNdESvErBaNd muSIkINduStrIE) · tERRy hall (thE SPECIalS) · paul hasliNgER (COmPOSEr) · miChaEl kRausE (dEEzEr) · JED lEwis (CONvErSE) · JENs miChOw (Bdv) · DaNiEl müllENsiEFEN (uNIvErSIty OF lONdON) · BuRak ÖzgEN (SESaC) · paul paCiFiCO (IaO) · will pagE (SPOtIFy) · maRy RamOs (muSIC SuPErvISOr QuENtIN taraNtINO) · pEtER RiEgER (PEtEr rIEgEr kONzErtagENtur) · thORstEN sChäFER-gümBEl (StEllv. SPd-vOrS.) · JENNiFER sChwaNENBERg (dPa INFOCOm) · tODDRiCk spalDiNg (mOB SCENE) · DavE stEwaRt (muSICIaN / ENtrEPrENEur) · CaROlE tONguE (EurOPEaN COalItIONS FOr Cultural dIvErSIty) · miChaEl tRautmaNN (thjNk) · ROB wElls (rEvElatOr) · alisON wENham (ImPala) · aNd maNy mOrE · ShOWCaSES · NEtWOrkINg · mEEtINgS · aWardS FEstival · CONCErtS · halF mOON ruN · WIllIam FItzSImmONS · maC dEmarCO · hÆlOS · dElta raE · Bad BrEEdINg · PEtItE NOIr · hOOtON tENNIS CluB · FOrmatION · thE aCadEmIC · thE BEaCh · OSCar · gavIN jamES · FraNk CartEr & thE rattlESNakES · all tvvINS · dENaI mOOrE · vISual artS · FIlm · SPOkEN WOrd

REEpERBahNFEstival.COm

Organiser: Reeperbahn Festival GbR and Inferno Events GmbH & Co. KG

events Dates

Country, City

Sep 26-27 USA, Los Altos Hills

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

West Coast Songwriters Conference www.westcoastsongwriters.org

Oct 15-17 Finland, Tampere

A full weekend of seminars, discussion groups and networking.

Country, City

Event/Information Music & Media Finland www.musiikkimedia.fi

Attracting more than 700 music business professionals, running alongside partner showcase festival Lost In Music.

Sep 30 – UK, London Oct 1

International Festival Forum www.iff.rocks Oct 21-25 Hungary, Budapest WOMEX

www.womex.com Hailed as the first event to focus exclusively on global festivals, with showcases, workshops, conference sessions and Q&As. Conference, trade fair and showcase festival for world, roots, folk and diaspora music of all kinds.

Oct 6-8

United Arab Emirates, Dubai

Light Middle East www.lightme.net

Trade fair for lighting, spotlighting innovative product development and current design trends.

Nov 13-14 Netherlands, Rotterdam Rotterdam Beats

www.rotterdamfestivals.nl A two-day conference, workshops and open-mic sessions, the annual State Awards, plus a night time music festival across five of the city’s most exciting venues.

Oct 8-10 UK, Norwich

Norwich Sound And Vision norwichsoundandvision.co.uk Nov 19-20 USA, New York Billboard Touring Conference

www.billboardevents.com Three days of debate, discussion, information, advice and inspiration for music, radio, TV, film and multimedia industry.

Uniting promoters, agents, managers, venue operators, sponsors, digital music executives, merchandising and production companies to discuss the industry and network.

Oct 10-13 USA, Nashville IEBA Conference

www.ieba.org

The Entertainment Buyers Association annual gathering targeted at event programmers.

Nov 26 UK, London

Festival Awards UK www.festivalawards.com

The annual Oscars of the contemporary music festival industry.

Oct 14-18 Netherlands, Amsterdam Dance Event Amsterdam www.amsterdam-dance-event.nl Club festival and conference for electronic and dance music, targeting labels, agents, managers, artistes and DJs. Oct 15 UK, London

LIVE UK – The Summit www.liveuksummit.com

Dec 13-15 USA, Austin, TX

IMFCON www.imfcon.com

Bringing together festival organisers and related professionals.

Jan 13-16 Netherlands, Groningen Eurosonic/Noorderslag

www.eurosonic-noorderslag.nl/en

The only conference dedicated to the UK’s live industry, attracting promoters, festival organisers, venue operators, agents, managers, brands and more.

Conference and showcase festival attracting festival organisers, promoters, agents, media and European talent

Oct 15 UK, London

Jan 21-24 USA, Anaheim

Live Music Business Awards www.livemusicawards.co.uk

Trade exhibition featuring more than 7,000 products from pro-audio equipment manufacturers.

events

This is the only event presenting awards across the spectrum to the business people who drive the country’s contemporary live music industry.

NAMM www.namm.com

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audience • issue 187 • August 2015

Britannia rules the sound

feature

It started 40 years ago with a crew hiring out their band’s PA system when it wasn’t in use.

Soon it attracted the attention of the world’s top artistes and events, leading to the UK’s Britannia Row becoming a pioneer of major event sound systems, whether for Frank Sinatra, Paul McCartney, Oasis or the Pope. Johnny Black reports

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A

‘big noise’ in common parlance a decade or three ago was used to describe a person or company of special importance, presumably because they made a lot of noise about themselves and their achievements.

While the early incarnations of UK audio rental company Britannia Row were certainly responsible for making more noise than virtually anyone else at the time, their rapidly growing status was based more on their pioneering abilities with concert sound.

UK company

Today, based at their massive warehouse in Twickenham, on the outskirts of south-west London, the company is run by the longstanding double-act of Bryan Grant and Mike Lowe, audience • Issue 187 • August 2015

but that’s not how it was in the beginning.

Back in 1975, points out Grant, bands often owned all their own equipment, and Pink Floyd was no exception.

“They had decided to take a year-long break from touring,” he recalls. “That decision, however, presented them with the problem of what to do with all that gear. They could sell it and sack the crew, or they could keep the crew gainfully employed by turning the equipment from a cost centre into a profit centre.”

This was achieved by purchasing a threestorey warehouse at 35 Britannia Row in north London, where the equipment could be stored, and allowing the crew to rent it out as a business.

Floyd also built a studio on the ground floor and still had enough space left over on the top

floor to accommodate an office suite and fulfil Roger Waters’ wish for a full-size snooker table.

