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For the International Contemporary Live Music Industry issue 214 November 2017 UK £6.25 Europe €9.40 ROW $12.25

Solid Gold Sky’s the limit for Foo Fighters

Raids on Viagogo and StubHub revealed Live Nation hails record quarter Muse agent Meall to leave UTA

The club scene is extremely dynamic, which is essential to build a strong base for the whole local music industry Czech Republic’s Anthony Jouet of Fource Entertainment


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Essential reading for live music industry professionals across more than 80 countries worldwide

Perspective

Contents

15

4-12 World News Industry news from around the globe

16-20 Market Focus: Czech Republic Review of a touring market for international artistes

22-26 Feature: Anytime, any place, anywhere How private jets not only provide privacy and luxury, but also value for money to touring acts

28 City Focus: Bergen, Norway

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31 Industry Events 32-35 Production News

36-41 Tour Plans Artistes, tour periods, agents

42 Festival News International festival activity The trials and tribulations of tour manager Terry Tucker and his crew

From the revelation that the UK offices of StubHub and Viagogo were raided, controls being introduced in Australia, Metallica’s antitouting measures abandoned, the SongkickTicketmaster trial in the US postponed, Swiss court action against Viagogo and even a supertout unveiled in the Paradise Papers tax havens exposé, the antics of touts and their facilitators are back in the headlines. If it was the local baker’s, greengrocer’s or liquor store’s stock that was being scooped up and resold down the road for twice the price (especially if the baker, greengrocer or liquor store owner was involved), there would be public outrage. But this is live entertainment, it effects less people and it’s harder to identify who is responsible. However, the UK’s competition watchdog is asking that very question and investigating the links between touts and the Big Four resale sites, to see if there is complicity. As more artistes and their managers make a stand, the subject gets wider and higher-profile media coverage internationally, and politicians adopt the consumer rights argument, the fightback against industrial-scale exploitation becomes more coherent.

Developments in live show equipment and infrastructure

42 A Lesson in Time Management

It is hard to avoid noticing that this issue’s news pages are again dominated by stories of ticket touting and the efforts to curtail it.

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After all, the ticket and its price are the first tangible points of contact a music fan has with a performance by their favourite artistes, and most people believe that should be an honest and fair experience.

Publisher & Managing Editor: Stephen Parker

Jason Scott, Tom Brint T: +44 (0)20 7486 7007 gareth@audience.uk.com Editorial Contributors: craig@audience.uk.com Europe Christopher Barrett, John Pagni, jason@audience.uk.com Mike Gartside tomb@audience.uk.com USA/Canada Jane Cohen, Bob Grossweiner Subscriptions: Laurie Burgess, Tom Herriott T: +44 (0)20 7486 7007 Sales Director: Gareth Ospina E: laurie@audience.uk.com Sales Executives: Craig Swan,Jason Scott, Rates: £75 for 12 issues (UK) Tom Brint £85 for 12 issues (European Union) Re-subscriptions Manager: Laurie Burgess £95 for 12 issues (Rest of the World) Credit Control: Murali Sri Balaskanda Subscribe online at www.audience.uk.com Cover photograph: © REX/Shutterstock Editorial: Neil Bracegirdle T: +44 (0)20 7486 7007 Design: Imogen Chester E: neil@audience.uk.com Print: Stephens & George Ltd www.stephensandgeorge.co.uk Advertising: Gareth Ospina, Craig Swan,

News Editor: Neil Bracegirdle

www.audience.uk.com

ISSUE 214: November 2017 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 214 • November 2017


4 • World News

Viagogo and StubHub offices raided as part of ticket touting investigation UNITED KINGDOM

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wo of the Big Four secondary ticketing sites at the centre of an investigation into breaches of consumer law have had their offices raided, it has been revealed. Viagogo and eBay-owned StubHub both received a visit to their London offices by officials from the Competition and Markets Authority (CMA), the Guardian newspaper reports. It is understood information was seized relating to the companies’ dealings with ticket touts. The CMA launched an investigation to check whether the Big Four – the other two being LNE subsidiary Ticketmaster’s Get Me In and Seatwave platforms – were adhering to the Consumer Rights Act amendment of 2015 (see Audience issue

203), introduced last year. Issues include identifying sellers, restrictions on tickets and seat location. It is also looking into whether touts are given preferential treatment over genuine fans. An ‘information notice’ was sent out by the CMA to the four sites, requesting details of ticket sales turnover and relationships with major touts. Seatwave and Get Me In complied, but Viagogo and StubHub failed to do so by a deadline, leading to the CMA raids in August. Among information believed to have been taken were details of StubHub’s Top Seller Programme, comprising touts who generate more than $250,000 in sales each year, which allegedly allows large sellers, to receive added benefits including discounts on fees.

A spokesman for the CMA tells Audience it could ‘neither confirm or deny’ the raids took place. Meanwhile information leaked in the so-called Paradise Papers on companies and individuals using tax havens around the world, has highlighted a link between StubHub and Canadian super tout Julie Lavallee. As well as turning over millions of dollars each year, Lavallee’s company I Want Tickets was registered in the Isle of Man, via offshore legal service provider Appleby to avoid paying tax. Lavallee is also a member of StubHub’s Top Seller Programme and was active on the site as recently as August. He has harvested and resold tickets for acts including Adele, Ed Sheeran and Drake. “It is no secret that the model of

so-called secondary ticketing promoted by Viagogo, StubHub, Get Me In! and Seatwave has resulted in UK audiences being systematically ripped-off on an industrial scale,” says a spokesman for anti-touting campaign group FanFair Alliance. “The new revelations from the Paradise Papers highlight a jawdropping scale of complicity between large-scale sellers and one of the platforms. “What we now need is root-andbranch reform. As well as regulatory action, we urge the [Government’s] Culture Media & Sport Select Committee to revisit the issue of ticket abuse and for the Government to enforce legislation in a meaningful way.” StubHub declined to comment while the CMA investigation was ongoing.

Live Nation hails historic quarter UNITED STATES

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n what Live Nation Entertainment (LNE) president and CEO Michael Rapino called “the best quarter in history”, the company’s Michael Rapino revenue was up 12 per cent to $3.56 billion. Third quarter (Q3) adjusted operating income (AOI) was up 10 per cent to $335 million and operating income was up five per cent to $201m. Q3 earnings were $136.5m, compared with $111.03m in the same

period last year. Concert revenue was up 11 per cent to $2.939bn, as a result of a 10 per cent increase in the number of concerts across arenas, stadiums and theatres and clubs and nearly 30 million show attendees. There were 5,275 North American concerts during Q3, compared to 4,950 in Q3 2016, and 1,483 international concerts compared to 1,207 last year. Ticketing revenue was up 17 per cent to $532.3m, and globally there were 6,758 events and 115.5 mil-

lion tickets sold, compared to 6,157 events and 114 million tickets sold in Q3 2016. Sponsorship and advertising revenue grew by 16 per cent to $158m. “All of our businesses — concerts, advertising and ticketing — have delivered growth for the nine months, and based on their key operating metrics, we currently expect each to deliver record revenue, operating income and AOI for the full year,” says LNE president and CEO Michael Rapino. “As we look forward, we see tremendous opportunities to con-

tinue global consolidation of our concerts and ticketing businesses, and for further growth in advertising and ticketing from the concerts flywheel.” As Audience went to press it was revealed Rapino had sold 210,000 of his shares in LNE, at an average price of $45.15, for a total of $9.47m. He stills holds 185,277 shares, valued at $8.36m. Long-term debt is $2.24bn compared to $2.26bn during the Q3 2016, while short-term debt rose to $71.67m from $53.32m in Q3 last year.

Muse agent Meall to leave UTA UNITED KINGDOM

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eoff Meall, MD of United Talent Agency (UTA) in the UK, is leaving the company. It is understood that Meall, whose roster includes Muse, Paramour, Foals, and Billy Talent

has been placed on so-called gardening leave until the end of the year. It is believed that he will join Coda Music Agency in the new year, following in the footsteps of former UTA UK vicepresident Natasha Bent, who

audience • issue 214 • November 2017

made the switch in November last year. She had been at UTA since 2006. Meall has worked at UTA, previously The Agency Group (TAG), since 1992. TAG founder Neil Warnock sold the multinational booking agency to UTA

two years ago. Attempts to contact Meall as Audience went to press were unsuccessful, while both UTA and Coda declined to comment. Among other acts on his personal roster are Cage the Elephant, Doves and Mallory Knox.

Geoff Meall

www.audience.uk.com


World News • 5

Falls Festival in the clear over crush Buyers sort for SMG

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Falls Festival Lorne

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n investigation into the 16,000-capacity Falls Festival, which saw more than 70 people injured in a crowd crush at its event in Lorne this year, has been dropped by watchdog WorkSafe Victoria due to “insufficient evidence”. The government-operated agency had been investigating whether there were grounds to pursue a prosecution

against festival organiser Ash Sounds, part of Secret Sounds, under the Occupational Health and Safety (OHS) Act. The crush happened as crowds tried to leave the festival’s Grand Theatre tent after a performance by DMA’s (see Audience issue 204). Nineteen people were hospitalised with many more injured. “All the conditions imposed by various bodies in relation to the event, such as crowd control, crowd size, and

positioning and size of exits, had been met,” says WorkSafe in a statement. “As a result, WorkSafe found there was insufficient evidence to establish any offence under the 2004 OHS Act and no further action will be taken.” A private class-action lawsuit against Secret Sounds on behalf of a group of festival-goers caught in the crush is ongoing. Falls Festival also takes place in Bryon Bay, Freemantle and on Tasmania.

ne of the world’s largest music venue and convention centre venue management companies, SMG, is reportedly up for sale. According to the SportsBusiness Journal, the company which operates hundreds of venues from theatres to stadiums, has been put on the market by owner US private equity fund Northlane Capital Partners. It is understood a potential sale could be worth up to $750 million. America’s Mercedes-Benz Superdome (cap. 76,500) in New Orleans, Germany’s Konig-Pilsner Arena (13,000) in Oberhausen and the UK’s Metro Manchester Arena (20,000) are among SMG venues. SMG declined to comment when contacted by Audience.

