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Tom Schroeder’s 20 Years in Music Europe’s Growing Hip-Hop Scene Market Report: Norway The New Bosses The E3S Security Showdown IFF 2019 Agenda

Contents IQ Magazine Issue 85

Cover photo: Jordan Rudess, Dream Theater at ARTmania in Sibiu, Romania © Martin Hughes

News and Developments

6 Index in brief The main headlines over the last two months 8 Analysis Key stories and news analysis from around the live music world 12 New Signings & Rising Stars A round-up of the latest acts that have been added to the rosters of international agents 18 Techno Files Revealing the cutting-edge tech that’s helping our 21st century business





20 IFF preview Details of the International Festival Forum 2019 conference and showcase agenda 24 E3S Previewing ILMC’s third Event Safety & Security Summit 26  New Bosses 2019 The annual list of the young industry hotshots making waves in the industry 32 Urban Sprawl Derek Robertson examines the accelerating growth of hip-hop across Europe 38 Captain of Industry Paradigm’s Tom Schroeder celebrates 20 years in music 58 Security Solution Showdown Looking ahead to some of the guest presenters at E3S 62 Norwegian Mood Adam Woods gauges the health of the live entertainment sector in the world’s most northerly market 70 My Breakthrough Moment A trio of ILMC members reveal defining moments in their careers




Comments and Columns

14 Security today: distraction and stagnation Eric Stuart believes the business must try harder to ensure live events are as secure as possible 15 Inform, educate, sustain Shain Shapiro and Tom Huston urge businesses to adopt the UN’s Sustainable Development Goalsl 16  A new Paradigm Mike Malak and Anna Bewers reflect on Coda’s integration into Paradigm and wider changes in the global agency business. 17 The genre of a generation Mariana Sanchotene comments on electronic music’s rise and the natural connection between the genre and technology 72 Members’ Noticeboard 2019’s photogenic festival crews 74 Your Shout “What’s your most memorable moment from summer 2019?”

IQ Magazine September 2019







THE ILMC JOURNAL, September 2019

The Rise of the Machines (ASAP, please) Gordon Masson harks for the good old days before communication became all-encompassing… It’s early September, which for me means it’s the time of year when my intelligence becomes artificial, thanks to the copious amounts of pastis and wine that I am imbibing in my rural Côte d’Azur hideaway. All washed down with the obligatory local beer, of course. But here I am, writing another IQ editorial and hoping that the Wi-Fi signal will co-operate and extend to the pool for more than ten minutes. Which, of course, it won’t. And that first-world-problem moaning leads me to this serious question: how on Earth do people actually find the time to step away from work to try to at least pretend there is a slither of actual life in their work/life balance? And I address that particular query to all of you freelancers out there. No offense to all the lovely agents, promoters and other salaried employees, but you get paid vacations and, more importantly, you have assistants that allow you to switch your phones off. If a machine can be programmed to become my assistant, then bring on the bots, I say! With that in mind, I’m firmly with Tom Schroeder (see page 38) who opines that rather than chastise millennials when it comes to their career demands, perhaps we should all learn something from a younger generation that wants to spend more time away from the office than in it. And talking of project youth, we unveil this year’s New Bosses shortlist (page 26), which, as our track record proves, is a pretty accurate barometer for who will

be signing the cheques in years to come. And for the more observant amongst you, yes, in our 12th year we have extended the New Bosses shortlist to 12 individuals. Elsewhere in this vacation-interrupting edition, we have some tantalising previews of the International Festival Forum (page 20), which will take place later this month, and October’s Event Safety & Security Summit (page 24), tickets for which are becoming limited, so if you’ve not already secured (see what I did there?) your place, best do it now, before reading the rest of this page. Go on. I can wait. Moving on, our man with many passport stamps, Adam Woods, puts the Norwegian business under his microscope (page 62) and learns that the well-heeled locals like nothing better than live music when it comes to liberating their not inconsiderable disposable income. Meanwhile, Anna Grace takes a peek at some of the security experts who will be presenting their products and ideas at E3S next month (page 58). And if that isn’t enough for you, then Derek Robertson explores the growth of hiphop across Europe (page 32) and the many new local acts it is inspiring. And with that, I’ll sign off (after perching precariously on the farmhouse roof to try to pick up that elusive Wi-Fi reception). I hope to see you all soon at IFF, E3S, Reeperbahn, or one of the many other events that prevent us from having the autumn vacations that we used to 20 years ago, when I was a lad, and this was all fields…


IQ Magazine September 2019

IQ Magazine

Unit 31 Tileyard Road London, N7 9AH Tel: +44 (0)20 3743 0300 Twitter: @iq_mag


ILMC and Suspicious Marketing


Gordon Masson

News Editor Jon Chapple

Staff Writer Anna Grace

Advertising & Sales Manager Steven Woollett


Martin Hughes

Sub Editor

Michael Muldoon

Editorial Assistants

Imogen Battersby and Ben Delger


Anna Bewers, Tom Huston, Mike Malak, Derek Robertson, Mariana Sanchotene, Shain Shapiro, Eric Stuart, Manfred Tari, Adam Woods

Editorial Contact

Gordon Masson, Tel: +44 (0)20 3743 0303

Advertising Contact

Steven Woollett, Tel: +44 (0)20 3743 0304 ISSN 2633-0636

To subscribe to IQ Magazine: An annual subscription to IQ is £75 (print) or £60 (electronic).


in brief Organisers of Belgium’s maiden Vestiville festival are arrested after the lastminute cancellation of a chaotic event dubbed Fyre Festival 2.0. A court orders the Italian Competition Authority to return a €1m fine to Viagogo, after finding the site is a “passive hosting provider” not responsible for ensuring its sellers’ compliance with consumer law. Live Nation confirms it is to increase its shareholding in Rock in Rio, South America’s biggest festival, to a majority stake believed to be 60%. Sales of music merchandise climbed to a value of nearly $3.5billion in 2018, the Global Licensing Survey 2019 reveals. The Republic of Ireland’s Competition and Consumer Protection Commission clears the acquisition of MCD Productions by LN-Gaiety Holdings. The merger remains under review in the UK. Matt Ward, the head of event marketing and PR for SMG Europe’s Manchester Arena, passes away after losing a twoyear battle with cancer. He was 45. AfroFuture Fest, a Detroit music festival, which charged white people twice the price for tickets than people of colour, standardises its ticket pricing following a backlash. Russia’s Federal Antimonopoly Service opens an investigation into leading ticket agency Ponominalu over alleged drip pricing. Live Nation announces the launch of a new summer music festival, Soper Reserve Series, in Tauranga, New Zealand, beginning 2020. The Netherlands’ justice minister, Ferdinand Grapperhaus, calls for a reduction in the number of festivals to help police crack down on illegal drug use. Robert Sillerman is charged with fraud by the US Securities and Exchange


Ed Sheeran


Commission, which orders the former SFX Entertainment CEO to pay a fine of $179,000 for misuse of Function X company funds. The fifth edition of Kiev’s Atlas Weekend festival sees more visitors than ever before, with 538,000 festivalgoers from 75 different countries attending over six days. Metallica breaks another box-office record with their WorldWired world tour, playing to 55,500 fans in Hämeenlinna, Finland, on 16 July. Google suspends secondary ticketing site Viagogo as an advertiser indefinitely, following pressure from industry organisations, anti-touting groups and politicians. United Talent Agency creates a dedicated sporting division, UTA Sports, after making a significant investment in Klutch Sports Group, which represents NBA star LeBron James. MF Live, the company behind cancelled Canadian rock festival Roxodus,

files for bankruptcy with debts of over CAD$18million. After five years as partners, London’s Coda Agency formally merges into its Los Angeles-based parent company, Paradigm Talent Agency, becoming Paradigm London. Star Events, one of the UK’s bestknown suppliers of stages, support structures, rigging and design services, is acquired by David Walley, CEO of corporate event organiser Mobile Promotions. Patron Technology, the parent company of Greencopper and Marcato, adds Australian DIY ticketing platform Ticketbooth to its burgeoning event tech portfolio. CTS Eventim reveals plans to acquire a stake in France Billet, by far France’s leading primary ticket agency, in a major expansion of its activities in the €800m French live music market. Live Nation announces it will acquire a majority stake in Ocesa Entertainment,

IQ Magazine September 2019

the largest promoter in Latin America, in a deal worth an estimated $480m. Henry Cárdenas, president of US-based promoter Cárdenas Marketing Network, acquires Arena Bogotá, a 24,000-seat venue under construction in Colombia. Barcelona’s Sónar festival overcomes multiple difficulties to bring its 26th edition to fruition, following a date change and a workers’ strike targeting its venue. Spanish promoter The Music Republic, which promotes Arenal Sound and Viña Rock, acquires Festival Internacional de Benicàssim (FIB) from MCD/SJMowned Maraworld. The UK’s MJR Group merges with Propaganda, absorbing the company that organises the UK’s biggest weekly club night, with immediate effect. Vivendi Village, Vivendi’s live entertainment/ticketing unit, increased gross turnover more than 55% in the first six months of 2019.