“I was invited to join,” says Grant, “but I’d been running a sound company called IES [International Entertainer Services] since the early ‘70s, and I’d had enough of that, so I didn’t take up the offer.”

Thus, the first bosses of Britannia Row were Floyd crew members Robbie Williams (no, not that one) and Mick Kluczynski.

“Although I wasn’t part of the new company,” says Grant. “I was at Pink Floyd’s Knebworth gig on 5 July 1975, which was Britannia Row’s first official job. That came at the end of a couple of American tours and was a very cool gig, with an audience of about 100,000.”

Emerging from the Floyd fraternity gave Brit Row, as it soon became known, a head start www.audience.uk.com

waves

Diamond Jubilee UK

Congratulations on 40 years in the business Best Harvey and all the Team www.audience.uk.com

audience • Issue 187 • August 2015

feature

because nobody then did bigger shows than Pink Floyd. So the new company was a natural choice for both promoters and artistes considering major events.

The 150,000 devotees attending the Queen concert in London’s Hyde Park in 1976 heard them via a Brit Row system, as did the 200,000 who flocked to see Bob Dylan’s now legendary

“There was a point where Floyd Picnic at Blackbushe Aerodrome were touring and we also had four in 1978. other tours out,” he says. “I thought It was also in 1978 that Kluczynski that was pretty good going.” headed off to establish Brit Row’s It was, unquestionably, a major step American office in Long Island. forward, but in retrospect it was just Business was good but, back home, the beginning of much bigger things problems were brewing. to come.

“The band was getting fractious Bryan Grant One enduring association which and fragmented,” explains Robbie began in this era was with Mickey Williams. “Every time there was a disCurbishley, now CEO of the PRG pute, the accountants would come Music Group. in and divvy up the assets. It made it “We have worked on hundreds of difficult to keep going. At that point shows together in Hyde Park since the I brought Bryan in and we managed Route of Kings series of concerts many to negotiate a management buy-out years back,” he says. “I had the pleasure with the accountants.” of working with Bryan and Brit Row Grant and Williams decided the Mike Lowe best way ahead was to amalgamate all of the right up until I left the UK and moved to the US. “I have memories of staggering out of backdifferent Brit Row services - sound, lighting and stage VIP areas with him and looking for the staging - into one.

“We set up Britannia Row Productions, a trad- night bus home. Knowing and working with ing entity internally renting off all the other Bryan has been a big help for both myself and companies within the group,” explains Grant. “It for PRG,” says Curbishley. carried on like that until 1981, when The Floyd’s Rick Wright and Roger Waters sold their inter- Top team ests to Dave Gilmour and Nick Mason.

A lasting friendship which Grant had begun “So then we incorporated it all under Britannia back in the early ’70s now blossomed into a Row Productions, with Robbie and I running it.” much more significant business partnership which would have huge ramifications for the growing company.

Growing pains “I first met Bryan in 1974,” reflects Mike Lowe, Despite the internal wrangling, the business had continued to steam ahead, starting long- who was then working with Emerson, Lake And lasting relationships with Peter Gabriel and The Palmer. “When ELP was offered the headline slot of the first California Jam at Santa Monica Cure in 1979.

As the ‘80s opened, Brit Row began another Speedway [6 April 1974], we realised our own relationship, working with Stevie Wonder, but sound system wasn’t up to it.

“There was going to be about 250,000 people their ongoing closeness to Floyd was still causthere and one of the few companies who could ing problems.

In the early days, a condition had been placed deliver audio on that scale was IES. We took a on the business, obliging them to only buy new huge amount of IES equipment to Cal Jam1 and stock out of profit, so if Floyd went on tour, it was great, so we abandoned our own system almost all of Brit Row’s equipment went with and switched to IES thereafter.”

As luck would have it, one of Lowe’s closthem, making it hard to service other tours at est contacts at IES was Grant, in his pre-Floyd the same time.

Grant remembers spending much of the days. Their friendship continued into the early ‘80s developing the company’s ability to ‘80s, by which time Mike Lowe was runsatisfy other clients, irrespective of what Pink ning the rental side of innovative pro-audio company Turbosound.

Floyd were doing.

23

What associates say…

Herman Schueremans, Rock Werchter, Belgium “Bryan Grant is one of the people who inspired me 35 years ago to start Rock Werchter [now cap.

87,000]. That helped me to understand logistics of shows and festivals.

I think of Bryan as a pioneer in the PA business.”

Chris Redburn, Redburn Transfer, UK “Back in 1982 we started out with offices in Britannia Row, so we’ve worked with them since day one. They used an amazing Altec PA system at that time which all the trucking companies loved, because it was massive. Most systems fitted in one truck, but theirs had to go in two.

Great stuff. Unfortunately, everything’s much smaller now. We’re doing Simple Minds and David Gilmour with them this year.”

“We were in Islington [north London], five Singing in the rain minutes round the corner from Britannia Row,” Brit Row’s association with MSI continued into the explains Lowe. “Turbosound had invested in mix- early ‘90s, but Lowe was not happy at Samuelson’s. ing consoles that were no longer flavour of the “It was partly because their emphasis was more on month and Britannia Row had done the same lighting than on sound, so I decided to go freelance with speaker systems. So Bryan and I started again. But on the day I resigned in 1987, Bryan inworking together with Brit Row control and vited me to dinner.”

Turbosound speakers.”

Williams had decided to spend a year on tour When Lowe quit Turbosound and moved to as Floyd’s production manager, so Lowe agreed to Samuelson’s, his involvement with the pioneer- stand in for him during that period. In the event, ing American audio comWilliams never returned and pany MSI (Maryland Sound temp job evolved into “Not only do they have Lowe’s International) led to ana permanent position as a Brit the ability to handle the Row director. other fortuitous link with Brit Row. Almost immediately, Lowe big projects, but they “Some of the acts MSI was pitched in to what he now have the balls to take did sound for, like Whitney considers one of the most biHouston, George Benson zarre days of his career, with them on” and Luther Vandross, were Frank Sinatra at The Roman James Gordon heating up in Europe, doAmphitheatre in Verona, Italy. ing arenas. I was looking “Frank was grumpy all day,” after [MSI founder] Bob Goldstein’s acts in the UK recalls Lowe. “Then, when he walked onstage, the but he didn’t want to partner with Samuelson’s, so heavens opened. So the Italians quickly rigged up I put him onto Britannia Row.” a canopy overhead, but it soon reached bursting One unfortunate upshot of this was that MSI point with gallons of rainwater. They clambered took over representation of Brit Row’s clients in the up and started poking it with long poles. Just as US, which precipitated the late Mick Kluczynski’s they pushed the water bubble over the front, Frank then departure. His subsequent freelance career as walked directly underneath and was completely MJK Productions would see him become a major drenched. force in live music TV presentations, culminating in “His rug [hairpiece] looked like a drowned rat on his company producing UK music industry awards his head, the mike was dripping wet, but he carried TV extravaganza the BRIT Awards. on singing.”