Flying sky high WORLD

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ormed in 1994 by former Nirvana drummer Dave Grohl, Foo Fighters have recently released their ninth studio album Concrete and Gold, which includes the hit single Sky is a Neighbourhood. COVER ARTISTE Following a yearlong break the band returned to touring in June, with a headline set at the UK’s Glastonbury (cap. 140,000) festival among other performances. They had been due to play the festival in 2015, but were forced to pull out after Grohl broke his leg. The band finished this year in the US, playing venues including Golden 1 Center (17,608) in Sacramento and Vivint Smart Home Arena (20,000) in Salt Lake City, before starting 2018 in Australia at Perth’s nib Stadium (32,000) and Sydney’s ANZ Stadium (83,500). “The energy at a Foo Fighters show is both inspiring and palpable,” says the band’s international agent Russell Warby at WME in the UK. “They are always working on new elements that continue to surprise me - and I go to as many shows as possible. The band want to make everyone’s concert experience special, offering extraordinary musicianship and communication to every audience member.” John Silva at Silva Artist Management in Los Angeles is the band’s manager.

www.audience.uk.com

audience • issue 214 • November 2017


6 • World News

Songkick v Live Nation CTS makes new friends trial set for new year “There are many artistes that have long been addressing an international an-Europe ticketing company audience and our aim is to offer them CTS Eventim has strengthened its Europe-wide touring opportunities position in the Italian market with the and efficient ticketing services under the CTS Eventim umbrella,” acquisition of a 60 per cent says CTS CEO Klaus-Peter stake in promoter Friends Schulenberg. and Partners (F&P). Salzano will continue to The deal follows the Germanage F&P, which will beman giant taking a 51 per come part of CTS’s live divicent share in Milan-based sion Medusa. promoter Vertigo (see AudiFerdinando Salzano “Our joint aim is to project ence issue 212) two months the Friends & Partners sucago. CTS also owns Italian cess story into the future,” he ticketing company Ticksays. etone. Meanwhile Ticketmaster Founded in 2001 by Ferhas moved into the market dinando Salzano, F&P, which with the launch of Ticketwas previously in partnermaster Italia and appears to ship with Warner Music, only be offering tickets to works on tours with artistes Peter Schulenberg such as Ligabue, Laura Pausini, Claudio events orqanised by parent company Live Nation Entertainment. Baglioni and Zucchero. ITALY

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he long-running legal dispute between Songkick and Live Nation Entertainment (LNE) will run into next year, after the court date was pushed back. UK-based Songkick, which has now ceased trading following the closure of its ticketing division (see Audience issue 213), was scheduled to face LNE in a Los Angeles court on 14 November. The company accuses LNE of anti-competitive behaviour and claims that former employees who went onto work for LNE subsidiary Ticketmaster, passed vital documents to their new bosses. “Following the court hearing on 23 October to review papers,

it was agreed to delay the court hearing to a date to be set in January,” a source close to Songkick tells Audience. “The purpose of the delay is so that Songkick lawyers can go through previously withheld and now released Ticketmaster/Live Nation internal documents with a view to adding to current claims. The time will also be used to search for and subpoena the two former Ticketmaster employees Mead and Zaid to appear in court.” Songkick had earlier complained that LNE delivered around 4,000 documents relevant to the case after a deadline. LNE says the delay was due to a technical glitch.

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Metallica anti-tout controls abandoned UNITED KINGDOM

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housands of fans were allowed to bypass strict restrictions for Metallica’s UK shows, despite the band’s efforts to prevent ticket touting. Fans were told that only the original buyer with ID would be permitted entry, after the artiste, promoter Live Nation Entertainment (LNE) and venues including London’s The O2 (cap. 21,000), Manchester Arena (20,000) and Glasgow’s SSE Hydro (13,000) agreed to use personalised tickets. The measure, designed to make any tickets bought on second-

ary sites invalid, was used at a Foo Fighters concert at The O2 recently and resulted in around 200 people who had bought touted tickets being turned away (see Audience issue 212). However, this time people with resold tickets were waved through without ID checks. “Live Nation issued instructions to ignore names on tickets and not to refuse anyone entry,” a source close to the shows tells Audience. “There were thousands of resold tickets allowed into one venue alone.” Ticketmaster, which is owned by LNE, was the official primary seller

Metallica with Live Nation promoter Andy Copping (third left), The O2 head of programming Christian D’Acuna (centre) and agent John Jackson (second right).

for the shows and despite the restrictions, its secondary sites Get Me In! and Seatwave, along with eBayowned Stubhub and Viagogo, listed tickets for resale. LNE declined to comment when contacted by Audience, as did Metallica’s management Q Prime, inter-

national agent K2 Agency and the venues involved. During one of their two-shows at The O2 Metallica broke the record attendance at the venue performing to 22,211 people, beating the previous record of 21,000 set by Muse last year.

Country promoter dies in motorbike accident AUSTRALIA

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ountry music promoter Rob Potts, CEO of Entertainment Edge, has died in a motorbike accident in Tasmania, at the age of 65. Potts, who worked in the music industry for more than 30 years, was a booking agent for acts including Keith Urban and Tommy audience • issue 214 • November 2017

Rob Potts

Emmanuel. As a promoter, he worked with artistes such as Faith Hill, Zac Brown Band and Tim McGraw to Australia, and was responsible for Taylor Swift’s first shows in the country. In partnership with Chugg Entertainment (CE), Potts also established country music festival brand CMC Rocks and was a member of the Country Music Association board of directors.

“He was without question, the most passionate supporter of country music in Australia,” says CE’s Michael Chugg. “Rob was at the top of his game and all his dreams were coming true. The country music world and the global music industry has lost a pioneer. I have lost a great friend.” CEO of CMC Rocks Qld Matthew Lazarus-Hall adds, “Rob’s passion and determination was never-ending. The industry has lost a great man.” Potts is survived by his son Jeremy and ex-wife Sally. www.audience.uk.com


World News • 7

App deal will improve customer experience

Promoter admits $95m ‘swindle’ UNITED STATES

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ustomer experience app LiveStyled has been engaged to provide a mobile app for Lisbon’s 20,000-capacity Altice Arena, formerly the MEO Arena. The platform will allow event-goers to access mobile tickets and order food, drink and merchandise. “LiveStyled will give us the tools to enhance our customer experience,

oncert promoter Joseph Meli, who fleeced about 130 investors out of $95 million in a ticketing re-selling Ponzi scheme (see Audience issue 212), has pleaded guilty to one count of securities fraud. Dating from 2015 to this year, investors thought their funds were going to buy and resell blocks of Altice Arena tickets to popular concerts and shows including the whilst at the same time Broadway hit Hamilton and were promised 10 per learning more about their cent returns on their money within eight months. individual behaviour and Instead, Meli used the money to buy a $3m preferences in the venue,” house in East Hampton, New York, a 2017 Porsche says Altice Arena MD Jorge convertible, watches and jewellery, and to repay Vinha Da Silva. previous investors in the pyramid scheme and an The venue was renamed unrelated hedge fund. in October after a four-year Federal guidelines call for a prison term of 78-97 naming rights deal with months and a fine of as much as $5m. As part of a Portugal Telecom came plea agreement, five other charges were dismissed, to an end and the venue’s including that Meli defrauded investors in the French owner Altice choose hedge fund Sentinel Growth Fund Management. to adopt its own name. Meli’s lawyer’s can also seek a lighter punishForthcoming shows in- ment at his 31 January sentencing. Without the clude Shakira, alt-J and plea deal, he could have received a sentence of Metallica. 20 years.

Newsbites USA Olympia Entertainment and Palace Sports & Entertainment (PS&E) have formed 313 Presents, a joint venture combining each organisation’s entertainment businesses into a single company that will manage concerts and other entertainment events at six venues across Detroit. The number 313 is the telephone area code for the city. Venues include the new Little Caesars Arena (cap. 20,000), DTE Energy Music Theatre (15,274, formerly the Pine Wood Music Theatre), Fox Theatre (4,800) and Comerica Park (40,000).  BRAZIL The country’s largest electronic music conference is to change its name and move location, as it enters its 10th year. Rio Music Conference will become Brazil Music Conference (BRMC) and relocate to Unibes Cultural space in Sao Paulo on 7-10 March. As part of the changes BRMC is attempting to attract a wider audience. “It’s time to broaden the spectrum and act in a continental manner,” says founder Claudio da Roacha. More than 270 speakers took part in panels, workshops and Q&As during this year’s event.

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audience • issue 214 • Novmeber 2017


8 • World News

V Festival to rebrand and expand UNITED KINGDOM

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he twin V Festivals (cap. 80,000) are to be rebranded after the withdrawal of the events headline sponsor Virgin. Doubts had been raised about the future of the festival, which is held at Weston Park, Staffordshire and Hylands Park, Chelmsford (see Audience issue 213), although co-organisers Festival Republic – a division of Live Nation Entertainment (LNE) – say the sites will be used next year under a new name. “We’ve been proud to sponsor V Festival for the past two decades and there have been some incredible performances on the stage,” says Virgin

founder Richard Branson. “We wish Live Nation every success with their future plans.” Festival Republic says it intends to retain a pop and dance focus for the new event, the name of which has yet to be announced, and expand from two to three days. LNE acquired its stake in the V Festivals, launched in 1997 by SJM Concerts’ Simon Moran, Metropolis Music’s Bob Angus and Irish live music entrepreneur Denis Desmond – who is now LNE non-executive chairman – four years ago. Meanwhile AEG Presents division Goldenvoice is to hold a new 40,000-capacity festival All Points East in London’s Victoria Park, after signing an ex-

V Festival

clusive five-year contract with site owner Tower Hamlets Council. The agreement means other festivals which previously used the park, such as LNE’s Lovebox (cap. 30,000) and Citadel (25,000), along with Global’s Field Day (25,000), will relocate next year.

Download heads for Australia

Newsbites USA Live Nation Entertainment (LNE) has appointed Hans Schafer to head its new Live Nation Latin department focused on expanding the company’s presence in Latin music. Schafer most recently served as director of Latin Talent for AEG Live, prior to which he was the director of Brand Partnerships for Universal Music Latin Entertainment. He will be based in Beverly Hills and report to Bob Roux, co-president of LNE US Concerts. USA United Talent Agency (UTA) has acquired speakers agency Greater Talent Network (GTN), making UTA a market leader in live speaking engagements. Financial terms were not disclosed. Among its music entertainment industry speakers are Alice Cooper manager Shep Gordon, Paula Abdul and Harry Belafonte. GTN will continue to operate out of its New York and Palm Beach offices.

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K rock and metal festival Download (cap. 85,000) is to launch a similar event at Flemington Racecourse in Melbourne next year. Download Festival Australia will take place on 24 March as a one-day event, featuring acts such as Korn, Limp Bizkit, Prophets of Rage, Masto-

don and Gojira. The project has been in the works for nearly four years, and is being masterminded by Live Nation Entertainment (LNE), Secret Sounds, which LNE acquired a share of in 2016, and UNIFIED Music Group. “We know that there are a lot of fans there and we believe that the festival will grow and hopefully become as

big as it is in the UK,” Andy Copping says Andy Copping, promoter of the Live Nation Entertainment-owned UK Download. The development follows the expansion of the Download brand to international markets in recent years, with events also taking place in France and Spain.

Spinal Tap creators amend lawsuit UNITED STATES

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he creators of the iconic 1984 film This is Spinal Tap, about an ageing British rock band’s chaotic decline, have streamlined their $400 million lawsuit against French media giant Vivendi, and added its subsidiary Universal Music Group as a co-defendant. Harry Shearer, who played the part

of bassist Derek Small, filed the original lawsuit in October last year (see Audience issue 205) alleging he was defrauded out of $125m, and was then joined by co-creators Rob Reiner, Michael McKean and Christopher Guest, increasing the damages sort. After being informed by a judge that they could not sue Vivendi through their individual companies, but could in their own right,

the four creators have amended the complaint and now stand as individual co-plaintiffs. They accuse Vivendi of fraud by concealment and misrepresentation. According to legal papers filed by Shearer’s team, the film creators’ share of global sales revenue between 1984-2006, reported by the label, amounted to $81, and their cut of musical sales from 1989 to 2006 was $98.