AUGUST LA-based agency ICM Partners forms an artist-representation partnership with Good Charlotte’s Joel Madden. Two Ed Sheeran shows, promoted by Fullsteam Agency, attract more visitors than any other live music event in the history of Finland. Email marketers offer to sell lists of festival attendee data to music business professionals, in the latest suspected email scam to target the live industry. Kigali Arena, a multipurpose live entertainment facility with a seated capacity of 10,000, prepares to open in the Rwandan capital. Ed Sheeran’s ÷ tour becomes the highestgrossing concert tour of all time, breaking the current record of $735.4m set by

U2’s 360° stadium tour in July 2011. Sony Music Masterworks, a division of Sony Music Entertainment, acquires a majority stake in UK concert promotion and production company Senbla. The UK’s Boardmasters festival is cancelled 12 hours before gates are due to open owing to severe-weather warnings. DEAG acquires a majority stake in Mewes Entertainment Group, a booking agency representing some of Germany’s best-known Schlager artists. Dutch promoter Q-dance, part of the ID&T group, takes a 50% stake in event organiser Art of Dance and electronic artist agency Most Wanted DJ. Superstruct Entertainment invests in Germany’s ICS, adding leading metal event Wacken Open Air to its stable of European festivals, which also includes recently acquired hip-hop event Parookaville. Multiple shows are rescheduled or cancelled in Hong Kong, as pro-democracy protesters clash with authorities over a controversial extradition bill. The Dutch Consumers’ Association urges other ticketing companies to follow suit after Ticketmaster declares it will begin refunding customers’ booking fees in the case of cancelled or postponed events. Australasian live entertainment powerhouse TEG, the parent company of Ticketek and TEG Dainty, acquires the UK’s MJR Group. Festicket, a marketplace for music festival travel packages, buys ticketing and cashless payments platform Event Genius and its consumer-facing brand, Ticket Arena. A Chilean edition of Brazilian megafestival Rock in Rio is in the works for 2021, founder Roberto Medina confirms.

James Hetfield, Metallica


SEPTEMBER A host of concerts in Miami and Orlando are cancelled or postponed due to concerns over Hurricane Dorian, as the tropical storm batters the Bahamian coast. A woman dies after being hit by an exploding pyrotechnic device while performing at a festival in northern Spain. Big Hit Entertainment, home to K-pop sensation BTS, announces global auditions to form a new girl band, set to debut in 2021. Ex-Mean Fiddler/Mama CEO Dean James launches BeSixth, a live events agency with offices in London and Sydney. UK Music CEO Michael Dugher highlights “growing concerns” around the potential impact of a no-deal Brexit on the live music industry, as 31 October approaches. To subscribe to IQ Magazine: An annual subscription to IQ is £75 (print) or £60 (electronic).

Want to share your views on breaking industry news? Then get involved in the discussion on Twitter: @iq_mag

IQ Magazine September 2019



Movers and Shakers Hinting at its ambitious plans for the planned MSG Sphere venues, The Madison Square Garden Company has hired Oscar-winning film producer Kristina Reed (Big Hero 6, Frozen, Madagascar) as senior vicepresident, creative development and strategy. Famed for her work with DreamWorks and Walt Disney Animation, her role will involve developing creative content for the Spheres currently under development in Las Vegas and London. Live Nation has named Grand Ole Opry general manager, Sally Williams, as president of music and strategy in its Nashville, Tennessee, offices. Ticketing giant StubHub has tasked former senior VP Dan Jones with running its businesses outside of North America. As vice president of international, Madrid-based Jones will oversee operations in Europe, the Middle East, Africa, Latin America and the Asia Pacific region. Live Nation Finland has appointed Tomi Saarinen as its new managing director, to succeed Nina Castrén. Saarinen was formerly marking director of Sony Music Finland and has also worked at Finnish radio stations YleX and NJR. TEG-owned Ticketworld, one of the largest ticketing companies in the Philippines, has appointed lawyer John Maclang as general manager, as chief executive Bob Sewell retires. Sewell will retain a consultancy role. Ticketing and event technology platform Eventbrite has appointed Lanny Baker as chief financial officer, following mixed second quarter financial results. He joins Eventbrite from Yelp, and succeeds Randy Befumo, who moves into the role of chief strategy officer. Ticketmaster has named Kathryn Frederick as chief marketing officer, responsible for leading the company’s performance marketing, brand, partnership, insights, growth and digital marketing teams. The company has also appointed David Eisenberg as vice-president of partnership marketing and Andrew Samson as vice-president of brand marketing. UK-based music development charity PRS Foundation has promoted Joe Frankland to chief executive. He replaces Vanessa Reed who has taken up the role of president and chief executive of New Music USA. The Madison Square Garden Company has promoted vice president of corporate development Dan Fleeter to head of esports and chief operating officer of its esports team, Counter Logic .

Renowned music agent and founder/CEO of International Talent Booking, Rod MacSween, was given an honorary doctorate degree by the University of Exeter, his alma mater, in recognition of his outstanding contribution to music. MacSween got his first taste of the music business in 1969 when, while reading chemistry and statistics at the university, he was elected as Students’ Guild social secretary. During that time, he was responsible for bringing legendary artists such as The Who, Pink Floyd and Robert Plant’s first group Band of Joy to the university stage where they played for 1,800 students at £1 per ticket. After graduating, MacSween worked as an agent at major booking agencies before founding ITB in 1976. Referring to his own career when he addressed students during his conferral, MacSween advised them that enthusiasm, commitment, integrity and a measure of risk-taking would be key ingredients for success in their working lives.


IQ Magazine September 2019


CTS Eventim shares are listed on the Frankfurt Stock Exchange (© Marco Verch)

Live music shares reach all-time high

The two largest stock market-listed live entertainment businesses, Live Nation Entertainment and CTS Eventim, each recorded their highest-ever share prices in the last week of July, reflecting continued investor confidence in the industry. Live Nation has grown the price of its New York Stock Exchange-listed shares by more than 50% in 2019 alone, with its stock price breaking the $70 (€64) mark for the first time on 25 July, on the back of news of a $480m (€437m) acquisition of 51% of Mexican promoter and ticketer Ocesa. At press time, Live Nation shares were worth $68.86 (€62.66.) European rival Eventim, meanwhile, saw its Frankfurt Stock Exchange-listed shares reach an all-time high of €46.88 on 29 July. The increase followed an announcement the company intends to acquire a significant stake in France Billet, and also resulted in its market capitalisation surpassing the €4.5billion mark for the first time. IQ revealed in August that the major publicly traded live entertainment companies have increased their collective market value

by more than $8bn (€7bn) – or $1bn (€0.9bn) a quarter – in just two years. Analysing the market capitalisations of Live Nation and CTS Eventim, along with Madison Square Garden Company, Deutsche Entertainment AG, Brazil’s T4F Entertainment, eBay’s StubHub and Vivendi’s live businesses, found an increase of $8.4bn (€7.6bn) over the two-year period ending June 2019. The bulk of the heavy lifting was done by market leader Live Nation, whose share price stood at $66.25 (€60.28) the end of the first half of the 2019 financial year. Journalist and stockmarket analyst Manfred Tari notes that LN stock has in recent years vastly outperformed the Dow Jones Industrial Average, which tracks the value of 30 large public companies in the US. “Since August 2016, the Dow Jones has recorded gains of more than 40%,” he observes. “Meanwhile, Live Nation shares have gained more than 40% since August 2018, boosted by positive analyst ratings and institutional investors raising their shareholdings.”