Thursday 15 October 2015

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Sound evolution

“He’d been working non-stop to make the sound work for this astonishing The next decade saw Brit Row not only conevent, which was being broadcast live on tinue with the huge events which had beItalian television.” come their trademark, but also begin workThat, Warnock emphasises, was just one ing with another wave of younger artistes, example among dozens of the dedication including Oasis, Manic Street Preachers and that set Brit Row apart from the pack.

Inspiral Carpets, while simultaneously movMickey Curbishley In 1991, Britannia Row finally outing into the burgeoning festivals field. grew their original premises and moved “That was another development from to a considerably larger building in what I’d been doing with Turbosound,” reWandsworth, south London flects Lowe. “They went back a long way Another major step forward for the comwith [Glastonbury founder] Michael Eavis, so pany had its seeds in Russia, at Moscow’s I brought Glasto over to Britannia Row. That Red Square on 4 July 1992, when Kate carried on for quite a few years and we endWright, a production assistant of just 10 ed up touring the European festival circuit days experience, first encountered Grant. every summer.

“I’d just started working with Mick “That lasted until local companies grew Neil Warnock up in all those countries and they didn’t need to Kluczynski who was then a freelance production director,” remembers Wright. “He’d been asked to unbring in a British company,” he says.

Neil Warnock, CEO worldwide of The Agency dertake this job called Red Square Invites, with Jose Group, has been Pink Floyd’s agent since the Carreras singing. Brit Row were doing the sound.”

Just two years later, Kluczynski and Wright started early ‘70s, so has observed Brit Row’s evolution at their own company, MJK Productions, which soon close hand.

“Over the years there’s never been anything Brit took over production of the UK’s BRITs TV show.

Row couldn’t handle,” he declares, “One mammoth “Mick felt from the start that Brit Row was the right undertaking was when we had Pink Floyd playing company to do sound for the show,” she reveals, “but on a massive barge on the canal beside St Mark’s it took a couple of years to get them in there. The Square in Venice [15 July 1989]. I can remember after rest is history.”

Freelance events and production manager Maggie the show, Robbie Williams, a big guy at six foot four inches [1.5m], came back to the hotel and literally Mouzakitis adds, “I’ve worked with them since I was collapsed from exhaustion – he went down like a 19 on acts like Depeche Mode and Oasis, but now it’s primarily events like the BRITs and MTV’s European house of cards.

What associates say…

Stuart Down, L-Acoustics, France and UK “Britannia Row has been deploying L-Acoustics systems for more than 13 years and with continued growth. The level at which they work is top of the game in both expertise and event profile.

From the early days with Pink Floyd to Live 8, the London Olympics and the Diamond Jubilee, they never compromise on the quality of the sound for the show.”

Andy Lilywhite, Sennheiser UK “We have worked with Brit Row on a vast number of projects over the years including every BRIT Award show since 2002, MTV’s European Music Awards and various Robbie Williams’ tours. They approach each and every production with professionalism and humour, both of which are vitally important in such a high-pressure environment. Forty years of supplying sound to the industry is a huge achievement.”

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audience • Issue 187 • August 2015

What associates say…

Stuart McPherson, KB Events, UK “Brit Row have used us as their preferred trucking company since 1997.

They’ve been a true pleasure to work with on more events than I can remember, but one that leaps to mind is a show on a beach in the Maldives with George Michael. I’m still not sure if they ever managed to get the sand out of the desk.”

Julian Lavender, Neg Earth Lights, UK “I started working with them in the ‘80s, when I was still a production manager with Tears For Fears and Peter Gabriel.

Even now, having stepped back from active touring, I’m still delighted to be able to remain in touch with them.”

feature

Matt Jackson, Fly By Night, UK “We’ve worked with Brit Row since we started providing live events transport in the ‘90s.

This year alone we’ve done Mumford and Sons, Royal Blood, Sam Smith, Bastille and Robert Plant together. There’s a photograph on the office wall showing their staff loading one of our trucks during a heavy snow storm in 2009. That’s a testament to the determination we both demonstrate to ensuring the show goes on regardless.”

Pete Gunn, production manager, Kasabian “I first worked with them on The Verve in 1993, and have since done Catatonia, The Libertines and Kasabian - to name a few – with them and they have consistently delivered the best service throughout all the years I have worked with them.”

Britannia Row - Robbie Williams tour

Music Awards, where their knowledge of how to audio manage major events is invaluable.”

Olympic challenge

The summer of 1992 provided another pivotal moment when Brit Row took on the Barcelona Olympics.

“It was primarily a sports event, probably the first event of that sort we’d done. But there were musical elements in the opening and closing ceremonies, with Carreras, Pacido Domingo, Montserrat Caballe. We also handled the overall PA system, and a huge amount of playback music. I think Barcelona was a game-changer in terms of the creativity of those shows. It was more inventive than any that had gone before.”

Lowe found the challenges of Barcelona invigorating and there’s little doubt that it opened Brit Row’s eyes to the potential of massive events that were more than purely musical.

In 1994, the company commenced what turned out to be a long-term relationships with the Foo Fighters and Robbie Williams (the artiste one), but the event of the decade was unquestionably Oasis at Knebworth in 1996, for which more than three million people applied for the 250,000 tickets available across

two shows.

“The atmosphere was amazing, and so was the sound,” enthuses Grant. “It was louder than hell, but we successfully contained it within the bowl. The sound monitoring people told me afterwards that they’d only had three complaints.

One was a local householder who said it was too loud, but the other two were disappointed because they’d invited friends round for a back garden barbecue, but the music wasn’t loud enough for them to hear it properly.”