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audience • issue 214 • November 2017

Anthony B - Bishop Nehru - Bigflo & Oli - Billy Talent - Chinese Man - Deluxe - Dilliger Escape Plan Gramatik - Griz - Hozier - Isaiah Rashad - Hyphen Hyphen - Kery James - Kid Ink - Parkway Drive Kodaline - J Balvin - Juliette & The Licks - Mac Miller - Maitre Gims - MHD - Mick Jenkins - Milow Nada Surf - Noah Slee - Krs One - Pixies - Rae Sremmurd - Roger Hodgson - Schoolboy Q - Seasick Steve Soprano - SUM 41 - The Chainsmokers - Vitalic - Yann Lambiel - Yelawolf www.soldoutprod.com

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IRELAND

20 CELEBRATING 20 YEARS IN IRELAND A special thank you to all our clients and customers


10 • World News

Watchdog takes court Broker files lawsuit over action against Viagogo alledged underpayments SWITZERLAND

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overnment consumer watchdog SECO has brought a civil action against Geneva-based ticket resale platform Viagogo, to stop the company using unfair business practices. SECO, which has received more than 260 complaints against Viagogo from across the world, wants the site to be more transparent by clearly displaying the final price paid for a ticket, including sales tax and non-optional surcharges. It should also clearly indicate that it is a resale site and stop putting pressure on customers to buy. Among those to have provided

SECO with evidence is founder of Facebook group Victim of Viagogo Claire Turnham in the UK. “We would encourage anyone who has been a victim of Viagogo to send their relevant information and help to strengthen the findings,” Turnham tells Audience. She says she has been contacted by people from more than 15 countries about the secondary site. “The complaints are worldwide and all these people are having the same experience. All the stories are very familiar.” The case will be determined by the Commercial Court in Zurich. Victim of Viagogo has so far helped to recoup more than £180,000 ($237,500) for customers mislead by the site.

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icketmaster (TM) is facing a lawsuit after alleging underpaying brokers using its resale sites. The Live Nation Entertainmentowned company is accused of failing to account for the exchange rate fluctuation between US and Canadian dollars, when paying so-called brokers for tickets sold through its secondary sites for events in Canada. In a lawsuit filed in San Diego, broker Eric Fuller claims that between June 2015 and March 2016 TM switched to paying in Canadian dollars, having previously agreed to pay in US currency. During this

period the exchange rate was around $0.65 to C$1 – a difference of 35 per cent. Fuller says that when he brought the error to TM’s attention the company offered to pay him what he was owned, but did not plan to inform others. He refused the offer and filed the lawsuit to bring the issue to light. “Ticketmaster needs to do the respectable thing,” says Fuller in an interview with TicketNews. “Instead, they use us as the bogeyman to sell their verified fan program to artists and their new presence system to Wall Street.” TM declined to comment on the lawsuit.

Champions win award Waldbuehne amphitheatre UNITED KINGDOM

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riana Grande, her manager Scooter Braun and promoters Melvin Benn of Festival Republic and Simon Moran of SJM Concerts, were recognised as Industry Champions for their efforts organising One Love Manchester, at the Artist & Manager Awards in London. The concert was a response to the bomb attack at Manchester Arena in May. Depeche Mode’s manager Jonathan Kessler received the Peter Grant Lifetime Achievement Award, while TAP Management’s Ben Mawson and Ed Millett, who count Lana Del Rey among their clients, won Manager of the Year. The event is organised by the Music Manager’s Forum and Featured Artist Coalition.

celebrates record year

YouTube teams up with Ticketmaster T

Waldbuehne

Other events at the venue, run by CTS since 2009, include Aerosmith and Kings of he 22,000-capacity Waldbuehne in Leon, as well as the charity festival Peace x Berlin has welcomed a record 350,000 Peace, which raised €413,517 ($481,754) for people across 22 events this year, making children in areas of conflict. “It’s great how the Waldbuehne has deit one of the world’s top performing amphiveloped over the past years,” says theatres. CTS executive vice-president Among the shows at the Rainer Appel. “It is not just the open-air venue were sell outs leading European open-air loby Robbie Williams, Pink and cation, but also a front-runner Udo Lindenberg. Over the first worldwide.” three-quarters of the year WaldCTS also owns and operbuehne, which is operated by ates Cologne’s Lanxess Arena pan-European ticketing giant (18,500). and promoter CTS Eventim, has Rainer Appel Upcoming concerts at Waldbeen ranked No 1 amphitheatre in the world for ticket sales by US industry buehne include Beatsteaks, Die Toten Hosen and Andrea Bocelli. magazine Pollstar. GERMANY

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ouTube has partnered with Ticketmaster (TM) in a move aimed at increasing ticket sales for live shows. The deal will allow fans using the Google-owned site to view concert listings within artistes videos, before being directed to TM to buy tickets. To begin with the partnership will only apply in the US, but there are plans for it to be rolled out globally. “With live concerts becoming a bigger driver of revenue for artistes, we want to help artistes reach those fans, keep them updated about upcoming shows, and sell more tickets,” says YouTube in a statement. audience • issue 214 • November 2017

www.audience.uk.com


World News • 11

Resale cap is introduced AUSTRALIA

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he Government of Victoria has introduced legislation making it illegal to sell or advertise tickets for resale at more than 10 per cent above face value. As part of the Major Events Legislation Amendment Bill 2017, concerts, sporting events and theatre shows which attract high demand, will be attributed “declared” status and fall under the new law. Police will be present at major events and anyone found

breaking the law could be fined between A$790-475,000 ($596-358,525). “For too long, Victorians have been ripped-off, desperate to see their favourite team or performance live,” says the state’s minister for tourism and major events, John Eren. “These new measures will crack down on scalpers and help keep our major events fair and accessible for everyone.” The New South Wales Government approved a similar price cap under amendments to its Fair Trading Act 1987, in October (see Audience issue 213).

ILMC launches 30 edition th

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rganisers of the International Live Music Conference (ILMC) have adopted a UFO theme for the 30th edition of the event. More than 1,000 agents, promoters, venue operators and festival organisers from around the world are expected to attend the invitation-only conference

at London’s Royal Garden Hotel from 6-9 March. “ILMC has always been a product of its members, created by the industry for the industry,” says conference head Greg Parmley. “It was the first big gathering of the live music industry and, over the

Greg Parmley

years, we’ve updated the schedules and worked to make everything as contemporary and relevant as possible.” Among the companies supporting ILMC are Live Nation Entertainment, CTS Eventim, Showsec and United Talent Agency.

Newsbites SWEDEN Live Nation Sweden (LNS) has appointed head promoter Anna Sjölund and director of marketing and Nordic partnership Therése Liljedahl as joint MDs, with both retaining their current roles. LNS owns festivals Summerburst (cap. 75,000), Sweden Rock (33,000) and Way Out West (25,000), and subsidiary concert and festival promoter Luger. SWITZERLAND Starticket has appointed Marc Boehrer as its new director of sales, replacing Pascal Zurcher. Boehrer previously worked as account manager at the ticketing company. Meanwhile the merger of Starticket and Ticketcorner remains on hold after the Swiss Federal Competition Commission blocked the move (see Audience issue 209), although an appeal has been lodged.

UNIQUE ART DECO THEATRE Ideal for performances, gigs, rehearsals and events • Auditorium capacity: 770 raked theatre seating or 960 standing • One of the capital’s largest stages measuring 13m x 14m • Fully equipped sound & lighting rig with 12m x 9m rear projection screen • Split level foyer space with bar, box office and cloakroom

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audience • issue 214 • November 2017


12 • World News

Romer takes reins at Bluesfest AUSTRALIA

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yron Bay’s blues and roots festival Bluesfest (cap. 25,000) and the associated Bluesfest Touring has appointed Steve Romer as chief operating officer. Romer has previously held senior

management roles at venues including the Sydney Entertainment Centre (now closed) and Sydney Convention & Exhibition Centre. He was also chairman and CEO of the regional Venue Management Association. With Romer overseeing opera-

Acts in management reshuffle UNITED STATES

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wo long-time artiste/manager partnerships have ended, amid a flurry of other breakups. Green Day has left Pat Magnarella Management after 21 years and moved to Crush Music Media Management, which represents Sia, Fall Out Boy and Lorde, while Jason Mraz ended an 18-year working relationship with Bill Silva to manage his own career. Other recent changes include

audience • issue 214 • November 2017

artistes leaving artiste division. Haim left Live Nation Entertainment division Roc Nation for Full Stop Management. Trisha Yearwood, formerly with Ken Levitan at Vector Management is also self-managing and Arcade Fire, has departed from Scott Rodgers at LNE-owned Maverick, but not yet named new management. Disturbed, now with Q Prime, left Jeff Battaglia Management and  Zac Brown Band, formerly with Roar, has formed Home Grown Music to self-manage.

tions, Bluesfest CEO and festival director Peter Noble will become executive chairman. “Bluesfest has become a major player and I believe the recent additions to our team of Steve and Simone Twiss as chief financial officer will allow us to continue confidently

into the future,” says Noble. “I will continue to focus on booking talent as well as acquisitions that will take Bluesfest into an exciting new era.” Acts performing at the April festival include Lionel Richie, CHIC featuring Nile Rogers and First Aid Kit.

Italian sales tax cut is ‘return to normal’ ITALY

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he Government is to extend its reduced 10 per cent rate of sales tax (known internationally by the UK acronym VAT for Value Added Tax) for live entertainment to include related services provided by intermediaries. The move, which is outlined in the country’s 2018 budget and includes production companies and suppliers, has been welcomed by promoters.

“In the past the Andrea Pieroni rate was always 10 per cent, but in the last two years it was raised to 22 per cent,” Andrea Pieroni of promoter Vertigo tells Audience. “The increased VAT on production and services meant that we were always in credit with the government, paying more tax than we could recoup each month.” Standard VAT in Italy is currently 22 per cent.

www.audience.uk.com


16

market focus

Czech Republic Liberec Prague

Carlsbad

Ostrava

Pilsen Budweis

Brno

Centrally-positioned for tours across Europe, the Czech Republic has a healthy live sector, with the only major challenge, apart from rising taxes, being the lack of mid-sized venues, although that situation looks set to improve. Neil Bracegirdle reports

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Population: 10.6 million

Language: Czech

audience • issue 214 • November 2017

GDP per capita (US$): 18,266

Currency: Czech Koruna (CZK)

US$ exchange rate: 0.04535

Broadband households: 3.4m

Internet users: 7.6m

(Source: IFPI)