Nevertheless, five of the seven companies increased their market cap in that time – with only eBay, whose StubHub ticketing business accounts for around an eighth of its turnover, and T4F down in value. Interestingly, over $7bn (~85%) of that two-year growth was added in the first seven months of 2019 alone, with live businesses’ performance on the markets generally accelerating this year, despite economic uncertainty around issues

like Brexit, the US-China trade war and looming recession in Germany. “We hear a lot of talk about the ‘experience economy’, and these figures reflect that,” comments industry economist Chris Carey. “As the cultural shift towards experiences and moments, especially those with social capital, continues, live entertainment is well placed to capitalise.” Looking to the next two years, Carey says marketwatchers should also keep an eye on the growth potential of developing countries. “It will be interesting to see how the global live companies engage with emerging markets,” he adds. “I’d anticipate an increase in activity within those geographies, but also a growth in talent from those markets being exploited in the established markets, too.” For the full findings, including company-bycompany breakdowns, visit

The 13th NOS Alive, held in Lisbon from 11 to 13 July 2019, attracted some 150,000 visitors over three days with a diverse line-up that included The Cure (pictured), Smashing Pumpkins, Vampire Weekend, Idles, Thom Yorke, Grace Jones and Greta Van Fleet. Read IQ’s interview with festival director, Álvaro Covões, at Photo © Arlindo Camacho

Have you got a viewpoint on any of these articles? Then get involved in the discussion on our Twitter account @iq_mag

IQ Magazine September 2019



MJR’s Dan Ickowitz-Seidler and Richard Buck with TEG’s Geoff Jones. The MJR Group is set to become TEG UK

Superstruct leads a summer of M&A

It’s been a busy few months for mergers and acquisitions, with fast-growing Superstruct Entertainment adding two new events to its European festival network amid a flurry of new live business deals. Superstruct, backed by Providence Equity Partners and led by Creamfields founder James Barton, added

metal festival phenomenon Wacken Open Air and leading hip-hop event Parookaville to its stable in August, by investing in promoters ICS and Next Events, respectively. The German festivals join existing Superstruct events including Sziget (Hungary), Flow Festival (Finland), Sónar

(Spain), Northside (Denmark), Øya Festival (Norway) and Boardmasters (UK). Øya founder Claes Olsen, whose festival was acquired last year, told IQ in July that 2019 has largely been about “getting to know each other better” for the Superstruct events. However, he expects “more collaboration in future years,” especially in coordinating artist booking. Elsewhere in Germany, DEAG in August acquired a major stake in Mewes Entertainment, a booking and management firm that represents primarily Schlager and German folk music (Volksmusik) acts. Among the acts Mewes presents are septuagenarian pop singer-actress Mary Roos, lion-taming Vegas mainstays Siegfried and Roy, and Heino, one of Germany’s most popular Schlager performers, who has sold more than 50 million records since the 1960s. “In DEAG, I have a strong partner at my side,” said company founder Jan Mewes. CTS Eventim, meanwhile, sent its share price rocketing to an all-time high of €48 in July by announcing it would acquire a 48% stake in France Billet – by far France’s largest entertainment ticket seller – with an option to increase to a majority holding after four years. (At press time, Eventim shares were worth over €50.) France Billet is currently owned by the Fnac Darty group, France’s largest retailer of entertainment products, consumer electronics and household appliances. In the UK, promoter and venue operator The MJR Group was snapped up by Australia’s TEG, which

plans to rebrand the company TEG UK. According to TEG CEO Geoff Jones, the acquisition of MJR gives TEG, which is active across the Asia-Pacific region, “a strong presence in the vibrant UK and European markets, and demonstrates its focus and commitment to the international expansion of its pioneering integrated live entertainment model.” Terms of the deal were not disclosed, though IQ understands the purchase price is an eight-figure sum. And in a relatively quiet two months for Live Nation, the US concert giant made just two buys: first, increasing its shareholding in Rock City, the organiser of Rock in Rio, to a majority stake, then – more significantly – announcing the acquisition of a majority stake in Ocesa Entertainment, the largest promoter in Latin America and the fifth-biggest by ticket sales globally. The acquisition of 51% of Ocesa – which also owns Ticketmaster Mexico – from CIE, a vertically integrated entertainment group often described as Mexico’s Live Nation equivalent, and Televisa Group, the largest mass media company in the Spanishspeaking world, is expected to close by the end of the year, pending regulatory approval. Televisa will receive Mex$5.2billion (€248million) for its 40% stake in Ocesa, along with a dividend of Mex$350m (€16.6m) on or before the deal’s closing, the company says. CIE, meanwhile, is selling an 11% equity stake, valued at Mex$3.6bn (€172m), and will retain 49% of Ocesa. In total, Live Nation will pay around $480m (€435m) for 51% of Ocesa.

IQ Magazine September 2019

The latest trades and handshakes from the agency world LEIO


Agent: Peter Elliott, Primary Talent

Agent: Gary Howard, UTA L E I O is a singer-songwriter originally from the south of England. Born to an Indian father and English mother, her early musical introductions came from her mother’s eclectic collection of records that included everything from country and western to 80’s soul. L E I O ventured out and travelled to the US, where her sound began to diversify through collaborations with Grammy-award-winning writers and producers, contemporaries of India Arie, Michael Jackson and Alicia Keys. L E I O’s debut single 342 is set for release mid-September. She is managed by Adrian Sykes at Decisive Management.

Anoushka Lucas

L E I O (UK)

Influenced by the sounds and writing of Carole King, Zadie Smith, Amy Winehouse and Billie Holiday, Anoushka Lucas has been described as “an exceptional voice and a great songwriter” by Jamie Cullum. Her debut album Dark Soul, released July 2019, is unashamedly autobiographical, managing to combine an honesty in her music with a sensitive warmth, touching on themes of love, sex and loss. Born and raised in London, Anoushka studied at the French Lycée and excelled in piano, ballet and languages before going on to study Russian and Italian at Oxford University. To date, her live highlights include a sold-out headline show at Oslo in London, opening British Summer Time 2019, supporting Tom Odell during Brits Week 2019, and playing Love Supreme Festival.

100 Gecs (US)

David Exley, Paradigm

Alex Kennon (IT)

Laetitia Descouens, Primary Talent

ALYØ (NG) Amber Liu (US/KR) Anoushka Lucas (UK)


Beckie Sugden, X-ray

Reflekter (UK)

Angie Rance & Emily Robbins, UTA

Bruce Hornsby (US)

Steve Strange, X-ray

Cable Ties (AU)

Stuart Kennedy, ATC Live

Caroline Rose (US)

Stuart Kennedy & Matt Hanner, ATC Live

Jamie Wade, X-ray

Santino Le Saint (UK)

Somebody’s Child (IE)

Shaun Faulkner, X-ray

Dense and Pika (UK)

Steve Nickolls & Greg Lowe, UTA

Devilskin (NZ)

Steve Strange, X-ray

William Church, ATC Live

Soulection (US)

Beckie Sugden, X-ray

Steel Purse (UK) The Dead Daisies (US/AU) The Delta Riggs (AU)

Shaun Faulkner, X-ray Tom Schroeder, Paradigm

Frisco (UK)

Dan Saunderson, UTA

Gentlemens Club (UK)

Paul McQueen, Primary Talent

Girl Ultra (MX)

Felipe Mina Calvo, ATC Live

Girlpool (US)

Will Church & Sarah Joy, ATC Live

Harrison (UK)

Dan Saunderson, UTA

Hawkwind (UK)

Ben Ward, UTA

Hero the Band (US)

Steve Strange, X-ray

Humble the Poet (CA)

Geoff Meall & Tom Taaffe, Paradigm

Hundred Reasons (UK)