The nation as a whole welcomed in the new Millennium with sound supplied for London’s Millennium Dome concert by Brit Row, and the first decade of that new era saw Grant, Lowe and team pumping up the volume at London’s Wembley Stadium (then 70,000) for Live 8 in 2005, broadcast to an estimated global TV audience of three billion, and raising ecological awareness with the 12 worldwide stadium concerts of Live Earth in 2007.

As calm as Grant invariably appears on such occasions, he admits, “Actually, your heart is always in your mouth. I guess we’re just the ones who put our heads above the parapet. It’s a challenge, but that’s why we’re in this business.”

26

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audience • Issue 187 • August 2015

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“Congratulations to Bryan and everyone at Britannia Road on your 40 years in the business from all of us at PRG.” — Mickey Curbishley, CEO PRG Music Group

Copyright © 2015 Production Resource Group, LLC. Production Resource Group and the PRG logo are trademarks of Production Resource Group, LLC. All other brands or names may be trademarks of their respective owners.

CONGRATULATIONS FROM NEIL WARNOCK AND ALL AT THE AGENCY GROUP ON YOUR RUBY ANNIVESARY...

THAT’S 40 YEARS OF SNAP, CRACKLE AND POP! NOT BAD!!

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Britannia Row - Oasis at Slane Castle 2009

Desert classics

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configuration - we had to cover the entire Mall and St James’s Park so that no matter where anyone was, they’d hear the sound clearly.”

It might seem as if Brit Row had by now experienced everything imaginable, but there was still another surprise in store on 14 July Jim Baggott 2012, when Paul McCartney joined Bruce Springsteen onstage in London’s Hyde Park for his final encores. For the crowd, it was an unbelievably historic moment, but the police could see only that the show had over-run its curfew.

Josh Lloyd

“The police view was that crowd control would become impossible if it went on any longer. They threatened to arrest the promoter for over-running, so the plug was pulled,” recalls Grant. “Thank goodness it was a Springsteen crowd. An Oasis crowd would have probably lynched us.”

James Gordon, MD of digital console manufacturers DiGiCo, has worked alongside Brit

James Gordon

Charlotte Pearman

Row since 2002, when they started using his ground-breaking D5 Live console. He feels that the chemistry between Grant and Lowe has played a large part in the company’s success.

“No matter how big or complicated it gets, Bryan laughs his way through the whole thing. He’s very laid-back, very confident.

He and Mike are very different characters, but together they compliment each other very well. Not only do they have the ability to handle the big projects, but they have the balls to take them on.”

Asked to elaborate further on that chemistry, Mike Lowe says, “Bryan very much enjoys engaging with people, doing the deals, and being more the public face of the organisation than me. Fortunately, I enjoy some of the nuts and bolts stuff, and the internal organisation.

Having said that, we both do everything to some extent, so we really can understand what each other is doing.”

They say life begins at 40 and it certainly looks as if, after four decades at the pinnacle of the business, Britannia Row is a long way from de-rigging.

“We’re in the audio business and everyone needs audio now,” says Grant. “Opera singers used to refuse to use amplification, but that’s changed, while politicians need audio, the Pope needs audio. In fact, we did The Pope in Ruanda, 100,000 people I think that was…” audience • Issue 187 • August 2015

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Jim Baggott, long-time production director for UK promoter Harvey Goldsmith, worked with Brit Row on Live 8 and the FIFA World Cup, but his favourite recollection is the Pavarotti tribute, at the ancient stone city of Petra in Jordan, which took place in October 2008.

“We had a 40-piece orchestra, and live performances by Carreras, Domingo, Sting and more on a stage in the middle of the desert to a tiny audience. It was an amazing event, and Brit Row’s guys pulled it off faultlessly.

“The funniest thing was that we ended doing the live mix in a 400-year-old bedouin stone hut next to the stage which, amazingly, turned out to be a superbly soundproof recording environment.”

By 2012, Brit Row had outgrown its second home and moved again, with the Herculean feat achieved without any pause in their relentless schedule.

“It was [the Queen’s] Diamond Jubilee weekend,” remembers warehouse manager Charlotte Pearman. “We loaded out the Jubilee concert at Buckingham Palace and a few other tours from Wandsworth, moved the remaining warehouse gear while the concert was being set up, and then everything came back to us in our new Twickenham home.”

Brit Row’s special projects guru Josh Lloyd remembers, “The Diamond Jubilee was extraordinary. I spent three months coming up with the technical design, because there were loads of artistes plus a house band and an orchestra.

“We couldn’t shut down The Mall [leading to the Palace] in advance, so we did two weeks of rehearsals at the L2 rehearsal space in west London. We also had a very strange audience

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city focus PRAGUE, CZECH REPUBLIC Audience takes a look at the world’s major cities and venues most used by international artistes Roxy

A: Dlouhá 33 T: +420 776 310 950 E: adela@roxy.cz W: www.roxy.cz Principle contact person: Adéla Sejkorová Policy: Hire and self-promote Capacity: 1,000 In-house Concert PA/Lights: Yes Past/forthcoming shows: Editors, Skepta, Architects, Young Fathers, Walk Off The Earth O2 Arena

O2 Arena

A: Ceskomoravska cp. 2345/17 T: +420 266 771 981 E: doubravova@bestsport.cz W: www.o2arena.cz Principle contact person: Stanislava Doubravova Policy: Hire & self promote Capacity: 18,000 In-house Concert PA/Lights: No Past/forthcoming shows: Madonna, Nickelback, Eros Ramazzotti, Andrea Bocelli, Brit Floyd

city focus

Tipsport Arena

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A: Za Elektrárnou 419/1 T: +420 266 727 443 E: lsternova@shp.cz W: www.tipsportarena-praha.cz Principle contact person: Lucie Sternova Policy: Hire only Capacity: 13,000 In-house Concert PA/Lights: No Past/forthcoming shows: Joe Satriani, Nightwish, Ed Sheeran, Blink 182, Thirty Seconds To Mars

Malá sportovní hala

A: Areál Vstavit 67, 170 90 T: +420 220 103 367 E: Marie.Steglova@rprg.cz W: www.incheba.cz Principle contact person: Marie Teglová Policy: Hire only Capacity: 5,000 In-house Concert PA/Lights: No Past/forthcoming shows: One Republic, Five Finger Death Punch, Scooter