“There is also a shortage of modern venues LNCP has put on 36 shows this year, includaving been one of the more indepenwith capacity of 4,000 to 8,000, although this ing concerts by Kiss, Depeche Mode, Guns dent and enterprising states under the might change soon, as the O2 Arena [20,000] N’Roses, Robbie Williams and Scorpions. The domination of the Union of Soviet Socialist is now starting to build a smaller largest show in its history was with Republics, Czechoslovakia emerged from brother next to them which should the Rolling Stones at Letenska Plan communist rule in 1989. be open sometime (cap. 85,000) in Prague. Following a peaceful split with Slovakia in in 2019.” According to the company it has the early 1990s, the Czech Republic joined Preparations for next year are the European Union (EU) in 2004 and now has grossed around 544 million koruna already well underway, with around ($25m) in 2017 and sold more than one of the highest Gross Domestic Product 200 shows planned, 50 of which 360,000 tickets. (GDP) growth rates, and lowest levels of have been announced, including “The market is healthy and unemployment, in the EU. Anthony Jouet Ozzy Osbourne at Letnany Airport people are buying tickets fast,” It’s export market, consisting predomiand Metallica, Roger Waters and says MD Robert Porkert. “I don’t nately of motor vehicles, remains strong, Shania Twain, all at the O2 Arena. think there are any fears here or holes of while the decision to refrain from adopting For the majority of the shows tickets are missing acts.” the euro and retaining the koruna has also priced between 1,280-2,550 koruna ($59-117). What is perhaps missing though, paid dividends. Promotion and production company are some top-quality venues. Centrally located on the contiFource Entertainment also has an office in “We don’t have a big enough nent between Germany, Poland and Toronto, Canada and has recently expanded stadium for proper outdoor shows Austria, it is attractively accessible into Poland with an office in Warsaw. – the biggest is Eden Park [30,000] for international tours, with its capiThe company, which has been running for in Prague – and therefore we need tal Prague being one of the region’s more than 20 years, has a close relationship to stage big shows with the likes of most popular tourist destinations. with the O2 Arena and has put on shows AC/DC and Guns N’Roses on outThe country’s biggest promoter is Robert Porkert door green fields,” Porkert explains. there by Black Eyed Peas, Beyoncé, Kylie Live Nation Czech Republic (LNCP), Minogue and Ellie Goulding. “Over the last two years we have which emerged after global giant “At the end of 2013, the local currency started to use the airport in Prague Letnany, Live Nation Entertainment bought Robert dropped significantly which made our offers where we need to build everything, but can Porkert and Serge Grimaux’s InterKoncerts less competitive compared to the euro zone accommodate more than 60,000 fans. in 2004.

www.audience.uk.com


Market Focus • 17 markets, as we weren’t always comfortable in offsetting that shortfall with a ticket price increase,” says Fource founder Anthony Jouet. “It’s slowly getting stronger this year though. It helps that touring revenues have taken more importance for the artiste and markets like the Czech Republic are being included more frequently into the touring plans.”

“The Czech audience is very culturally advanced, so attendance of events will definitely not decline” Vladka Zahradnikova

The location of the country, four hours drive from Berlin and Vienna and five hours from Munich, certainly makes it an attractive proposition, but also presents challenges. “We are constantly being approached by agents to work early on their new acts,” explains Jouet. “As much as we try to find opportunities for them, we also need to be selective as we like to offer the same level of services for all acts we promote. We like to take the time to build the acts the right way.” As Fource promotes around 70 shows annually, Jouet is among those who believe the country suffers from a lack of venues, with a need for something to fill the 1,000 to 2,500 capacity void. “The market has changed a lot over the last five years. The club scene is currently extremely dynamic, which is essential to build a strong

Guns N' Roses at Letnany Airport

base for the whole local music industry,” he says. “Except for Forum Karlin [2,500], we only have a couple of old hockey arenas between 2,500 capacity and the O2 arena.” Forthcoming shows by Fource include Imagine Dragons at O2 Arena, alt-J at Forum Karlin, Noel Gallagher’s High Flying Birds at Velký sál Lucerna (2,500) and Nothing But Thieves at MeetFactory (1,000).

The time is right

At 10:15 Entertainment, established in the early 1990s, Milena Paleckova says it is enjoying its best year since 2013 and has most recently put on Gorillaz at O2 Arena (configured at 11,342), with tickets between 1,690-1,990 koruna ($77-90). “Tickets are selling well, most of our shows this year were sold-out,” says Paleckova. Among these were Nick Cave & the Bad Seeds at O2 Archa Theatre Arena, Suzanne Vega at

Archa Theatre (1,200) and Diana Krall at the Congress Center (2,764), both also in Prague. Despite the success, the focus on the capital can be problematic due to the city tax on tickets, which Milena Paleckova has risen to five per cent on live shows. This used to apply only to venues over 3,000 capacity, but was altered last year to include all venues. “The problem is that promoters in Prague do not really talk to each other and are not able to act together against it,” says Paleckova. “Only clubs and events financially supported by the city do not pay this tax. “A further issue is that ticket prices for international acts are pushed too high if we compare it to salaries to people, especially the young. The reason is a combination of artiste fees and competition.” Over the course of the year 10:15 has promoted 11 shows and although it was the exclusive booking agency for Open Air Festival (now

more than 10 years of experience your partner in Czech Republic art & entertainment

www.jvagentura.cz www.audience.uk.com

/jvagentura audience • issue 214 • November 2017


18 • Market Focus

The Lumineers at Velký sál Lucerna

Trutnoff Open Air) between 2010 and 2013, bringing in acts such as Kasabian, Underworld, Fatboy Slim and Chemical Brothers, it has no plans to establish an event of its own. “I would say the Czech Republic has one of the highest number of festivals for the size of the country,” says Paleckova. “It is not only about festivals with international artistes on a bill, you can find a festival with local artistes in every big city during the summer.”

Charm offensive

Another significant player is Charm Music, the concert division of Charmenko, which also has offices in Turkey and Poland. It has promoted shows with Ed Sheeran, Green Day, Portishead

audience • issue 214 • November 2017

and has upcoming gigs in the capital with The Kooks at Mala Sportovni Hall (4,500), and Franz Ferdinand at Forum Karlin. The average price of tickets for both events is 971 koruna ($44). “I think that ticket prices for concerts here are quite stable,” says Charm’s Lenka Murarikova. “Of course, there are concerts that are more expensive lately, that depends on the artiste name, but at least in the past few years there has been little growth in ticket prices. On the other hand, there is a bunch of shows which we were not able to confirm and we could not push ticket prices much higher, so we were not able to meet artiste’s fee requests.” Murarikova says tickets for established acts are selling well, as they attract an older

audience, but emerging artistes can struggle as the younger generation often prefer watching and listening to music online, rather than attending live shows, she believes. “Higher VAT on ticket Lenka Murarikova sales [up from nine to 15 per cent], city tax and currency exchange rates are the reason we cannot offer the same money to artistes who played Prague in the past, and definitely not more,” she says. “Czechs are also delayed in knowing rising acts – artistes playing small arenas abroad would be in small club shows here, so obviously we cannot meet their expectations, unless we get a filler date or they are keen to play Prague.” Staging between five to 10 major shows each year Murarikova sees potential for growth in the market, despite the difficulties. “There are definitely good signs for live music in the Czech Republic, we have a lot of artistes coming back every year,” she says.

Classical offering

JV Agentura has carved out a niche for itself, promoting classical concerts and live orchestra shows featuring soundtracks from films such as Lord of the Rings, Pirates of the Caribbean and Fast and Furious.

www.audience.uk.com


Market Focus • 19

Supporting act Founded in 1994 by Czech national Frantisek Zykan, MILOS is one of the largest truss manufacturers in Europe, providing ready-made structures and products to a wide range of events. In 2012 the company became part of staging manufacturer Area Four Industries, which is headquartered in the Czech Republic and includes subsidiaries LITEC, TOMCAT and Xstage. Among the events the company has worked on include Lollapalooza Berlin (cap. 75,000), Italian singer Gigi D’Alessio’s tour and Oak Point Park Amphitheatre (1,500) in Texas. “With a firm foundation in the Czech Republic, our vision and the ongoing sales activities of our truss, support structures and staging products are global,” says MILOS MD and CEO of Area Four Industries Zykan. This year MILOS created the largest roof it has ever engineered. The MR5 Heavy-Duty roof measured 31 x 18 metres and covered the main stage of the first edition of TIMESHIFT Bucharest Music Festival (15,000) in Romania, featuring Bloc Party and David Guetta. It had a

Congress Center The MR5 Heavy-Duty roof in action at TIMESHIFT

clearance height of 11 metres and featured a cantilever of two metres in front and 0.7 metres in the rear of the stage. “We designed the roof to handle a 24,000 kg uniformly distributed load on the horizontal beams above the main stage, and an additional 7,000 kg for PA and LED-screens in each side house,” says technical director Norbert Tripp. “The total load was 38,000 kg.” Also new to the market the company has designed a MILOS MT-PA5030 PA fly tower, for live events that require a compact PA fly tower for small systems and can be used both indoors and outdoors.

It is also promoting Andrea Bocelli to a 10,000-capacity audience at O2 Arena, with tickets between 857-12,294 koruna ($40-560). “Ticket prices correspond approximately with those in Western Europe, as it would not be possible to pay for more ambitious projects,” says JV co-owner Vladka Zahradnikova. “Surprisingly enough, local salaries are much lower than the European average and it shows that the Czech public is willing to spend a lot for culture and entertainment. But of course we would be much happier if we could offer lower ticket prices.” As well as staging around five big concerts in Prague each year, the company also runs a couple of tours at regional venues. Zahradnikova believes the country’s cultural scene is thriving

Live Nation are proud to have the best team in Czech Republic. Thanks to Robert and the whole team

www.audience.uk.com

audience • issue 214 • November 2017


20 • Market Focus will be able to run different events at the same time in both spaces, in the O2 arena there can be a huge pop concert, while in the smaller hall we can hold a rock show for several thousand people.” Shows taking place at O2 Arena include two shows with Roger Waters, Metallica, Imagine Dragons and Depeche Mode. “We hear our audience and we hope and expect to bring more international stars and other performers to the Czech Republic and central Europe offering them state-of-the-art environment and services,” adds Schaffer. Robert Schaffer Keen to harness the demand for shows is venue operator European Leisure Management, which runs open-air Vychonda Amphitheatre (10,000) across the border in Slovakia. “We see the Czech market as a strong one and a growing music and creative scene which can support reasonable ticket prices,” says MD Lucia Bočánková Michael Jacobsen, whose family previously managed venues in Australia and New Zealand, including Sydney’s Entertainment Centre (13,250) and Auckland’s 12,000-capacity Vector Arena (now Spark Arena). “The live music market is strong and diverse, especially in Prague, and we have new venues under management in the Czech Republic that we Michael Jacobsen intend to announce in 2018. “The market is placing increasing demands on the existing venues and new and diverse venue facilities need to be in place to cater to the organic evolution.”

and has established itself as a part of any major world tour. “The Czech audience is very culturally advanced, so attendance of events will definitely not decline, and we didn’t even experience this during the last economic crises,” she says. “We believe that by importing good-quality artistes and prestigious projects we will be able to increase their appetite still further.”