Adam Saunders, X-ray

Jaguar Skills (UK)

Dan Saunderson, UTA

Joe Kay (US)

Beckie Sugden, X-ray

Keir Gibson (UK)

Ryan Penty, Paradigm

Kirk Franklin (US)

Beckie Sugden, X-ray

Koryn Hawthorne (US) Laville (UK)

David Sullivan Kaplan, UTA Steve Strange, X-ray Steve Strange, X-ray

The Horrors (UK)

Adele Slater, Paradigm

The World Alive (US)

Shaun Faulkner, X-ray

Third Son (UK)

Martje Kremers, Primary Talent

Tim Atlas (US)

Felipe Mina Calvo, ATC Live

Tim Montana (US)

Adam Saunders, X-ray


David Sullivan Kaplan, UTA

Vaughan (UK)

Steve Strange, X-ray

Veronica Fusaro (CH)

Matt Hanner, ATC Live

Võx (US)

Felipe Mina Calvo, ATC Live

Yizzy (UK)

Nick Reddick, Primary Talent

Yung Sham (US)

Guillaume Brevers, ATC Live


(Artists moving through database the quickest) BABY ROSE (US) JOHNNY UTAH (US) BANG BANG ROMEO (UK) ASHNIKKO (UK) SAULT (UK)

Beckie Sugden, X-ray

Kyan (UK)

Matt Pickering-Copley, Primary Talent

Sorry (UK)

James Whitting, Paradigm

Fred again (UK)

Marlon Burton, ATC Live

Sorcha Richardson (IE)

William Church, ATC Live

Fearing (US)

Steve Strange, X-ray

Sophomooreik (UK)

Disq (US)

Beckie Sugden, X-ray

Steve Strange, X-ray Sol Parker, Paradigm

Dirty Radio (CA) Fat Nick (US)

Craig D’Souza, Primary Talent

Social Animals (US)

Shaun Faulkner, X-ray

Death Bells (US)

Sinan Ors, ATC Live

Smoke Boys (UK)

Choir Boy (US)

Natasha Bent, Paradigm

Guillaume Brevers, ATC Live

Seed Ensemble (UK)

Sody (UK)

Peter Elliott, Primary Talent

Sally Dunstone, X-ray

Say Sue Me (KR)

Shaun Faulkner, X-ray

Dan Luke and The Raid (US)

Liam Keightley, ITB Stuart Kennedy, ATC Live

Chastity (CA) Crush Club (US)

Mike Malak, Paradigm

Pictish Trail (UK)

Beckie Sugden, X-ray Peter Elliott, Primary Talent


Patricia Lalor (IE)

Marlon Burton, ATC Live Steve Backman & Serena Parsons, Primary Talent

Leifur James (UK)

Steve Nickolls & James Osgood, UTA

LEIO (UK) Lil Louis (US)

Gary Howard, UTA Laetitia Descouens, Primary Talent

Lottery Winners (UK) Louis Culture (UK) Marie White(UK) Maximo Park (UK) Metronomy (UK) Mirror Fury (UK) MOBS (AU) Movements (US) Natasha Bedingfield (UK)

David Sullivan Kaplan, UTA Andy Clayton, Paradigm Steve Strange, X-ray Steve Strange, X-ray Alex Bruford, ATC Live James Whitting, Paradigm Filippo Mei, ITB Anna Bewers, Paradigm Steve Strange, X-ray

Oso Oso (US)

Olivia Sime, ITB

Patience (UK)

Isla Angus, ATC Live

IQ Magazine September 2019

This Month

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Last Month 65 28 18 12 8 3 122 38 156 101 34 188 21 19 83


Fastest growing artists based on online music consumption. Aggregated across a number of online sources



Security today: distraction and stagnation Ahead of E3S 2019, and two years on from the Manchester Arena bombing, there remains some way to go to ensure live events are as secure as possible, says Gentian Events’ Eric Stuart.


hat has changed since Manchester?” It’s a good question, with a mixed answer. An awful lot has changed. But the bigger question is: “Has it all been beneficial?” The answer, according to many of my colleagues, would be a simple “no” – and I would have to agree. Yes, a lot of good work has been done, but the direction and focus has often been confused. Better CCTV, behavioural detection, closer relationships (in some places) with police and some re-engagement have undoubtedly been among the improvements. One really positive action has been the closer scrutiny by safety advisory groups (SAGs) into matters of event security – although the advice has not always been quite as helpful as it might be if SAG members had some training and better understanding of events. So much money, time and effort has been spent in keeping ramming vehicles away from crowds that other risks have been side-lined and the ‘old-fashioned’ model of risk assessment seems to have been lost in the process. Of course, the consequences of a vehicle attack are likely to be catastrophic, but how great is the likelihood of it occurring? When we look at the risk of drugs, weather and all the other methods of terrorism delivery, the ramming attack risk must be placed within a range of threats and assessed properly. Yet, for the last two years, it seems to have been almost the only focus of many who give security advice for events. It has taken the mayor of Manchester, Andy Burnham, to push for a wider review of event security overall, under the banner of ‘Martyn’s law’, after one of the victims of the Manchester attack. I write this as the director of Gentian Events Limited, but I am also the chair of the United Kingdom Crowd Management Association (UKCMA), a group whose sole purpose is to try to keep crowds safe wherever they gather. The UKCMA wrote to Mr Burnham offering support for his cause two months ago and we are hopeful he will take us up on that offer. We do believe more can be done, but a kneejerk instigation of measures that are not commensurate with the threat cannot be the way. For the last two years, we have exposed hundreds of thousands to lengthy waits outdoors in extremes of heat and rain while enhanced searches have been implemented. We may have


deterred and kept out terrorists, but we have created far higherdensity crowds in vulnerable locations outside while doing so. Worse in many ways, we have ‘locked down’ open street events by blocking off roads with concrete blockers, vans and HGVs to prevent hostile vehicle attacks. To date, none of those crowds have been impacted by other incidents, because if we had another Manchester, or a firearms/knife attack, a building fire, gas explosion or a drone crashing during these events, our policy of ‘run, hide, tell’ would immediately fail as people run towards blocked exit routes.

“When we look at the risk of drugs, weather and all the other methods of terrorism delivery, the ramming attack risk must be placed within a range of threats to our crowds and assessed properly” In the context of crowds, we are certainly seeing more ‘stampede-like’ behaviour, as frightened people misunderstand what their senses or other information sources are telling them and just run: The Black Friday 2017 incident at Oxford Circus in London (60+ injured as they “escaped” from an innocuous fight); the crowd-initiated evacuation at Global Gathering in New York (a fallen barrier sounding like a gun, with seven injured); and, just last month, self-evacuations at Bank tube station in London (another fight), and 22 injured in New York when a motorbike backfired. Free-running crowds will hurt themselves and each other. But if they run into a dead end caused by hostile-vehicle mitigation measures, the consequences will be worse. So, yes, things have changed – and, in some ways, improved. But there is much more to do. We are doing our best, but the security industry cannot do this alone: we need help and we need to work together to improve. The third Events Safety and Security Summit (E3S) takes place on 8 October 2019. See page 24 or for more info.