Forum Karlin

A: Pernerova 51-53, 186 00 T: +420 722 793 593 E: stepanka.redlichova@forumkarlin.cz W: www.forumkarlin.cz Principle contact person: Stepanka Redlichova audience • issue 187 • August 2015

Policy: Hire Only Capacity: 3,500 In-house Concert PA/Lights: No Past/forthcoming shows: Joe Bonamassa, Ben Cristovao, Bonnie Tyler, Jack White, NIN, Kraftwerk

Kongresove Centrum Praha A: 5. Května 1640/65, Nusle T: +420 261 171 111 E: booking@kcp.cz W: www.kcp.cz Principle contact person: Blanka Housková Policy: Hire only Capacity: 2,764 In-house Concert PA/Lights: No Past/forthcoming shows: Chris Botti, Tony Bennett, Tori Amos, Ian Anderson

Lucerna Velky Sal

A: Štěpánská 61 T: +420 224 225 440 E: info@lucpra.com W: www.lucpra.com Principle contact person: Karel Safarik Policy: Hire only Capacity: 2,500 In-house Concert PA/Lights: No Past/forthcoming shows: HIM, Billy Idol, Smokie

Lucerna Music Bar

A: Štěpánská 61 T: +420 724 337 190 E: kamil@musicbar.cz W: www.musicbar.cz Principle contact person: Kamil Sir Policy: Hire and self-promote Capacity: 900 In-house Concert PA/Lights: Yes Past/forthcoming shows: Manfred Mann’s Earth Band, Interpol, Marina & The Diamonds

MeetFactory

A: Ke Sklárně 3213/15 T: +420 251 551 796 E: info@meetfactory.cz W: www.meetfactory.cz Principle contact person: Michal Brenner Policy: Hire and self-promote Capacity: 1,000 In-house Concert PA/Lights: Yes Past/forthcoming shows: Fink, Caribou, GusGus, Young Fathers, Crystal Fighters, Lordi, Son Lux

Palac Akropolis

A: Kubelíkova 1548/27 T: +420 296 330 911 E: cyril.horanek@palacakropolis.cz W: www.palacakropolis.com Principle contact person: Cyril Horanek Policy: Hire and self-promote Capacity: 800 In-house Concert PA/Lights: Yes Past/forthcoming shows: The Necks, Monuments, LUNO, Warpaint

Chapeau Rouge

A: Jakubská 647/2 T: +420 222 316 328 E: dan@chapeaurouge.cz W: www.chapeaurouge.cz Principle contact person: Daniel Dolezal Policy: Hire and self-promote Capacity: 600 In-house Concert PA/Lights: Yes Past/forthcoming shows: Skywalker, Ethan Kath, In Hearts Wake

Chapeau Rouge

www.audience.uk.com

CAPACITY: ADDRESS: CONTACT: PHONE: BOOKING:

3 500 – 18 500 Ceskomoravska 2345/17, Prague, 190 00, Czech Republic o2arenapraha www.o2arena.cz +420 266 771 982 booking@bestsport.cz

Production news Flexibility keeps Knopfler on Tracker WORLD The varying size of venues on Mark Knopfler’s Tracker tour, supporting his eighth solo LP, required a sound system that could easily be scaled up or down.

Knopfler’s sound engineer Dave Dixon chose a selection of K1 and K2 enclosures by French audio manufacturer L-Acoustics because the more compact K2 system could replace the K1s at Mark Knopfler World Tour smaller venues with “no loss of Sebastian, and France’s Theatre Jean sound quality”.

The system, supplied by Germany’s Deschamps (3,000) in Carcassonne.

Fifteen K2 per side were also flown Black Box Music, used main hangs comprising 14 K1s per side, with six for asymmetrical horizontal coverage, K2s per side as downfill and eight to ensure the sound was sent only to K1SBs per side flown next to the audience areas, with four K1-SBs in array at venues including Spain’s long throw mode on top.

“This combination was chosen Illumbe Bullring (cap. 16,000) in San

because of the identical sonic signature of the K1 and K2 and the seamless way that K1, K1-SB and K2 can be used in one system,” says L-Acoustics systems engineer and technical manager Ulf Oeckel.

“This system gives us huge flexibility, whether it’s limits on flying weights, low ceilings, how far it needs to throw. It is really easy to change elements of the system, with no loss of audio quality or coverage.”

Dixon adds, “The K1 is great for shows like this, with a lot of dynamics in the music.”

Knopfler plays US and Canadian shows from September, using just the K2 system.

BMFLs keep Mumfords bright in the sun

Robe at work with Mumford and Sons

As well as Mumfords’ own Gentlemen of the Road Stopovers in US towns such as Salida (site cap.

30,000) in Colorado and Aviemore (17,000) in Scotland (UK), the band plays venues such as The Forum (17,500) in Los Angeles, and the UK’s twin Reading (87,500) and Leeds (80,000) festivals.

Consequently, says Warren, the lighting rig has been designed in several formats, with BMFL spots and CycFX 8s by Czech Republic-based manufacturer Robe at its heart.

“Several variations of the design deliver as much show continuity as possible, even when the minimum

lighting installation is installed,” says Warren. Of the 32 BMFLs, 10 are installed on the front truss for key lights, front stage washes and audience illumination, with five on the upstage risers for shooting into the crowd and “dramatic throughthe-band shots”.

“The Robes are fast, bright and do everything I need,” he says. “Many of the shows play at least an hour in daylight, and the BMFLs are an excellent choice.”

The fixtures were supplied

by UK-based Neg Earth in Europe and Solotech Canada across North America.

SCANDINAVIA As long-standing users of the iLive audio console by British manufacturer Allen & Heath, The Cardigans switched to the company’s new GLD Chrome system for their summer dates, which including Finland’s Provinssirock Festival (cap. 20,000) and Norway’s Parken Festival (9,000).

Swedish PA company Parashoot supplied and operated the system, selecting a Chrome GLD-112 console for front-of-house (FOH), with a Chrome GLD-80 on monitors.

“The speed of GLD makes it very easy for us to drag, drop, add or lose channels,” says Parashoot’s Oscar Söderlund. “This is particularly useful when guest musicians or new instruments are added during sound check.

“It’s fantastic that the same effects I used on iLive also sound great on the GLD.”

GLD Chrome in use with The Cardigans

Parashoot has also established a simple stage communication system, he says, enabling FOH and monitors to “talk” to each other through a facility on the desks called the prefade listen buses, which allows engineers to communicate directly with backline staff and the band during sound check.