Main attraction

Arguably the best-known venue in the region, the O2 Arena, which can accommodate up to 20,000 people. On average the venue stages around 100 events each year, 30 to 40 of which are concerts, including artistes such as Madonna, Lady Gaga, Rihanna, Robbie Williams and Paul McCartney. “The market is going well and this high demand for entertainment might stem from the growth in purchase power of the local population,” says Robert Schaffer, CEO and chairman of Bestsport, which owns and operates the venue. “It is also important to note that our market exceeds the borders of the Czech Republic. The catchment area in central Europe covers the population of 15-18 million. The O2 Arena is a destination for visitors from Slovakia, Poland, Germany, Austria, Hungary and Russia, with a catchment area in central Europe of 15-18 million people.” Responding to the need for increased venue options, the arena is in the process of building an adjacent multi-functional centre, which will include up to 24 halls. “This centre is to be physically integrated into the O2 Arena and will add another dimension,” says Schaffer. “Together we will be able to accommodate indoor events for up to 30,000 people. Also, we

Looking ahead

Occupying 60 per cent of the country’s primary ticketing market, according to the company, is Ticketportal, which works with around 600 live music shows annually. Although facing increased competition in the sector after Ticketmaster acquired Ticketpro,

Thomas Fiala

Muse at O2 Arena

founded in 1992, earlier this year, Ticketportal claims not to be phased and counts shows by Rammstein, Justin Bieber and AC/DC among its biggest sellers over the last 12 months. “Obviously it depends on the artiste, but generally speaking tickets are selling well,” says MD Lucia Bočánková. “I think prices have a tendency to rise from year to year, but that’s a question for the promoters and artiste managers as to why.” Bočánková feels the only issues blighting the market, are the rise of secondary ticketing, with Swiss-based resale site Viagogo causing the majority of the problems through its “misleading Google ads”, while the emergence of a homegrown world star would be welcomed. “We are missing a U2, Coldplay or an Adele,” says Bočánková, who adds that the company is currently working on new software which will be launched next year. Prague-based Obscure Promotion will soon have put on 110 shows this year, at venues ranging from 100 to 15,000 capacity. Founder Thomas Fiala says the market’s other most prominent venues are Tipsport (12,000) and Sono (1,200) in Brno. “I would personally consider the biggest issue in our market as a lack of venues in Prague, which makes my life more difficult,” says Fiala. “One or two additional halls with 1,000-2,000 capacity would be vital.” The company’s biggest shows this year have featured HIM, Architects, Persistence and Mastodon. “It looks that the crisis is behind us and people want to enjoy themselves,” adds Fiala.

10:15 ENTERTAINMENT | MILENA@1015.CZ | +420 224 919 404 | WWW.1015.CZ audience • issue 214 • November 2017

www.audience.uk.com

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22 • Feature

Anytime, any place, anywhere … The air charter business is more competitive than ever, according to leading operators in the sector. Private jets not only offer privacy and luxury, they can make additional shows accessible on a tour, which would not be possible via commercial airline schedules. Christopher Barrett reports. audience • issue 214 • November 2017

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rivate jets have been synonymous with the music industry’s superstars for the past 50 years, but with an ever expanding array of aircraft on offer, coupled with the convenience of mobile booking, the market has opened up to a wider clientele. In the 1950s Frank Sinatra would fly his Rat Pack buddies between Las Vegas and Palm Springs on his own Learjet 23, Elvis Presley had a Convair 880 named after his daughter Lisa Marie and in the 1970s Led Zeppelin pushed it to new levels of luxury aboard a Boeing 720. Christened The Starship, the aeroplane was furnished with a

30-foot-long couch, a bar with built-in electric organ, and a bedroom complete with shower room. Headquartered in London and with bases in New York, Santa Barbara and Munich, Victor significantly increased its live music clientele when it acquired Santa Barbara-based YoungJets in 2015, a service dedicated to touring acts. It has recently worked with Calvin Harris, Ellie Goulding and Kendrick Lamar on a job that involved the use of three jumbo jets to take the three and 750 guests from London, Los Angeles and New York to Puerto Rico and back. Victor senior vice-president, North America David Young founded YoungJets and oversees much of the music related work at Victor. He says the company’s music clients range from EDM and hip-hop stars to rock’n’roll and pop artistes, with each genre seeing different flight patterns. www.audience.uk.com


Feature • 23 Veterans of the skies

AVMIN Air Charter’s G450 Interior

Whereas touring bands often fly from city to city, and ageing rock stars tend to return to the same hotel every night, for EDM acts it can mean multiple flights in a single day. “EDM guys are so in demand in certain markets and they often do two or three performances in 24 hours,” he says. “We have worked with artistes in Europe on the festival circuit where you can wake up in Italy, fly to Croatia for a set then fly straight off to Moscow for a 3am headline slot and end the whole run in Montpellier in France 24 hours later. Jobs like that can require two separate crews on the aircraft.” Young says that among the more outrageous requests he has dealt with from artistes have been a pop star asking for her pet dog to be flown from the East Coast to West Coast in the US, so she could keep it company while on tour, and a famous hip hop star asking

for his tuxedo to be flown out to him, so he could wear it at a state dinner in a foreign country. “Some stars’ behaviour can seem excessive, but it is part of their lifestyle and if it helps keep the performer happy, which means they can keep going longer and more money can be made. For an ageing rock star not willing to travel on a bus, chartering aircraft can mean a tour not only takes place, but can often be extended as the artiste is not worn-out,” says Young. Aside from the flights themselves, Young says it is vital to make the booking process as transparent and effortless as possible in order to please demanding clientele. Bookings with Victor can be made via the web and mobile devices. “A lot of our touring clients love the fact that they can search for and book a jet from their smartphones,” says Young.

Founded in 2005, Oxygen Aviation has offices in London, Moscow, Geneva, and Madrid. It offers customers a broad selection of aircraft to charter; ranging from a Boeing Airbus A320 able to accommodate 19 passengers, with facilities including a bedroom, office, lounge and dining room, to the rather more petit Citation Mustang that can carry four. Director David Macdonald is a veteran of the private aviation business, with 30 years experience. He says it is the combined experience of the company’s three directors that sets it apart. “Collectively we have more than 60 years experience in the business,” says Macdonald. “We were providing flights before the internet was invented. These days anyone can create a website and say they are an expert, the barrier to entry is very low. We are thriving because we benefit from a lot of referrals and recommendations based on the quality of our service.” Oxygen’s music industry clients have increased significantly in recent years and, on the back of a lot of work with EDM acts and DJs, the company is picking up more touring acts. “There are a lot of last-minute flights transporting DJ clients from gig to gig,” says Macdonald. “They are always at the weekend and always very late at night, so that does present challenges.” Despite the clientele often being high net worth individuals and used to a luxurious lifestyle, Macdonald has found that music industry clients are not as

“Wake up in Italy, fly to Croatia for a set, then fly straight to Moscow for a 3am headline slot and end the run in Montpellier 24 hours later” David Young

David Macdonald

Paul O’Brien

+44 1293 558080 fly@premieraviation.com

Over 130 music tours Quite simply, our experience counts www.audience.uk.com

audience • issue 214 • November 2017


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Feature • 25 demanding as the old rock’n’roll cliche might suggest. “People rarely demand weird and wonderful things, it is usually just a certain brand of beer or wine. Most music clients simply see it as a business tool; they are not hiring a jet to have a party – they simply want to go from A to B,” says Macdonald.

O’Brien says chartering a jet really can be a cost effective option. “A lot of our music tour charters allow the talent to fly out straight after the gig, saving time and money and allowing for additional commitments to be met at the next port of call,” he says.

Personalised service

With headquarters in Malta and offices in the UK and US, Air X Charter has a fleet of 17 aircraft Headquartered in Brisbane that range from an Airbus A340, Australia, AVMIN is owned by the with 100 business class seats, to a Flight Centre Travel Group and can Cessna Citation X offering luxury provide anything from helicopters transport for 10. and corporate jets to airliners, with “Our Airbus is the only one in around 25 per cent of its business the world operating exclusively music industry-related. for business charter and it’s the Among artistes it has worked most popular option for worldwide with are Coldplay, One Direction, music, sports and royal flights,” Foo Fighters, Green Day and says client relations manager Santana. Vanessa White. AVMIN MD Paul O’Brien has a Around 10 per cent of the comdecade’s experience in the induspany’s business is music industry try and notes the private aviation related at the moment. sector has seen huge change in “We endeavour to personalise recent years. the flight experience as “We have a lot more much as possible, be it a bands looking at charpenchant for Japanese ters as the preferred cuisine, a fine bottle of travel choice during wine or simply ensuring busy tours in order to we have your favourite meet all their commitmovie on board,” says ments, aside from the White. “When it comes gigs,” he says. “Having to demands, music aircraft of various artistes tend to have different sizes available Matthew Purton a lot of them; from allows for better pricing demanding the cabin be set to a and convenience.” specific temperature to wanting One of the latest developments all the brown M&Ms removed from at the company is the launch of the candy bowl.” Jetbidders, a proprietary online Aside from an increase in the technology that is currently being variety of locations requested by rolled-out in Australia touring acts, with new territories and Asia. opening up all the time, the other “Through a simple online tool major trend that White has seen our clients can gain direct access is a fall in the number of people to thousands of safety-approved purchasing their own private Jet. aircraft in real time,” says O’Brien. “It simply is not cost effecAs a charter logistics management business, O’Brien says AVMIN tive,” says White. “Comparative to driving a brand new car out of the works with operators around garage, a jet depreciates in exactly the world to provide its clients the same way, but faster and with with the choice of “any aircraft, greater financial consequence.” anywhere in the world”. She says the industry has also When it comes to challenging been affected by a transformation jobs, O’Brien says one of the most of the booking process. “People are memorable was converting the increasingly using the internet and top deck of a 747 into a club with there has been a shift from going a DJ and mini dance floor. “The sky is truly the limit. The client gets through a broker to going on some open platforms that offer private what they want in our industry,” jet estimates, actual price or even he says. calling the operators directly,” Despite the perceived luxury says White. associated with private air travel,

Preferred travel

www.audience.uk.com

Air Charter Service’s Ed Force One for Iron Maiden

Founded in 1990 by Air Charter Service (ACS) chairman Chris Leach from the basement of his home in Kingston-Upon-Thames in the UK, ACS has grown to become one of the world’s leading air charter service providers. The business now boasts offices throughout North America, South America, Europe, Africa, Middle East and Asia; with its worldwide staff of more than 400 arranging over 12,000 charters per year. ACS Group commercial jet sales director Matthew Purton says the company has seen 20 per cent growth in flights this year. He believes that one of the major advantages the company has is its global presence and the fact its staff collectively speak more than 45 languages. Purton says ACS’s widespread contacts prove useful when working with artistes such as Iron Maiden during the band’s 48-stop world tour with their Ed Force One aircraft. “When we were in China with Iron Maiden we used our local office and contacts in government there to get the band flight slots that would have otherwise been unachievable,” says Purton. “Beijing and Shanghai have banned charter flights as the airports are so busy, but we used our connections to make sure the band could land at both airports, enabling them to get on with the tour.” Among other artistes ACS has worked with are Adele, David Gilmour and Lou Reed. One of the biggest changes Purton has seen in the music industry’s use of aircraft is the increased use of the 737 Classic aircraft for large groups.