IQ Magazine September 2019


Inform, educate, sustain Shain Shapiro, founder and president of Sound Diplomacy, and Tom Huston, co-founder and CEO of Gameplan Impact, urge the live industry to partner with the UN’s Sustainable Development Goals to amplify its global impact.


here are a number of initiatives across the global music industry exploring, and in many cases, pioneering, solutions to the global crisis we face. We have recognised the need to be good neighbours, stewards and land managers because our businesses do not exist in a vacuum. We are impacted, and often subservient to, state and local regulation, an electrical grid, sanitation, paved roads and stable governments to succeed and profit. Without systems to build live music or festival infrastructure on, festivals don’t exist. Without careful land planning and environmental management, music venues do not get built. Our system grinds to a halt. Recognising this, a number of initiatives are addressing this and positioning our sector within the global sustainable movement. The Music Demands campaign, led by Julie’s Bicycle, is one. The Clean Scene initiative in the electronic music sector is another. Around the world, festivals are becoming increasingly gender equal and promoting fair pay and fair play. Hundreds have joined the Keychange scheme. The multinationals, Live Nation and AEG, both have published sustainability targets across climate action, gender equality and overall sustainability. But we are also lacking. In the music industry we rarely link our initiatives, our successes and our challenges with the outside world or other sectors. There is no adherence to the global language of sustainability– the UN’s Sustainable Development Goals (SDGs) – and how we can utilise what we do to support collective sustainability while learning from our neighbours. While we are reliant on urban and rural ecosystems to produce, promote, market and succeed, there is a lack of collaboration across global intergovernmental organisations to utilise music as a tool for sustainability. We believe our business has the potential to be a global leader in sustainable development – an important distinction to the simple concept of sustainability, because it refers to the urgent need to literally rebuild the world’s systems, infrastructure and common practices of day-to-day existence for the long-term sustainable future on planet Earth. But we need to engage more with the processes and practices that itemise, strategise and audit sustainability around the world. While it is necessary (even mandatory) to deliver no-impact events, operationally, it is equally important to play an influencing role in changing attendee behaviour and demanding more from suppliers and corporate partners. What

IQ Magazine September 2019

are the long-term positive impacts that festivals can claim inbetween event cycles? When we understand this, we start to unlock the vital role music can play in long-term development as a strategic partner to the municipalities and regions where we operate. This is why we are advocating for the music industry – particularly the live music sector – to align itself with the United Nations’ 17 Sustainable Development Goals by creating an SDG Music Compact – or an agreement that binds our business – linking our targets and initiatives with the rest of the world.

“It is time to merge music with the universal language of sustainability” SDGs represent the first truly global language for sustainability that transcends culture, language and geography, opening up vast opportunities for data collection, categorisation, tracking and reporting. It also provides clear pathways to new issues-based partnerships, supply chain and decision-making that perhaps were previously hidden or difficult to navigate. Most countries (and cities) around the world have SDG offices – with dedicated budgets – that focus on the most urgent social and environmental issues their specific region is facing. Both the media and fashion sectors have signed their own compacts. But we lack this collective mind-set, this voice. We are reducing carbon, increasing gender parity and promoting fair pay in our sector, but each action is independent of each other. If we tied them together and created an SDG structure for music, the awareness and impact of our practices, such as Music Demands, will have a far greater reach than our sector alone. We have the opportunity to magnify our voice and impact effectiveness. We have organised SDG Summit at Reeperbahn Festival on 20 September, as part of the Creative Solutions Summit. This is the first step that will see SDGs embedded more in music to provide guidance, support and greater global awareness of what we do and why it matters. Because music is more than our industry. Music is our universal language. It is time to merge music with the universal language of sustainability.



A new Paradigm Ex-Coda agents Mike Malak and Anna Bewers reflect on the impact of the agency’s integration into Paradigm, as well as wider changes in the global booking agency business. On becoming Paradigm… Mike Malak: It’s exciting to work with a like-minded team who are ready to embrace the future of the business. We share synergies in the way that we work: for example, [neither Paradigm US or UK] believe in ‘one strategy works for all,’ and so we strategise on our clients’ careers with a unique approach. Having been in partnership with Paradigm for the last five years, we have been able to exponentially grow global acts such as Shawn Mendes and Billie Eilish to heights we wouldn’t have been able to without the support of our transatlantic colleagues. Anna Bewers: In the relatively short time I have been here, the whole company has been incredibly welcoming and proactive in sharing tips and teaming up on acts. We are on the same wavelength in terms of being artist-centric. Plus they have amazing rosters! MM: I am excited about developing the brand further internationally, and giving our clients a sense of cohesion throughout the business. Having a unified business that is fully aligned on values and messaging is extremely important, especially to those who we work with externally. AB: I think Coda and Paradigm had seen real success in the partnership over the past five years, so it made total sense to become one company. Before I joined, I think I felt it was inevitable. It’s a move I definitely welcome. Change can be scary but to me this seems like a natural progression of the two companies already working together so closely. On agency sector consolidation… MM: The business is simply following the evolution of the world and its consumption habits. As a united business we are stronger, more collaborative and can offer our clients a true 360 service. It’s about having an experienced, diverse team, whereby we can all learn from each other. As an indie agency, you simply cannot compete on a global level. Artists are sharing their music in ways that are totally different from before. With the rise of socialmedia platforms such as Instagram and Soundcloud, a new generation of artists are connecting with fans on a level that was previously unobtainable. Therefore, knowledge in these areas is key – as is understanding the data and cultural relevance around this.


We have to explore how it impacts touring, how we can leverage it to take the artist further, what new ways of thinking and approaches we can implement to break new ground and truly connect with an audience, etc. AB: Just because an agency is deemed corporate, it doesn’t mean the personality and skills of an agent are lost. When we pitch, it’s about our passion for the artist. I have worked with the majority of my clients from the very beginning and they have stayed with me through my recent change. Paradigm gives us a global platform and the tools that come with that will only make an agent stronger. It’s a global music industry and the consolidation just reflects that. MM: Having an international scope on these ideas only benefits the wider agency, and discussions filled with valuable expertise allow us to excel at it.

“We are still the same dysfunctional Coda family we have always been” - Mike Malak On the future… MM: The live industry is ever changing, from how tickets are purchased to the types of shows fans want to go see. We strive to stay at the forefront of the changes and consistently look towards the future of the business, which I believe will definitely be achieved through our merger with multiple brilliant minds feeding into bigger ideas. AB: We now have a worldwide platform that will continue moving towards more globally focused artist representation. What won’t change? The personalities here definitely won’t change, and that’s one thing that really attracted me to the company. The artist comes first. We are here to build long-term careers, and that certainly wont change either; it’s an ethos we already shared. MM: We may be Paradigm UK now, but we are still the same dysfunctional Coda family we have always been! That can-do spirit remains and is what makes us go that step further for our clients… We will always embody the non-corporate and handson attitude that has taken us this far. I am so excited to see what the next decade looks like for the newly formed Paradigm family.

IQ Magazine September 2019


The genre of a generation


Amsterdam Dance Event (ADE) director Mariana Sanchotene comments on electronic music’s rise to the top and the natural connection between the genre and technology.

he electronic music boom occurred between 2012 and 2015. Electronic music was suddenly very accessible and became the favourite genre of a generation. This same audience is now growing its interest and knowledge in music, developing a more diverse taste and exploring more underground acts. A lot of the relatively new-found popularity of electronic music has to do with how easy it is to access music nowadays. Streaming platforms make the musical discovery process very easy and music is shared all over the world via social media. It is also interesting to see how many people want to try and be a producer or DJ. Gear companies are releasing equipment aimed at the B2C market, therefore the price of equipment has become more accessible. Fans are now able to buy good sound systems and decks and create their own music. In this way, the musical process is playing a much bigger role in people’s lives and really becoming a part of who they are. The spread of electronic music is worldwide. At ADE, we are receiving more and more delegates from Asia and

Latin America – a strong sign that the genre is growing in these markets. Festival line-ups in general are becoming more diverse. More and more often, electronic acts are programmed for the late-night slots at festivals with a mostly pop- or rock-heavy billing. In the same way, many electronic-focused festivals are putting on more hip-hop artists and live bands. There is a wider appreciation of different musical styles all round. As this growth of electronic music continues, I hope to see a closer interaction with technology. Technology gives so many opportunities to create and experience differently, incorporating different media such as video mapping and visual arts. Video games are becoming an increasingly popular way to distribute music, and artificial intelligence is being used to create music, as well as to predict popular acts from an A&R perspective. Making electronic music involves the same kind of modular thinking often used by those working in technology. It’s all the same mindset, so the potential for collaboration between these two worlds really is massive.

A scantily clad clubber in Monstercat’s “Call of the Wild Experience”

Music industry technological trends under the microscope...