Audio Rental

production news

Photo by Guy Eppel

WORLD Lighting director Ed Warren is accommodating several different event styles on the Mumford & Sons tour, ranging from self-organised festivals and headline arena dates to regular festival appearances.

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audience • Issue 187 • August 2015

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Production news Battle of the consoles for folk rockers Newsbites ISRAEL Front-of-house (FOH) celebration on stage as one complete engineer Eran Ben Zur says his role package, while retaining the unique was to create a unified yet sound of each band and artiste,” he appreciably different sound for each says. “Each SD8s accommodated artiste when folk-rockers Yehuda one band, using AES and MIDI Poliker and Shlomi Shabat connectors to control Snapshots performed together at the historic [software]. A Digigrid MGB interface 3,800- capacity Roman amphitheatre was used for recording a total of 128 channels.” at Caesarea.

With two bands playing side by side for almost three hours, Ben Zur used two DiGiCo SD8s to harness 24 musicians, including three drummers, two bassists, two percussionists and three horns, requiring nearly 100 stage inputs.

“The major challenge was to ensure that the audience really experienced the Nimrod ‘Krovi’ Dobovitz (left) with Eran Ben Zur

On stage, he says, the monitor sound was combined for the bands with DiGiCo SD10 and SD5 desks, using two SD-Racks, connected via Optocore.

“Each monitor engineer – Idan Zoar for Poliker and Eyal Imber for Shlomi – had their own regular show file,” says Ben Zur. “Both added the other’s stage rack to their session. The SD10 ran the first of the two SD-Racks, with Zoar running 13 stereo in-ear monitor [IEM] mixes, while the SD5 runs the second SD-Rack, Imber having a total of 12 stereo IEM mixes.

The entire console set up worked incredibly well.”

production news

Audience gasps for Grönemeyer

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EUROPE Herbert Grönemeyer, who has sold 13 million albums in his 35year career, wanted clean, simple lines for his Dauernd Jetzt (Steady Now) tour, according to stage designer Gunther Hecker of Cue Design.

Germany-based company The Karben commissioned six moving video pods from Belgian engineering and automation specialist WIcreations, to provide the visual centrepiece of the show. According to Hecker, the pods moved into different positions throughout the

concert, changing the dynamic of the performance and drawing audible gasps from the audience.

The pods, deployed at venues such as Germany’s Waldbühne (22,000) in Berlin, Austria’s Wiener Stadthalle (16,150) in Vienna and the Netherlands’ Heineken Music Hall (5,500) in Amsterdam, measure 4.5m2 each and have a central surface of Roe MC-12 LED screen.

Lighting designer Marc Lorenz, who worked with Hecker to specify the pods, says working with

WIcreations’ founder Hans Willems was “brilliant”.

“I would describe the design ideas and Hans would propose a solution almost before I’d asked the question,” he says. “It was a great partnership.”

Willems adds, “Marc, Gunther and I all have similar attitudes, and share the goals of quality and excellence.

All of this is essential to delivering special structures like these in such a short timeframe.”

Grönemeyer’s Dauernd Jetzt tour continues into 2016.

UK/USA British sound rental company SSE Audio Group and California-based Sound Image (SI) have launched a joint venture, United Audio Companies (UAC), to better serve their clients either side of the Atlantic. SSE MD John Penn and SI president Dave Shadoan say the resources of each company will be available to the other, allowing acts to work seamlessly in the Americas and Europe. Neil Diamond is the first artiste to use UAC, although both companies have worked together with acts such as Linkin Park, Pharrell Williams and Billy Idol.

SWITZERLAND Production rental company Stagelight has invested in the first available 2500w Merlin followspots, according to French manufacturer Robert Juliat. “Merlin provides great brightness and, with a zoom range from 30 to 120, allows a wide spectrum, from 30m-100m,” says Stagelight’s Peter Lemmenmeier. Company clients include Olly Murs, Elton John and The Beach Boys.

POLAND Warsaw-based Tommex has been appointed British audio console manufacturer CADAC to distribute its products. “The CADAC deal enables us to specify systems for fixed installation projects entirely from our own portfolio,” says Tommex’s Marcin Zimny. Other brands Tommex distributes include Dynacord and Sennheiser.

IMAX LIGHTING Festivals - Touring - Live Music - Special Events - Corporate Events With a range of services that not only meets but exceeds your requirements Tel: 0117 971 96 25 Web: www.imaxlighting.co.uk

audience • Issue 187 • August 2015

www.audience.uk.com

tour plans aa guide guide to to artistes, artistes, tours tours && agents agents

BRNS Artistes

Period

Territory

Contact

Adam Ant

Mar-Aug Europe

Adrian Belew Power Trio

Accept

Feb Europe Jeff Aug T +49 8324 933 851

Maximum Booking info@maximumbooking.com

Dec Europe Alan Cottam T +44 1254 668471

Alan Cottam alan@alancottamagency.co.uk

Agency

Period

Territory

Contact

Details

Billy Ocean

Bobby Long

Brian McNight

BRNS

Calexico

Calan

Cannibal Ox

Feb-Mar Europe Sarah Casey T +44 20 8741 4453

Leighton-Pope Organisation sarah@l-po.com

Nov Europe Phil Simpson T +44 1539 528 808

Regent Music ps@regentmusic.com

Dec-Jan Europe, Asia Georg Leitner T +431 914 8615

Georg Leitner Productions gleitner@glp.at

Nov Europe Georgia Strawson T +44 20 7580 7773

ATC Live georgia@atc-live.com

Nov Europe Rob Challice T +44 20 7017 2500

Coda Agency rob@codaagency.com

Nov Europe Phil Simpson T +44 1539 528 808

Regent Music ps@regentmusic.com

Nov Europe Serena Parsons T +44 207400 4500

Primary Talent serena@primarytalent.com

Canned Heat

CC Smugglers

Chassol

Chris Rea

Nov Europe Sabine Trunzer T +49 6861 939 980

Kultopolis roland@kultopolis.com

Nov-Dec Europe Sarah Casey T +44 20 8741 4453

Leighton-Pope Organisation sarah@l-po.com

Nov-Dec Worldwide Clotaire Buche T +33 61715 3539

Junzi Arts clotaire@junzi-arts.com

Nov Europe Sarah Casey T +44 20 8741 4453

Leighton-Pope Organisation sarah@l-po.com

Details

Gary Howard T +44 20 7278 3331 The Agency garyhoward@theagenygroup.com Group

Alex Sklonick Trio Jan-Feb Europe

Ana Moura Nov-Dec Ireland,

East Europe

tour plans

Artistes

Jeff Aug T +49 8324 933851 Maximum Booking info@MAXIMUMBooking.com David Flower SASA Music