“We were providing flights before the internet was invented” David Macdonald

audience • issue 214 • November 2017


26 • Feature its business is with finger, so the aircraft and experientertainment enced operators are in demand industry clients. year-round,” he says. “Our chalHeadquartered near lenge is to work with the owners London’s Gatwick and operators of those types of airport, the comaircraft to advise and guide them pany has offices in on how to serve our client market.” the US, Australia and The increase in the size of tourHong Kong providing parties being flown around ing 24-hour cover. the world has seen the logistics As a broker the involved become significantly company works with more challenging. Whitmarsh says aircraft owners and it means careful planning with the operators worldtour manager’s team and coordiwide, arranging nation of everything from airport flights using every slots, pilots and cabin attendants type of aircraft, from to security, ground transport, baga helicopter to the gage handling and hotels to make largest airliners. It sure everything runs smoothly. also has a cargo Another key development has division responsible been a dramatic improvement for arranging worldwide freight in the capabilities of the aircraft charters to move touring artists’ available to charter, with clients equipment. now able to select planes that are Premier director Adrian able to fly them halfway around Whitmarsh has in recent years the world without stopping. seen the air charter business Despite the luxury and exclubecome increasingly fast-paced sivity associated with travelling and global, while the on private aircraft, touring groups being Whitmarsh says it is transported have grown often the most practiin size to the extent that cal and cost effective they often need airlinersolution. size aircraft. “Nowadays business “The size of touring class rarely exists on parties has increased so short to medium range clients require aircraft scheduled flights and able to comfortably even economy fares Adrian Whitmarsh carry 30 to booked at short notice 50 passengers plus all their bagcan be expensive. Availability gage; when they are on the road for larger groups can be tight, so for two to there months at a go when all those issues are factored that can be more than 70 bags,” in, chartering an aircraft can be says Whitmarsh. cost-effective. “Major tours are truly global “When you add in reduced travel nowadays but the availability of times, more direct routings and those aircraft in certain areas of less hotel stays away it all adds up the world can be counted on one to the only way to travel.”

Oxygen Aviation private jet cabin

“The sky is truly the limit. The client gets what they want in our industry” Paul O’Brien

Having been retired from use by airlines such as British Airways and Lufthansa, the aircraft have been converted into spaces able to accommodate up to 68 people in business class, with room for bedrooms and equipment. Purton says artistes can be demanding when it comes to specific requirements on board, but he understands why. “You can see the demands being placed on them; they are on the road and working all the time. Being on the plane is one of the few occasions they get real down time, so it is important to go the extra mile for them,” he says.

Comprehensive cover

UK-based broker Premier Aviation has worked with artistes ranging from the Back Street Boys and The Black Eyed Peas, to the Rolling Stones and AC/DC over the years. A specialist division of the Hunt & Palmer Group, 95 per cent of

There’s much more to an Audience subscription T h e Wo r l d ’s B e s t S t a d i u m s F o r C o n t e m p o r a r y L i v e M u s i c

World’s Best Arenas For Live Music

World’s Best Arenas For Live Music

Part 2: Asia • Australia • Latin America • Middle East • New Zealand • North America • South Africa

WORLD’S BEST

ARENAS

Part 1: Europe

FOR LIVE MUSIC Part 1

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World’s BEsT

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For the International

WORLD’S BEST FOR LIVE MUSIC

Headline tour for Zara Larsson

Building an emp ire

Kasabian targeting

festivals

For the International Contemporary Live Music Industry ISSUE 207 APRIL 2017 UK £6.25 EUROPE €9.40 ROW $12.25

Arena closed until September after attack

Fyre fest organiser

s ‘overwhelmed’ paradigm takes stake in X-ray Live Nation’s record Q1 revenue

Lighting the way Dagny aims to conquer Europe McManus escapes jail and vows to rebuild Viagogo scrutiny intensifies Malaysia to get ‘game-changer’ venue

report 2017 UK £20

No holding back

Calls for legislation to end resale ‘robbery’

Asia • Australia • Latin America Middle East • New Zealand North America • South Africa Part 1: Europe

Music Industry Issue 208 May 2017

Terror fears disrupt Rock am Ring

Part 2

an

Contemporary Live

uK £6.25 europe €9.40 roW $12.25

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We have to be careful to not go crazy with the and be sure we ticket provide shows that are artistically prices, technically at a and level audiences expect alfredo alonso

AN AUDIENCE REPORT 2017

AN

Part 2 Asia • Australia • Latin America • Middle East New Zealand • North America • South Africa

Free to subscribers of Audience For the International Contemporary Live Music Industry

of T4F+Bizarro in

Artistes led the charge [against terror] when they announced they would keep up with their touring plans and deliver shows Dominique Revert of Alias in France

Chile

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13/04/2017 11:30

Someone once said that Australia has more promoters than kangaroos – that could well be true

REPORT 2017 UK £20

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© Evy Sorensen

C i t y Fo c u s Bergen, Norway Audience takes a look at the world’s major cities and venues most used by international artistes

Grieghallen

Vestlandshallen A: Åsane Senter 58, 5116 Ulset T: +47 55 95 81 50 E: firmapost@vestlandshallen.no W: www.vestlandshallen.no Principal Contact: Trine Kristiansen Policy: Hire only Capacity: 10,000 In-house Concert Sound System: No In-house Concert Stage Lighting: No Past/forthcoming shows: Morrissey, Prince, Jean Michel Jarre, Tiesto, Santana

Grieghallen A: Edvard Griegsplass 1, 5015 T: +47 55 21 61 00 E: grieghallen@grieghallen.no W: www.grieghallen.no Principal Contact: Rolf Skogstrand Policy: Hire only Capacity: Griegsalen: 1,600 seated Peer Gynt room: 1,500 standing or 550 seated In-house Concert Sound System: Yes In-house Concert Stage Lighting: Yes Past/forthcoming shows: Morrissey, The Hollies, The Waterboys, Håkan Hellström, Lars Winnerbäck, Kygo

USF Verftet

on Earth, HAIM, Susanne Sundfør, First Aid Kit, Beth Hart, Alan Walker, Sigrid, Aurora.

Ole Bull-huset A: Øvre Ole Bulls Plass 3, 5012 T: +47 55 32 11 45 E: info@olebullscene.no W: www.olebullscene.no Principal Contact: Marius Larsen Policy: Hire only Capacity: Ole Bull Scene: 700 standing or 450 seated. Lille Ole Bull (club): 260 In-house Concert Sound System: Yes In-house Concert Stage Lighting: Yes Past/forthcoming shows: Kings of Convenience, Don McLean, Rival Sons, Aurora

Ole Bull-huset

USF Verftet

Hulen

A: Georgernes Verft 12, 5011 T: +47 55 30 74 10 E: post@usf.no W: www.usf.no Principal Contact: Sindre Didriksen Policy: Hire only Capacity: Røkeriet: 1,300 standing or 500 seated. Sardinen: 500 standing or 300 seated In-house Concert Sound System: Yes In-house Concert Stage Lighting: Yes Past/forthcoming shows: Tïesto, Tallest Man

A: Olaf Ryes vei 48, 5006 T: +47 55 32 31 31 E: hulen@hulen.no W: www.hulen.no Principal Contact: Martin Midtbø Rokkones Policy: Hire and Self-promote Capacity: 350 In-house Concert Sound System: Yes In-house Concert Stage Lighting: Yes Past/forthcoming shows: Satyricon, Sondre Lerche, Raga Rockers

audience • issue 214 • November 2017

Hullen

Garage A: Christiesgate 14, 50 15 T: +47 55 32 19 80 E: booking@garage.no W: www.garage.no Principal Contact: Henning Christensen/ Sandro Stanojevic Policy: Hire and self-promote Capacity: 330 In-house Concert Sound System: Yes In-house Concert Stage Lighting: Yes Past/forthcoming shows: Triggerfinger, Danko Jones, Millencolin, Torch

Østre A: Østre Skostredet 3. 5017 Bergen T: +47 984 92 514 E: post@oestre.no W: www.oestre.no Principal Contact: Martha Møkkelgjerd Policy: Hire only Capacity: 240 In-house Concert Sound System: Yes In-house Concert Stage Lighting: Yes Past/forthcoming shows: Sigrid, Great News

Landmark A: Rasmus Meyers Allé 5, 50,15 T: +47 940 15 050 E: maria@kunsthall.no W: www.kunsthall.no Principal Contact: Maria Rusinovskaya Policy: Hire only Capacity: 300 In-house Concert Sound System: Yes In-house Concert Stage Lighting: Yes Past/forthcoming shows: Aldous Harding, Motorpsycho, Whitney

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Events • 31

Events 30 Nov

UK Festival Awards & Conference UK London www.festivalawards.com

Honouring the vision, creativity, expertise and effort that powers the UK’s best music festivals.

10-13 Dec

XLIVE

USA, Las Vegas xlivecon.com Formerly the International Music Festival Conference, this event brings together members of the festival and live music sectors to enable them to share ideas and learn about new areas of the business.

17-20 Jan

Eurosonic/ Noorderslag

Netherlands, Groningen www.eurosonic-noorderslag.nl Conference and showcase festival attracting festival organisers, promoters, agents, media and European talent.

25-28 Jan

NAMM

USA, Anaheim www.namm.org Trade exhibition featuring more than 7,000 products from pro-audio equipment manufacturers.

14-18 Feb

Folk Alliance International Conference

USA, Missouri www.folkconference.org

The mission of Folk Alliance International is to nurture, engage, and empower the international folk music community - traditional and contemporary, amateur and professional - through education, advocacy and performance.

22-25 Feb

Millennium Music Conference

USA,Harrisburg www.musicconference.net Four days of keynotes speeches, panels, workshops and mentoring, plus a trade show.

01-03 Mar

by:Larm

Norway, Oslo www.bylarm.no Annual showcase and conference promoting the Norwegian music industry, attracting around 1,800 delegates and featuring around 500 acts.

issuu.com/riomusicconference The official gathering for Electronic Music talents and trade in Latin America.

09-18 Mar

SXSW

USA, Austin www.sxsw.com Artiste showcases in a week-long conference, attracting industry professionals, including promoters, agents and managers.

02-08 Apr

Tallinn Music Week

Estonia, Tallinn www.tallinnmusicweek.ee A showcase festival, aiming to stage Estonian talent on two nights in Tallinn’s live venues, as well as a networking event for the music industry professionals.

06 Mar

10-13 April

UK, London www.ilmc.com/index.php/ ipm/about-the-ipm

Italy, Milan www.aes.org/events/144

IPM

A focused roundtable meeting between invited production professionals

07-09 Mar

International Live Music Conference UK, London www.ilmc.com

The largest business gathering of international promoters and agents in the universe.

07-10 Mar

Brazil Music Conference Brazil, Sao Paulo

Prolight + Sound

A gathering of audio professionals and enthusiasts, attracting delegates from over 100 countries.

07-13 May

Canadian Music Week Germany, Frankfurt www.prolight-sound.de

A key event for music, live and broadcast industries, including seminars, keynote speeches, music showcases and awards ceremonies.

23-26 May

144th AES Convention Italy, Milan www.aes.org/events/144

An event for light, sound and production in the entertainment and music industry.