Live music’s game plan

Following Marshmello’s paradigm-shifting show in Fortnite in February (see IQ 82), artists are increasingly turning to video games and other virtual worlds to reach more fans, with the likes of Korn, Lindsey Stirling and DJs Au5 and Lvther participating in virtual shows in the past few months. Grammy-winning metal titans Korn debuted a new song from their upcoming album, The Nothing, during an in-game appearance in AdventureQuest 3D and AdventureQuest Worlds on 20 August. The “concert,” which was free to attend and is re-playable for a month, saw AdventureQuest players “fighting monsters” and “scoring loot” in “the most brutal mosh-pit ever,” according to game developer Artix Entertainment. Fans could also buy a package of in-game items, as well as a backstage pass that included a ‘virtual selfie’ with Korn’s Adventure Quest avatars. Six days later, popular violinist Stirling took part in a

“virtual concert experience” in partnership with livestreaming platform Wave, in which she interacted with fans on YouTube, Facebook and Twitch as a motion-captured Lindsey Stirling avatar. Those who wished for a more immersive experience could attend the concert as their own virtual avatar using a virtual-reality (VR) headset and the Wave app. Like the Korn show, fans were given the opportunity to buy a piece of memorabilia from the show, including merch incorporating imagery from the virtual concert. Elsewhere, on 12 July, EDM label Monstercat launched its own virtual world, Monstercat: Call of the Wild Experience, on Sansar, a VR platform developed by Linden Lab, the creator of Second Life (remember that?). In addition to offering a venue for virtual concerts, Call of the Wild Experience will also host artist meetand-greets, giveaways and “exclusive fan quests,” according to Linden Lab.

Mixing it up With the launch of MIXhalo, which raised $10.7million (€9.6m) in series-A funding in July, the live music industry now has at least two apps for concertgoers who think they can do a better job than the sound engineer. All facetiousness aside, MIXhalo, co-founded by Incubus guitarist Mike Einziger and his wife, Ann Marie Simpson-Einziger, is one of a number of platforms that allow fans to mix concert audio live, or otherwise listen to the feed straight from the sound desk. Another, PEEX, signed a partnership with Amsterdam’s Ziggo Dome arena earlier this summer, making PEEX tech available for all artists performing at the venue. While MIXhalo allows artists and concert organisers to offer multiple audio mixes for a single show via an app,

PEEX lets users manipulate concert audio in real time, creating their own five-channel mix using a piece of wearable technology, dubbed rX. MIXhalo CEO Marc Ruxin, says the company is “definitely solving a problem in music that people don’t realise they have,” comparing it to watching television in the prehigh-definition age. “Now sport that’s not in HD looks crappy,” he comments.

Blink and you’ll miss it July’s news that Blink Identity, the Live Nation-endorsed biometrics company (CEO Michael Rapino last year said Blink’s tech could be used to “associate your digital ticket with your image”), would be running a trial with Manchester City FC, was hailed as a step forward for facial-recognition technology by the company’s co-founder, Mary Haskett. “Our state-of-the-art biometric technology has high throughput rates and

accuracy, which […] will improve dwell times, overall and specific security issues, and back- and front-of-thehouse operations for this prestigious organisation,” she said. Less enthusiastic was UK pressure group Liberty (National Council for Civil Liberties), which said the decision to introduce the tech, which is able to identify faces at walking pace, amounts to “normalising a mass-surveillance tool.”

Do you have a new product or technology to contribute to this page? Email to be considered for the next issue…


IQ Magazine September 2019

IFF celebrates its fifth birthday later this month, with more friends than ever – representatives of about 500 festivals, rubbing shoulders with more than 300 agents – and ten curated showcase events featuring 36 hot new acts to add to an IFF roll of honour that includes the likes of Idles, Slaves, Lewis Capaldi, Shame, Rat Boy, Lady Leshur, Public Service Broadcasting, Yonaka, Tokio Myers, The Slow Readers Club, Viagra Boys and many more. If you haven’t yet secured your registration, you might want to get a move on because, at press time, IFF 2019 was close to selling out. And for anyone already registered who’d like to schedule an extra meeting or two, here’s the full agenda for IFF’s two-day, three-night gathering, to help you best plan your time in Camden Town...

Tuesday 24 September

Complimentary Lunch

IFF Opening Party hosted by UTA

With enough sustenance to power everyone through to the evening, this 45-minute window will give delegates a chance to network, catch up on the previous night’s gossip, and enjoy mouth-watering cuisine before the showcases that follow. 12:30 – 13:15, FEST Camden

A chance to meet industry colleagues, new and old, whilst also providing delegates with an opportunity to grab their conference pass early and avoid the queue the next day. 19:00 – 21:00, Camden Assembly

Solo Agency presents… Joining IFF as an official agency partner this year, Solo Agency presents four recent signings. 21:00 – 23:00, The Monarch

Wednesday 25 September POP-UP AGENCY OFFICES IFF’s agency partners set up shop in various venues around the conference for private meetings with festival representatives. 10:00 – 13:30, Various

PANEL: The Festival Season 2019 With the 2019 festival season now wrapped-up, it will be time to take stock of the key issues, successes, trials and tribulations. This session will ask: how was 2019 for you really? 10:30 – 11:30, FEST Camden

PANEL: The Big Billing Debate There have been quarrels over star billing since Roman promoters first chiselled line-ups onto stone flyers for The Colosseum, but in recent history, the arguments have become even more gladiatorial. A panel of experts will discuss issues surrounding line-up billing. 11:45 – 12:45, FEST Camden

“IFF is perfectly timed with the right crowd in an intimate environment. It’s the most important festival business event.” james Whitting, Coda Agency


Primary Talent presents… Primary Talent International launches Wednesday’s showcase sessions with four of the hottest new signings to the agency. 14:00 – 15:30, Dingwalls

Pitch & Smith presents… UK/Swedish agency Pitch & Smith hosts two of their most promising artists. 15:45 – 16:30, Dingwalls

The WME Cocktail Hour WME Entertainment invites delegates for a complimentary drink or several. A liquid refresher between showcases, it’s a chance to quaff whilst mingling with WME’s London team before the showcases continue… 16:30 – 17:30, Dingwalls

X-ray Touring presents… Fresh from a summer in festival fields, the guys and girls at X-ray Touring showcase four of next year’s most exciting additions to line-ups. 17:30 – 19:00, Dingwalls

The IFF Dinner, hosted by CAA Wednesday night kicks off with a difference this year, as IFF heads to nearby Gabeto for modern European cuisine with Latin influences, as well as drinks and great company, courtesy of CAA. 19:00 – 21:00, Gabeto

IQ Magazine September 2019

If you are not already on the invitation list and receiving IFF’s email updates, head to the website for more details on how to sign up: @festforum

Dutch Impact @ IFF

Complimentary Lunch

Dutch Music Export showcases the best up-and-coming artists with international ambitions from the Netherlands. Featuring three of the country’s hottest new artists – Jarreau Vandal, YīN YīN and Chef’Special – and plenty of complimentary drinks, it’s always a party not to miss... 21:00 – 23:00, The Monarch

IFF delegates will be suitably fed and watered before the agency showcases begin at nearby venue Dingwalls. The FEST team will be delivering a selection of hot, tasty food, and minds for the afternoon ahead, while a pay bar operates in the venue. 12:30 – 13:30, FEST Camden

Pop Farm presents… Bol Festival

ITB presents…

Co-organised by Moscow-based concert agency Pop Farm, Bol Festival is the biggest independent music festival in Russia. For one night only, Pop Farm will present three of the most remarkable musical talents currently emerging from the Russian music scene, providing delegates with a taster of Bol Festival in the heart of London. 21:00 – 23:00, Upstairs & The Lock Tavern

International Talent Booking busts Thursday’s showcase sessions wide open with four future festival headliners. 13:30 – 15:00, Dingwalls

Toutpartout presents… European booking agency Toutpartout celebrates its 25th anniversary this year, and as part of its ongoing birthday festivities, the agency presents four of its most talented festival floor fillers. 21:00 – 23:00, Camden Assembly

Thursday 26 September POP-UP AGENCY OFFICES IFF’s agency partners set up shop in various venues around the conference for private meetings with festivals. 10:00 – 13:30, Various

PANEL: Niche Work (If You Can Get It)

Paradigm presents… The Paradigm UK crew presents four of their most promising new signings. 15:30 – 17:00, Dingwalls