Andrea Motis & Nov-Apr Scandanavia, David Flower Joan Chamorro East Europe SASA Music

Bernie Marsden Nov-Dec Europe Alec Leslie Freebird - Adverts.pdf 1 Consolidated 24/03/2015

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T +44 20 7359 9232 rab@sasa.demon.co.uk T +44 20 7359 9232 rab@sasa.demon.co.uk +44 1829 730488

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audience • Issue 187 • August 2015

www.audience.uk.com

a guide to artistes, tours & agents Artistes

Period

tour plans Territory

Artistes

Colin Hay

Details

George Clinton Nov-Dec Europe Parliament/ Funkadelic

Nina Pernica Georg Leitner Productions

Graham Bonnet Jan Band

Alan Cottam

Europe

Hank Wangford Nov Worldwide

Jack Pack

Contact

T +43 1 914 8615 npernica@glp.at T +44 1254 668471

Chris Wade T +44 1377 217662 Adastra adastra@adastra-music.co.uk

Hollis Brown

Jack Pack

Nov Europe Jair Hoogland T +31 654 3919 48

Sedate Bookings jair@sedate-bookings.com

Jun-Jul Europe Gary Howard T +44 20 7278 3331

The Agy Group garyhoward@theagenygroup.com

Joe Satriani

Julio Iglesias

La Frontera

Lindisfarne

Nov Europe Wayne Forte T +44 1212 633 2600

Entourage booking@entouragetalent.com

Talent Associates

Nov Europe, Nina Pernica T +43 1914 8615

Asia, Georg Leitner Productions npernica@glp.at

S. America

Nov-Mar Europe Carlos Pinto T +351 21274 5759

Inter-Music International Inter-music@ip.pt

Dec Europe Steve Parker T +44 20 7935 9222 Feb-Mar Miracle Artists steve@miracle-artists.com

Period Territory Contact Details

Apr-May Europe Chris Wade T +44 1377 217662

Adastra adastra@adastra-music.co.uk

Craig David Mar-Aug Europe Gary Howard T +44 20 7278 3331

The Agency Group garyhoward@theagencygroup.com

De Temps Antan Nov Ireland Chris Wade T +44 1377 217662

Adastra adastra@adastra-music.co.uk

Dub Pistols Europe Nov-Dec Serena Parsons T+44 20 7400 4500

Primary Talent serena@primarytalent.com

Gene Loves Jezebel

Nov-Dec Europe

Carlos Pinto Inter-Music International

R Q

T +351 21274 5759 Inter-music@ip.pt

Foreigner These listing details have been compiled from information provided to Audience. Every reasonable effort is made to ensure accuracy, however we cannot be held responsible for incorrect data.

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Nov-Dec Europe, Asia Roland Theierl T +43 650 2055202

Georg Leitner Productions rtheierl@glp.at

Nov Europe Jeff Aug T +49 8324 933 851

Maximum info@maximumnooking.com

Booking

Jun-Aug Europe Georg Leitner T + 43 1 914 8615

Georg Leitner Productions gleitner@glp.at

tour plans

Duke Ellington Orchestra

Eric Gales

Foreigner

37

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audience • Issue 187 • August 2015

tour plans a guide to artistes, tours & agents Artistes

Period

Territory

Contact

Details

Liu Bei Nov-Dec Europe Georgia Strawson T +44 20 7580 7773

ATC Live georgia@atc-live.com

Living Legends Nov Europe, Alan Cottam T +44 1254 668471 of Rock tour

Russia Alan Cottam alan@alancottamagency.co.uk Dan Mccafferty, Graham Agency Bonnet, John Lawton

Maggie Reilly Nov Europe Debra Downes T +44 20 7733 0508

Dawson Breed debra@dawsonbreedmusic.com

Music

Nov Europe Jack Gray T +44 151 284 7524 Marc Almond

Satellite Agency jack@satelliteagency.co.uk Marcia Ball

Marko Nobre

Misia

Nov Europe Tom Gold T +1 310 385 2800_

The Agency Group tomgold@theagencygroup.com

Nov-Dec Europe Carlos Pinto T +351 21 274 5759

Inter-Music International Inter-music@ip.pt

Nov-Jan Europe Henry McGroggan T +48 22 894 60 35

Central European Org. henry@centraleuro.org

My Baby Nov-Dec Europe Dan Silver T +44 207 704 9720

Value Added Talent dan@vathq.co.uk

Oliver Dawson Nov Worldwide Steve Galeazzi T +44 1942 321435 Saxon

Industrial Strength

Media steve@industrial-strength-media.co.uk

tour plans

Paper Lace Nov-Dec Worldwide

Pauper Kings Nov Europe

Pauper Kings

Steve Galeazzi T +44 1942 321435 Industrial steve@industrial-strength-media.co.uk Strength Media Alec Leslie ALE Consolidated

+44 1829 730488 alecconsol@aol.com

Liu Bell Artistes

Period

Territory

Renaissance

Mar-Apr Asia

Roberto Fonseca Mar-May East Europe Trio

Contact

Details

Wayne Forte T +44 1212 6332600 Entourage Talent booking@entouragetalent.com David Flower SASA Music

T +44 20 7359 9232 rab@sasa.demon.co.uk

Roger Eno

Sam Lee

Nov-Dec Europe Henry McGroggan

Central Euro

Nov-Dec Europe David Flower

SASA Music

Sam Russo

Dec Europe

Sezen Aksu

Skalpel

Soft Machine

Nov-Dec Europe Riza Okcu

StageArt

Nov Europe Ania Marzec

Central European

Organisation Nov-Dec Europe

Jeff Aug Maximum Booking

Space

Nov Europe

Jack Gray Satellite Agency

Georgia Strawson ATC Live

T +48 22 894 6035 henry@centraleuro.org T +44 20 7359 9232 rab@sasa.demon.co.uk T +44 20 7580 7773 georgia@atc-live.com T +90 212 2452424 rokcu@stageartorg.com T +48 22894 6035 ania@centraleuro.org