The details shown above 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.

www.audience.uk.com

audience • issue 214 • November 2017


32

Production News Bandit takes individual style to Lost Lake UNITED STATES

P

roduction company Superfly required each of the two main stages at its new Lost Lake Festival (cap. 45,000) in Phoenix, Arizona, to display a style of their own, while providing cost-effective infrastructure. The company, which also works with Bonnaroo (80,000), employed contractor Bandit Lites to deliver the lighting for the two stages, which hosted artistes such as The Kill-

ers, Haim, Chance the Rapper and The Pixies. The main Camelback stage boasted 130 fixtures, including Magic Panels, Rogue Hybrids, Cuepix WW2, VL6000 Beams and Illumipanel architectural washes controlled with two grandMA2 full desks. “The brief for the two stages was to make them individual and logistically friendly for changeovers, including any bands’ lights or scenic pieces,” says Bandit production manager Dizzy Gosnell, who also oversaw the

installation of 120 fixtures on the second, Piestewa, stage. “Tolerances were very tight getting both large systems on the StageLine SAM575’s,” he points out. “Lamp spacing on both rigs was critical to the big looks – one of my mantras has always been that a tape measure is just as important as a wrench and meter.” Fixtures on the Piestewa stage included Clay Paky Mythos, Clay Paky Sharpys, VL3500 Washes, VL 3000

Haim on Lost Lake’s Camelback stage

Spots, Flare, Illumipanel washes and DWE 4 lite fixtures, also controlled by two grandMA2 full size consoles.

© Steve Jennings

WORLD

D

esigner LeRoy Bennett had to balance the impact of a giant scenic element for Lady Gaga’s Joanne tour with the artiste’s desire to remain close to her fans. He says the singer wanted to recreate the intimate feel of her 2016 Dive Bar tour of smaller venues, in stadiums and arenas, including America’s Little Caesars Arena, (cap. 20,000) in Detroit, Canada’s Bell Centre (21,000) in Montreal and Germany’s Mercedes-Benz Arena, (17,000) in Berlin. Bennett and lighting director Harry Foster designed a spectacle, which covered the auditorium beyond the main stage area, deploying three 45ft (13m) pods in the roof above the audience. Consequently, audiences could see Gaga move through the venue to a B stage adjacent to the front-of-house position and to two satellite stages, as she

Robe at work with Lady Gaga

engaged different sections of the crowd throughout the set. The designers used over 200 Robe lighting fixtures, supplied by Montrealbased Solotech, with 45 of Robe’s BMFL WashBeams in the rig, plus eight positioned in each of the pods. Another eight BMFL WashBeams were sited on the stage trusses, with nine on the floor below the upstage light wall. “BMFL WashBeams can do everything from delicate theatrical solo moments on the bridges and satellite stages to full on rock-out beam looks,” says Foster.

“We love it when a plan comes together!”

NORTH AMERICA

F

lexibility and audio quality are just as important as a “monumental” number of channels when it comes to mixing audio for Roger Waters’ Us + Them tour, according to monitor engineer Matt Napier. Working with a 10-piece band, Waters deploys a surround sound system to complement the “immersive” visuals, using 130 inputs on the SD7 mixing desk by British manufacturer DiGiCo. “With 10 people on stage, it gets pretty busy in monitor world,” says Napier. “The SD7 is still the only really serious choice for a show of this complexity and it’s not just about the channel count - the SD Series sounds fantastic, too.

© Kate Izor

Lady goes Gaga with Robe Waters run deep for DiGiCo

SD7 works wonders for Waters

“Most of the musicians are multiinstrumentalists, and also sing. At the last count, we had about 70 different guitars in play. We need a bit of extra stage volume for Another Brick In The Wall, when a local kids group joins us on stage.” Us + Them plays at venues including Canada’s Rogers Arena (cap. 18,000) in Vancouver and the US’s TD Garden (19,500) in Boston and Barclays Center, (18,000) in Brooklyn, New York, before a European run in 2018.

CaLL now For a Quote

For more inFormation: CaLL 0141 954 4641 / 07737 929381 or go to www.bandrunner.Com audience • issue 214 • November 2017

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Production News • 35

Idiot’s concrete jungle comes alive DENMARK

L

ifting and tilting three large slabs of scenic “concrete” to form temporary floors, walls and ceilings required control equipment capable of speed and reliability for American Idiot, the stage production created by Green Day. Staged at Copenhagen’s 1,500-capacity Den Grå Hal (The Grey Hall), the show revolved around the continual movement of the slabs. The resulting architectural spaces formed a backdrop to the “attitudinal” songs and action, directed by Tim Zimmerman. Measuring eight by four metres, each slab weighed about 900kg, and was formed to mirror the shape of the stage below, so it slotted into its lower position. The production used four Lift-

ket vari-speed hoists by British manufacturer Kinesys, supplied by Rigging Works Sweden. The hoists were fitted with Kinesys Elevation 1+ drives capable of running at up to 24 metres-a-minute, and attached to the slabs at four points. According to Kinesys operator Roger Smissen, “The system is incredibly powerful, flexible and accurate, which is essential for a show like this where precision and detail are vital to the storytelling.” An additional challenge, he says, was to fit the production into the 126-year-old venue, using “every centimetre” of headroom within the original wooden frame superstructure.

Smooth move to Europe Video Design at work with Lady Antebellum

EUROPE

M

oving its You Look Good tour from North America to Europe, with limited time to prepare for the new leg, Lady Antebellum needed production specialists who could supply systems frequently used in the US, says production manager Will Wilkison. Video content needed to be sent ahead of the touring party and uploaded onto a compatible media server, while the lighting rehearsal was restricted to a short time slot, so providers needed to be fully conversant with the existing tour systems.

Wilkison opted for UK companies Video Design, Neg Earth and SSE for visuals, lighting and audio respectively, with shows at venues such as The Netherlands’, AFAS Live (cap. 5,500) in Amsterdam, Ireland’s 3Arena (9,000) in Dublin the UK’s The O2 (20,000) in London. “Our biggest video concern was the content,” says Wilkison. “Alex Leinster [Video Design] sourced a Green Hippo server and prepared it. When we arrived at Neg Earth’s premises for a short technical rehearsal we just needed to plug it in and were ready to go. The matched equipment meant it was a very smooth transition from the US to Europe.” The content, commissioned by the band, was played on an LED rear wall, while Barco FLMs projected image magnification (IMAG) onto flanking screens. Five operated cameras included three long lenses front-of-house for the three principal vocalists, two in the pit, and two robocams on stage for more intimate angles and reverse shots.

Kinesys does the heavy lifting for American Idiot

“Most productions know exactly how they want to use an automated system at the outset, but this was far more evolutionary and rewarding,” says Smissen.

Newsbites WORLD The US’s ESTA and UK’s PLASA, have jointly released a new code designed to promote rigging safety and good practice at venues globally. Although focused on arena productions, the International Code of Practice for Entertainment Rigging (ICOPER) applies to rigging discipline at all styles of event, say the associations, and recognises differing regulations in different territories. The code is available as a free download from either of the associations’ websites. USA The North American arm of Netherlands-based Mojo Barriers has appointed Dan Gormley as vice-president (VP), joining fellow VP Jordi van Berkum at the head of an operation whose clients include Bruno Mars, Eric Church, The Weeknd and Red Hot Chili Peppers. Gormley’s eight years experience in live entertainment includes festival site development and live event facilities construction. He will be based in the company’s Los Angeles site. UNITED ARAB EMIRATES Dubai-based Venuetech has been appointed exclusive distributor in the region for products by US lighting manufacturer Elation Professional. The production and rental company headed by Nour Assafiri has a 14 year history of supplying events including U2. “Our experience in entertainment lighting along with Elation’s production of innovative products, will open doors for a strong relationship and the proper share in the market,” says Assafiri.

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audience • issue 214 • November 2017


36

Tour Plans Artistes

A guide to Artistes, Tours and Agents

Period/Territory Contact details

Aleem Mar-Sept Sarah Casey, The Leighton-Pope Organisation Europe T +44 20 8741 4453 sarah@l-po.com

Subscribers to Audience can submit their artistes for free listing in Tour Plans, subject to available space and at the discretion of the publisher. Send your info to: sean@audience.uk.com

Andre Cymone Mar Quentin Geerinckx, QG Enterprise Europe T +32 475 73 50 49 quentin@qgenterprise.com Ana Moura Jul-Nov David Flower, Sasa Music Europe T +44 207 359 9232 rab@sasa.demon.uk Andy Frasco Jul-Aug Jeff Aug, Maximum Booking & The UN Worldwide T +49 8324 933 851 info@maximumBooking.com Anna Calvi May Worldwide (excl. North America)

Steve Backman, Primary Talent International T +44 20 7400 4500 stevebackman@primarytalent.com

Keid

Artistes

Period/Territory Contact details

Atari Teenage Riot Mar Jeff Aug, Maximum Booking Worldwide T +49 8324 933 851 info@maximumbooking.com

Boomtown Rats May-Jun Alan Cottom, Alan Cottom Agency with Bob Geldof Europe T +44 1254 668471 alan@alancottamagency.co.uk

Ben Glover Mar-May Nigel Morton, MoneyPenny Agency Europe T +44 7977455882 nigel.morton@moneypennymusic.co.uk

CC Smugglers Apr-Sept Sarah Casey, The Leighton-Pope Organisation Europe T +44 20 8741 4453 sarah@l-po.com

Billy Ocean Apr-Aug Sarah Casey, The Leighton-Pope Organisation Europe +44 20 8741 4453 sarah@l-po.com

Cecile McLorin May-Aug Gunter Schroder, The Kurland Agency Salvant Europe T +1 617 254 0007 gunter@thekurlandagency.com

Bobby McFerrin May-Jul Gunter Schroder, The Kurland Agency Europe T +1 617 254 0007 gunter@thekurlandagency.com

Charles Lloyd and Jun-Jul the Marvels with Europe Lucinda Williams

Gunter Schroder, The Kurland Agency T +1 617 254 0007 gunter@thekurlandagency.com

Cregan & Co Mar Mark Lundquist, Mark Lundquist Concert Europe Promotions T +44 1483 224118 mark@marklundquist.com Dagny Jun-Sep Sarah Casey, The Leighton-Pope Organisation Europe +44 20 8741 4453 sarah@l-po.com Dave Mason Mar-Jul Wayne Forte, Entourage Talent Associates Europe T +1 212 633 2600 booking@entouragetalent.com Damien Dempsey Mar-Apr David Farrow, DMF Music Europe T +44 1392 437744 david@dmfmusic.co.uk

CC Smugglers

TEN YEARS AFTER

BARCLAY JAMES HARVEST JOHN LEES’

50th ANNIVERSARY Tour

THE BLUES FOUNDATION WINNER

JOE LOUIS

WALKER & BAND

50th ANNIVERSARY TOUR

BEST OF CLASSIC BARCLAY

www.kultopolis.com • agentin@kultopolis.com audience • issue 214 • November 2017

www.audience.uk.com


LIVE NATION K2 AGENCY Q PRIME

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38

Tour Plans Artistes

A guide to Artistes, Tours and Agents

Period/Territory Contact details

Eliades Ochoa Apr-May David Flower, Sasa Music Europe T +44 207 359 9232 rab@sasa.demon.uk Epica Mar Nick Peel, Miracle Artists South America T +44 20 7935 9222 nick@miracle-artists.com Foreigner May-Jun Georg Leitner, Georg Leitner Productions Europe T +431 914 86 15 gleitner@glp.at Graham Bonnet Mar-Jun Alan Cottam, Alan Cottam Agency Band Europe, Asia T +44 1254 668 471 alan@alancottamagency.co.uk House of Waters May-Jul Gunter Schroder, The Kurland Agency Europe T +1 617 254 0007 gunter@thekurlandagency.com Jacky Molard May-Jul David Flower, Sasa Music Quartet Europe T +44 207 359 9232 rab@sasa.demon.uk James Blunt