ATC Live presents… Always a popular IFF showcase, ATC Live presents a standout selection of stellar new signings. 17:30 – 19:00, Dingwalls

The Grand Finale II BBQ Last year’s Grand Finale was, for many, the best part of the conference, so IFF is returning to Lockside Camden for another memorable feast and final fling. This year’s event doubles as a rather special birthday party, hosted by Wacken Open Air, which just marked its 30th anniversary, and Summer Sonic, which celebrates its 20th. 19:00 – Late, Lockside Camden

IQ’s Jon Chapple invites a guest line-up of genre-specific festivals and specialist agents to tell tales from their respective scenes. 10:30 – 11:30, FEST Camden

The IFF Keynote: Herman Schueremans Rock Werchter founder and Live Nation Belgium head Herman Schueremans sits down with ILMC founder Martin Hopewell for an hour of festival-related tales and insight. 11:45 – 12:45, FEST Camden

“IFF continues to impress. It’s timed great for the booking process, has a lot of participants, and is always a good time.” Brian Ahern, WME

IQ Magazine September 2019



Celebrating Standon Calling success


Promoted Content

A team of eight Weezevent staff were on hand to provide the Weezevent system: “It’s seamless,” he commented. “The practical advice, guidance and support at Standon Calling in device is really nice to use – it’s about the size of your iPhone July, as the cashless payments provider marked a successful in your hand – and the staff are absolutely loving it.” first year of its partnership with the boutique UK event. Despite Weezevent’s growing British footprint, Goddard Paris-based Weezevent, which provides cashless solutions said the company is committed to providing white-label for some of the biggest events in France, including Rock services for its clients, rather than building awareness of its en Seine, Hellfest, Lollapalooza Paris and Les Vieilles own brand among consumers. “Our brand is not important,” Charrues, opened a London office in 2017 and signed the he commented. “What is important is the technology and the 15,000-capacity Standon Calling earlier this year. reliability of that technology.” “Standon are the festival experts when it comes to RFID As an event that welcomes festivalgoers of all ages, and cashless technology,” said Weezevent’s UK country Standon Calling also wanted to give families more control manager, Olly Goddard. “Their over their cashless accounts. Using decision to become our first festival Weezevent’s technology, access and partner in the UK is an endorsement buying rights were set depending of our solution and reflects our on the age of the attendees, through intention to expand here in the UK, RFID microchips attached to as we have done so in France.” cashless wristbands. Standon, this year headlined by “It’s the same account on multiple Rag’n’Bone Man, Nile Rodgers’ Chic, chips,” explained Goddard. “A parent and Wolf Alice, in 2013 became one will be able to control how much of the first UK festivals to introduce goes on the children’s wristbands a cashless system. After working with from their phone. So rather than go two different RFID providers, it moved over and give their kids a tenner, over to Weezevent for 2019 to take they have them as a subcategory of advantage of the company’s cashless the their own account and give them and access-control solutions, which a budget to spend.” work offline avoiding the risks posed Goddard added that Weezevent by an unstable Internet connection. had its ‘under-18’ mode activated (As Weezevent co-founder and CEO, at Standon Calling, which prevents Pierre-Henri Deballon, told IQ those under legal drinking age from earlier this year, “If a festival can’t spending money on alcohol. Weezevent’s process payments, that’s like a normal Standon Calling founder Alex Standon Calling in numbers business being closed for weeks…”) Trenchard was impressed by All 180 festival staff at bars and Weezevent’s festival debut. “The 8 - Weezevent technicians restaurants, and 50 independent Greencopper app integration 40 - access-control devices traders used Weezevent’s cashless reduced the need for as many on-site 312 - cashless-payment devices payment system, while mobile top-up stations,” he explains, “auto partner Greencopper allowed top-up working offline allowed us to 180 - staff at bars and restaurants festivalgoers who downloaded the increase spend while reducing costs, 50 - independent traders Standon Calling app to create and and the family accounts helped our top-up their cashless account online in seconds. family audience plan their festival spending better. Andrew Snell, founder and director of One Circle Events, “I’m looking forward to continuing our successful which runs Standon’s bars, described the new payment process partnership with Weezevent as we continue to make as “slick, quick and fast.” Snell is no stranger to cashless – he the cashless experience as seamless as possible for our also runs a cash-free pub in London – but is still impressed by attendees at Standon Calling.”

IQ Magazine September 2019



“E3S is an important platform for the whole live event market and should be in the calendar of anyone who is involved in safety and security of shows and other live events.” Peter van der Veer, (former) European Arena Association (NL)

The Event Safety & Security Summit The agenda for the 2019 edition of ILMCs security-focused conference – E3S – is all but complete, with just a handful of speakers and companies still to confirm their participation but a stellar line-up of experts already set to discuss how to improve international event safety and security… Registration: E3S is an invitation-only conference for venue operators, touring & sport professionals and security experts. To request an invitation, contact A delegate pass costs £180 plus VAT and booking fees, and includes: • Access to all panels, presentations and workshop sessions • A conference guide containing the contact information of all delegates • A five-star working lunch • Coffee & tea breaks • A closing drinks party Companies already confirmed to attend E3S 2019 include: ACC Liverpool, AEG Europe, Bergen Live, Ethias Arena, Festival Republic, G4S, Intelligent Security, LW Theatres, Manchester Pride, MKTG, R3S Global, Rule Out Loud Management, SafetyGroup/Security-Service-Schmitt, The Southbank Centre, Sportpaleis Group, The London Palladium & The O2 Arena.

The 2019 Agenda E3S combines a series of presentations, panel discussions and workshops, to deliver an informative and educational conference for some of the world’s top security experts. The agenda below is provisional, with a handful of additional participants still to be announced – these will be published on the E3S website as those individuals confirm their attendance.



This year’s welcome address will be conducted by Matt Bettenhausen, senior vice president and chief security officer for AEG, the leading sports and live entertainment company with over 150 venues worldwide. Prior to joining AEG, Bettenhausen was a member of governor Arnold Schwarzenegger’s cabinet for nearly six years and served as the chairman of the California Emergency Council. He has held many roles in national and state organisations, such as the National Homeland Security Consortium, the National Governors Association’s Homeland Security Advisors Council, and National Emergency Managers Association.

IQ Magazine September 2019


“E3S is invaluable for developing connections to continue sharing knowledge, information and best practice throughout the rest of the year.” Tim Hogan, Cricket World Cup 2019 (UK)



Led by Pete Dalton from MOM Consultancy, this session will examine how event organisers can conduct vulnerability assessments and, from this, identify protective security options.

Earlier this year, Sportpaleis Antwerp conducted a major simulation of a terrorist attack. Sportpaleis’ Thijs van Best presents key outcomes and recommendations learned from the exercise that all venues and event operators might benefit from.



A senior figure from the UK Government’s National Cyber Security Centre (NCSC) will discuss cyber security at live events, and will run through practical steps that event organisers can take to identify and manage cyber threats to their events.

During this 15-minute Viewpoint session, regional manager for the Ministry of Foreign Affairs Israel’s Security Department, Ofer Grinboim Liron, will present the unique Israeli approach towards security.


With incidents of gun and, knife crime and other violent acts rising in many international markets, how can the live events space ensure that the show still goes on?

Today’s live event industry attracts a wider demographic of audiences, and with it, audience members with a greater range of needs than ever. International Training for Crowd & Safety Management’s Sabine Funk invites a line-up of guest speakers to discuss the most current lines of thought.

THE SAFE PROJECT: EDUCATION IN PRACTICE A group of bodies from the European live music sector are currently collaborating on an Erasmus+-funded project to improve safety and security training on the continent.

THE SOLUTION SHOWDOWN A showcase of up to ten innovative new solutions/technologies fresh on the market, research projects looking for a home, and theories searching for a case study.

MACHINE-LED CROWD MANAGEMENT Until now, crowd management has been dealt with by seasoned professionals making subjective judgements. But using 35 years of experience, Andrew Tatrai from Dynamic Crowd Management Pty will use technology to replicate the human decision-making process.