T +49 8324 933 851 info@MAXIMUMBooking.com T +44 151 284 7524 jack@satelliteagency.co.uk

38

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audience • Issue 187 • August 2015

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touraplans a guide to artistes, & agents guide to artistes, tours & agentstours tour plans Artistes

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Period

Territory

Contact

Details

The Men They Couldn’t Hang

Nov-Dec Worldwide Chris Wade T +44 1377 217662

Adastra adastra@adastra-music.co.uk

Contact

Details

The Ringers

Nov Europe, Asia Wayne Forte T +1 212 6332600

Entourage Talent booking@entouragetalent.com

Associates

The Skull

Mar Europe

The Unthanks

The Zombies

Tommy Emmanuel

Nov Europe Phil Simpson T +44 1539 528 808

Regent Music ps@regentmusic.com

Nov-Dec Europe Tom Gold T +1 310 385 2800_

The Agency tomgold@theagencygroup.com

Group Nov

Europe

Jeff Aug Maximum Booking

T +49 8324 933 851 info@MAXIMUMBooking.com

Sabine Trunzer

UFO Nov Europe Nick Peel

Miracle Artists

Yasemin Mori Nov Europe Riza Okcu

StageArt

Zamilska Nov-Dec Europe Ania Marzec

Central Euro

8:58 (Orbital’s Nov Worldwide Dan Silver Paul Hartnoll)

Value Added Talent

T +49 6861 9399827 T +44 20 7935 9222 nick@miracle-artists.com T +90 212 2452424 rokcu@stageartorg.com T +48 22 8946 035 ania@centraleuro.org T +44 207 704 9720 dan@vathq.co.uk

tour plans

Steve Hackett Nov-Dec, Australia, Wayne Forte T +44 1212 6332600

Mar-May New Zealand, Entourage Talent booking@entouragetalent.com

Asia Associates

Symphony X Feb-Mar Europe Nick Peel T +44 20 7935 9222

Miracle Artists nick@miracle-artists.com

Taksim Trio May Europe Riza Okcu T +90 212 2452424

StageArt rokcu@stageartorg.com

Tedeschi Nov, Mar Nth America Wayne Forte T +1 212 6332600 Trucks Band Apr Entourage booking@entouragetalent.com

Talent Associates

Ten Years After Nov Europe Sabine Trunzer T +49 6861 9399827

Jan-Mar Kultopolis agentin@kultopolis.com

10cc Nov, Australia/ Steve Parker T +44 20 7935 9222

Feb-Mar New Zealand/ Miracle Artists steve@miracle-artists.com Europe

Terry Bozzio Nov Europe Jeff Aug T +49 8324 933 851

Maximum info@maximumbooking.com

Booking

The Dunwells Sep-Dec Europe Sarah Casey T +44 20 8741 4453

The Leighton-Pope Organisation sarah@l-po.com

Period Territory

UFO

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audience • Issue 187 • August 2015

festival news Pioneering EDM festival adds day Pstereo sets NETHERLANDS Dance music festival Mysteryland (cap. 60,000) has added a second day to its bill for the first time in its 22-year history.

Claiming to be the world’s longest-running dance festival, Mysteryland returns between 29 August and 30 August, with DJ sets from Martin Garrix – his only festival performance this year –Alesso, Steve Angello and Nicky Romero.

Weekend tickets for the sold out event cost €71.50 ($79).

It is organised by SFX Entertainment owned ID&T. “Since we first organised Mysteryland at the Floriade area, visitors have consistently asked for more time to see and discover everything,” says Clayton Frederik, senior marketing manager at ID&T. “We are so happy that we can offer our visitors a twoday programme. Not only can people party longer, but

eco example

Mysteryland

most of all, they have more time to explore the wide variety of music, arts and culture on offer.”

Mysteryland also has editions in the US (20,000) and Chile (60,000).

ID&T also organises global festivals such as sensation and Q-dance, as well as Belgium’s Tomorrowland (60,000).

Bestival’s basks in summer of love

festival news

UNITED KINGDOM Bestival (cap. 55,000) returns for its 12th edition with a Summer of Love theme, a host of new interactive installations and new sponsors.

The event takes place between 10 and 13

Bestival

September at Robin Hill Country Park near Newport on the Isle of Wight.

The festival, founded in 2004, will this year feature acts including Missy Elliott, Duran Duran, The Chemical Brothers and Underworld.

Fitting with the ‘flower power’ theme, new features this year include The Commune, a pyro-installation which blows flames in the shape of a flower, the LoveBot, a robot which lights up when you show it affection, and the new Slow Motion arena which will feature activities such as yoga and rock climbing.

Sponsors this year include Gourmet Burger Kitchen, Red Bull, STA Travel, Halfords, and Snog frozen yogurt.

Weekend tickets cost £195, including £1 added to the ticket price which is donated to Youth Trust.

Bestival was co-founded, and is co-organised by DJ Rob Da Bank and his wife Josie, as well as Ziggy Gilsenan and John Hughes from Get Involved PR.

Tour Manager Terry Tucker’s Tribulations

NORWAY After success of this year’s Pstereo festival (cap. 9,500), organisers have revealed next year’s tenth edition will expand to a three-day event.

The festival is owned by local production company Trondheim Kultur&Næring (Trondheim culture & business) which also runs concert venue Byscenen (600).

This year’s event took place on 21 and 22 August at Marinen Park featuring acts including La Roux, Soak and Band of Horses. Tickets for the sell-out event were 805 Krone ($98) and the event was a sell-out.

As well as an additional day, festival leader Nils Heldal is hoping Pstereo can set a new ecological standard.

“Pstereo believes in being a sustainable and conscientious and therefore tries to encourage people to walk, bike or take public transit to the event,” says Heldal.

“We have 90 per cent sustainable food having introduced goat and wild fisk. It’s also about caring for the outdoor space on which the festival grounds sit.”

The four-stage event, named after Pstereo an album by Norwegian rock band DumDum Boys (who are also Trondheim Kultur&Næring cofounders), spills into 11 of the city’s club venues at closing time, to host Pstereo club nights.

by Newman-Parker

42

audience • Issue 187 • August 2015

www.audience.uk.com

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