Mar Paul Boswell, Free Trade Agency Latin America, T +44 20 3700 3377 Australiasia info@freetradeagency.co.uk

Joe Satriani Jun-Jul Wayne Forte, Entourage Talent Associates Europe T +1 212 633 2600 booking@entouragetalent.com Jools Holland and Jun-Aug His Rhythm & Europe Blues Orchestra

Nick Peel, Miracle Artists T +44 20 7935 9222 nick@miracle-artists.com

Julian Sas Apr-Sept Hartwig Komar, On Stage Europe T +49 421 357059 Info@onstage-promotions.de

Joe Satriani

Artistes

Period/Territory Contact details

Karbido – Mar Presents Europe The Table

Ania Marzec, Central European Organisation T +48 22 894 60 35 ania@centraleuro.org

Keid Mar-Jul Debra Downes, Dawson Breed Music Europe T +44 207 733 0508 debra@dawsonbreedmusic.com Kenney Jones Mar Mark Lundquist, Mark Lundquist Concert & The Jones Gang Europe Promotions T +44 1483 224118 mark@marklundquist.com Kool & The Gang Apr-May Georg Leitner, Georg Leitner Productions Australia T +431 914 86 15 gleitner@glp.at Lilly Hiatt Apr Nigel Morton, Moneypenny Agency Europe T +44 1377 240162 nigel.morton@moneypennymusic.co.uk Luis Fonsi Jun-Jul Harald Buechel, Georg Leitner Productions Europe T +431 914 86 15 hbuechel@glp.at Lo’Jo Mar-Jun David Flower, Sasa Music Europe T +44 20 7359 9232 rab@sasa.demon.uk Manny Charlton Band

KINEKT

REWS

Mar-Jun Alan Cottam, Alan Cottam Agency Europe, T +44 1254 668 471 South America alan@alancottamagency.co.uk

K I N E K T IS A S M ALL, LIGH T -WE I GHT, MOD UL A R SCA NNI NG L A SER FI XTURE T HAT CAN C O NNECT TO ANY NUMB ER OF A D D I TI ONA L KI NEKT UNI TS. The laser beams emitted by each KINEKT laser fixture, meet on an X and Y axis to create laser scanned effects. KINEKT comes with an FB4 control in-built and works with DMX, Art-Net and BEYOND, the connections on the KINEKT allow for simple in and out daisy chain connection. Each KINEKT has a 3w laser beam comprising of red, green and blue diodes. The mounting system is designed so that the units can be connected on any side to create an endless array of laser beams as long or as wide as the stage will allow. UK +44 1322 293 135 | USA +1 214 2700665 | AUSTRALIA +61 403 703 731 | SPAIN +34 938 000291 | info@er-productions.com | www.er-productions.com

audience • issue 214 • November 2017

www.audience.uk.com


39

Tour Plans Artistes

Period/Territory Contact details

Maya Youssef Mar-Jun David Flower, SASA Music Europe T +44 20 7359 9232 rab@sasa.demon.co.uk McNally-Waters Mar-Jun Alan Cottam, Alan Cottam Agency Band Europe T +44 1254 668 471 alan@alancottamagency.co.uk MISIA Mar-Jun Henry McGroggan, Central European Europe Organisation T +48 22 894 60 35 henry@centraleuro.org Moon Hooch Apr Zac Peters, DMF Music Europe T +44 7837 681905 mailto:zac@dmfmusic.co.uk Morbid Angel Jun-Aug Nick Peel, Miracle Artists Europe T +44 20 7935 9222 nick@miracle-artists.com My Dying Bride Mar-Apr Nick Peel, Miracle Artists Europe T +44 20 7935 9222 nick@miracle-artists.com Nazareth Apr-Jun Alan Cottom, Alan Cottom Agency Europe T +44 1254 668471 alan@alancottamagency.co.uk Nikka Costa March Quentin Geerinckx, QG Enterprise Europe T +32 475 73 50 49 quentin@qgenterprise.com Pat Metheny July Gunter Schroder, The Kurland Agency Europe T +1 617 254 0007 gunter@thekurlandagency.com

Maya Youssef

Artistes

Period/Territory Contact details

Peatbog Faeries Apr Chris Wade, Strada Music Europe T +44 1377217662 info@stradamusic.com Ritchie Apr Blackmore’s Europe Rainbow

Alec Leslie, Consolidated Artists T +44 1829 730 488 alecconsol@aol.com

Phil Vassar Apr Nigel Morton, Moneypenny Agency Europe T +44 1377 240162 nigel.morton@moneypennymusic.co.uk Rab Noakes Mar Chris Wade, Strada Music Worldwide T + 44(0) 1377217662 info@stradamusic.com REWS May-Sept Matt Bartlett, Midnight Mango Europe T +44 1458 211117 mb@midnightmango.co.uk Rodney Crowell Mar Nigel Morton, Moneypenny Agency Europe T +44 1377-240162 nigel.morton@moneypennymusic.co.uk

The Eskies

www.audience.uk.com

Renaissance Mar-Apr Wayne Forte, Entourage Talent Associates Europe T +1 212 633 2600 booking@entouragetalent.com

audience • issue 214 • November 2017


41

Tour Plans Artistes

A guide to Artistes, Tours and Agents

Period/Territory Contact details

Roberto Fonseca Mar-May David Flower, SASA Music East Europe T +44 20 7359 9232 rab@sasa.demon.co.uk Rodney Crowell Mar Nigel Morton, Moneypenny Agency Europe T +44 1377-240162 nigel.morton@moneypennymusic.co.uk Sean Taylor Mar Nigel Morton, Money Penny Agency Europe T +44 7977 455882 nigel.morton@moneypennymusic.co.uk Sidestepper Jun-Aug David Flower, Sasa Music Europe T +44 20 7359 9232 rab@sasa.demon.uk Skapel Mar Henry McGroggan, Central European Europe Organisation T +48 22 894 60 35 henry@centraleuro.org 10cc Jul-Aug Steve Parker, Miracle Artists Worldwide T +44 20 7935 9222 steve@miracle-artists.com Tedeschi Trucks Aug-Sep Wayne Forte, Entourage Talent Associates Band Europe T +1 212 633 2600 booking@entouragetalent.com The Eskies May-Sept Matt Bartlett, Midnight Mango Europe T +44 1458 211117 mb@midnightmango.co.uk The Kilkennys Oct-Dec Bauke Algera, Diba Int. Concerts Europe T +31 5154 205 10 bauke@diba.nl The Moulettes Feb Chris Wade, Strada Music Europe T +44 1377 217662 info@stradamusic.com The National Mar James Alderman, Free Trade Agency Australasia T +44 203 700 3377 info@freetradeagency.co.uk The Shantics Mar Nicole Barden, Mark Lundquist Europe Concert Promotions T +44 1483 224118 mark@marklundquist.com Tipitina Feb Tim Jennings, Big Bear Music Europe T +44 121 454 7020 tim@bigbearmusic.com

www.audience.uk.com

Wille & The Bandits

Artistes

Period/Territory Contact details

The Horrors Mar-Aug Worldwide, excl North America

Steve Backman, Primary Talent International T +44 20 7400 4500 stevebackman@primarytalent.com

The Skull Mar-Apr Jeff Aug, Maximum Booking Europe T +49 8324 933 851 info@maximumbooking.com Tinariwen Apr-May David Flower, SASA Music Europe T +44 20 7359 9232 rab@sasa.demon.co.uk Toploader Mar Mark Lundquist, Mark Lundquist Concert Europe Promotions T +44 1483 224118 mark@marklundquist.com Wille & The May-Sept Matt Bartlett, Midnight Mango Bandits Europe T +44 1458 211117 mb@midnightmango.co.uk Xander and the Mar Alec Leslie, Consolidated Artists Peace Pirates Europe T +44 1829 730 488 alecconsol@aol.com Zamilska Mar Ania Marzec, Central European Organisation Europe T +48 22 894 60 35 ania@centraleuro.org The details shown above 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.

audience • issue 214 • November 2017


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Festival News

Unrivalled setting captures crowds “Even by Faroese standards the event is remote,” says booker Fred Ruddick. “The stages, and much of remote location and the challenges it the production sail in from Iceland, so logistically it brings have done nothing to deter the organ- is quite an operation.” That hasn’t stopped acts including isers of G! Festival (cap. 5,000). Metronomy, Travis, Gabrielle Aplin and Approaching its 17th edition next Kris Kristofferson playing the three-day year the festival takes place in the festival. north of the island in Syorugöta, which G! Festival “It started as one stage, but as the first has a population of 400 and is situatof its kind in the Faroe Islands, the festival DJs, MC’s and club nights hosting dance music into ed between mountain peaks and the grew very quickly to three stages, as did the early morning.” ocean, in a parcel of land skirting the Acts for next year’s festival, from 12-14 July, are the capacity,” adds Ruddick. “We now opcoast. Stages are built on the beach Fred Ruddick erate a fourth late night stage which sees yet to be announced. and the village football pitch. FAROE ISLANDS

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Rock Fest’s big ambitions Mad Cool on the up FINLAND

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he newest festival in Finland’s crowded summer season Rock Fest, has made wholesale changes starting with moving from a farmer’s field in Vantaa to Hyvinkää airfield and growing from three into a four-day event. Last year’s maiden was headlined by Rammstein, Evanescence and Infected Mushroom which attracted 50,000 people. Organisers RL Concerts have decided to expand it and the festival will now run from 9-12 June, with ad-

vance early-bird threeday tickets already on the market at €99 ($115). The new festival site is just over 50 kilometres from Helsinki. Capacity is yet to be fixed but Audience has been told that 80,000 is the target total and daily numbers will be between 15-25,000. “Last year was so popular that the Vantaa area was filled so quickly that we had to find another venue,” says Rock Fest’s marketing manager Jyri Heikkinen. “This airfield gives us the opportunity to develop into

SPAIN

M Rockfest Finland

something like Rockfest Sweden [33,000] and England’s Download [110,000] - a top-notch festival.” The festival’s concept of hard rock will not change, with Judas Priest booked as one headliner along with Finnish bands Children of Bodom, Mokoma, Kotiteollisuus and others part of the 40 bands and artistes that will form the final line-up.

adrid festival Mad Cool is to move site’s next year and increase its capacity to 35,000. Having been held at the city’s Caja Magica (12,400), with three Javier Arnaiz stages inside the venue and two outside, the Live Nation Entertainment promoted event is switching to Valdebebas – a site capable of holding 80,000 people. “This increase in capacity responds to a need for evolution

and growth,” says festival director Javi Arnaiz. “The objective is to make Madrid, once and for all, a city of reference for live music of large format.” The switch means the third edition of the festival, held in July, can accommodate seven stages. “It allows us to expand the variety of bands we have and meet the demand of the public,” adds Arnaiz. Acts performing at the festival this year included Foo Fighters, Kings of Leon and Green Day.

Tour Manager Terry Tucker’s Touring Tribulations by Newman-Parker

audience • issue 214 • November 2017

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AUDIENCE 214  
AUDIENCE 214  

AUDIENCE is the world's leading monthly magazine for the international contemporary live music industry, providing news, features and inform...