HUMAN BEHAVIOURAL RESEARCH: A 2019 UPDATE Pascal Viot from Paléo Festival Nyon, discusses how the risks to mass gatherings and crowded spaces change as constantly as the world around them.

CLOSING KEYNOTE In addition to summarising the day, a special guest speaker will focus on what tangible next steps should come from the third E3S, and the work ahead in the coming months.

NETWORKING DRINKS With the formal sessions done for the day, the European Arenas Association will host 90 minutes of drinks and snacks, giving delegates a chance to review the key topics of the day, make a final few acquaintances, or catch up with old friends – in true ILMC style, it’s a relaxed way to mark the finale of E3S 2019.



Congress Centre, 26 Great Russell Street, London WC1B 3LS

8 October 2019

To register or for the latest news and speakers: IQ Magazine September 2019


Bonita McKinney (30) Business development manager, music and festivals – Ticketmaster (UK)


Born in Exeter and raised in Bournemouth, McKinney studied commercial music at London’s University of Westminster. Her first full-time industry role was at Miracle Artists as an assistant to agent Nick Peel, where she spent two years before joining Academy Music Group in 2010 as a promoter. After spells as a promoter for DHP Family and Robomagic, she joined Ticketmaster in 2016, moving into her current role earlier this year. What are you busy with right now?

My main role is to sign-up new clients to Ticketmaster, whether they’re a festival, venue, promoter or brand. I help take independent events to the next level through Ticketmaster’s marketing and technology. What are the highlights of your career so far?

The New Bosses 2019 – the latest edition of IQ’s annual celebration of the brightest talent under 30 in the live business today – is the biggest to date, with no fewer than a dozen promoters, bookers, agents and other young execs making the cut for its 12th year. These individual profiles are heavily edited versions of full interviews which will appear online on the IQ website in the coming weeks. These promising young execs will also play a key role in forthcoming editions of Futures Forum, the discussion and networking event for the next generation of industry leaders that debuted at ILMC 31 in March. Read on, then, for this year’s roster of young, talented professionals who are shaping the future of our business...

As a promoter some of my highlights are Craig David’s comeback tour, Ghost’s first UK tour with Jägermeister Music, taking Sleaford Mods to a sell-out [Kentish Town] Forum from a 50-cap room in Nottingham, and creating an event for female artists, which won PRS for Music funding. Do you have an industry mentor?

My current boss, Sarah Slater. There is a level of trust and security I have with her that I haven’t experienced before – perhaps it is the difference in having a female boss (she’s my first). Empowered people empower others! What advice would you give to anyone who wants to get into, or is new to, the business?

Make friends. It is important to have people around you who can understand why you work the crazy hours and motivate you to push on through – or tell you to take a break.

Charly Beedell-Tuck (29) Agent - Solo (UK) Londoner Beedell-Tuck graduated from Cardiff University in 2012 and went on to intern at various management companies before joining WME in 2013. Starting as a receptionist, she became Russell Warby’s assistant, working with acts including Foo Fighters, the Strokes and Johnny Marr. In January 2017, she left WME for Solo, where her roster includes Rothwell, Wild Front, Chinchilla and Paradisia. She also books acts such as Boyzone, James and Imelda May with Solo MD John Giddings. What are you busy with right now?

Just wrapping up the last of my 2019 bookings: seeing through the last shows with James, who are coming to the


IQ Magazine September 2019


end of their current cycle, finalising Wild Front’s headline tour and concluding the Boyzone farewell tour. I’m working on a new project for 2020 called Generation Sex, which I am really excited to be a part of. It’s a supergroup that includes Billy Idol and Tony James of Generation X, and Steve Jones and Paul Cook of the Sex Pistols, performing material from both bands. Do you have an industry mentor?

I have two: Russell Warby and John Giddings. Russell was the first agent I ever worked for, and he truly believed in me, giving me a lot of responsibility early on that helped shape me into becoming the agent I am today. As for John, he is the most loyal person I know, and has taught me so much about being an agent and conducting business in a fair and respectable manner. What advice would you give to anyone who wants to get into, or is new to, the business?

As new to the business, I guess my advice would be, as consuming and stressful as it may seem at times, it’s always worth remembering no one is dying, even if the font size on a poster is smaller than you agreed. (Trust me, I have got my ruler out many times!)

Florian Czok (30) Booking Agent - Melt! Booking (DE)

Karolina Hansen (29) Promoter – DTD Concerts (DK) Born in Szczecin, Poland, Hansen has lived in Denmark since she was three years old. She began her career at Down the Drain Concerts (then known as Beatbox Entertainment) as a promoter assistant in 2015, after an early career that saw her working in the punk and hard-core scene in Copenhagen, and interning at UTA in London. Her roster now includes the likes of Khalid, Billie Eilish, Little Simz, Steve Lacy, and hard-core band Refused. What are you busy with right now?

I’m busy finalising the last headline shows for the fall, booking spring 2020 shows and putting together the festivals [NorthSide, Tinderbox and Haven] with the rest of the festival team. Did you always want to work in the music business?

I started out doing non-profit punk shows and didn’t think about the fact that you could do this full-time. Later my mum sent me a link to a music management course and I realised that my hobby could become my work. Happy days… What are some of the highlights of your career so far?

Czok, who got his start booking DJs and throwing parties in Hamburg, is a booking agent at Berlin’s Melt!, where his roster includes electronic artists such as TRP, Kid Simius, Kidsø, Mareike Bautz and RIP Swirl. He is also a booker for the annual Melt! Festival, which this year featured performances from Bon Iver, Stormzy, Four Tet and Jorja Smith.

I am super-proud of presenting artists that I believe are the sound of our generation right now, like Billie Eilish and Khalid. In September, I have my first arena show as a promoter, with Khalid – that’s huge for me.

What are you busy with right now?

What, if anything, would you change about how the live industry is run today?

Starting to book and collect ideas for Melt! Festival 2020 already; working on some hosted club nights in Germany for the Black Madonna, Denis Sulta and DJ Seinfeld, to name a few; and also working on tours and hard-ticket shows for Q1 for the artists from my Melt! Booking roster. It doesn’t get boring!

What’s the biggest lesson you’ve learnt in that time?

That it is okay to say “no”, and believe your gut. At first I agreed to promote everything sent my way because I thought I had to in order to keep everyone happy, but it is okay not to do that. However, if you really believe in something, push for it and do everything you can to make it happen.

I would like for everyone to believe in and listen to each other a bit more. We’re all experts in our own markets, and with Denmark being a really small one, it is super-important that you work on long-term plans together.

What, if anything, would you change about how the live industry is run today?

Sometimes the whole live music industry is a bit too much of a business for me nowadays. Don’t get me wrong, it’s how I pay my rent as well – but I have the feeling sometimes it’s just about numbers and money, which is going to a level where the passion for the music gets lost. This is why I started to work in the music business in the first place, and when I hear that some people are looking at stats nowadays and sometimes even don’t know how an artist is playing, it makes me sad. What advice would you give to anyone who wants to get into, or is new to, the business?

Don’t get into this business if you are scared to talk to other people, or don’t like going out, or are not prepared to work more than 40 hours a week, or want to have your weekends off…

IQ Magazine September 2019



Katlego Malatji (29) CEO – HomeComing Events (ZA) Malatji, from the township of Lenyenye in Tzaneen, South Africa, is the son of an advocate (barrister) and studied law at the University of Pretoria. HomeComing Events grew out of a quarterly ‘homecoming picnic’ (still the name of one of the company’s events) he used to throw for friends when they were home from university. The company is black-owned and employs 14 young people from the Tshwane (Pretoria) area. Malatji also runs an entertainment law firm, TailorMade Legal Solutions. What are you busy with right now?

I head up the business development unit of events and marketing agency HomeComing Events. I’m also an entertainment law consultant to some of South Africa’s biggest talent. How has your role changed since you started out?

I used to be in the business with my partner, Neo Moela. We were management, employees, kitchen staff, etc. I have enjoyed settling into the role of working on the business, as opposed to ‘in’ the business, as you can see the future and opportunities clearer from there. What’s the biggest lesson you’ve learnt while at HomeComing?

People are the most important commodity you can invest in, from patrons to staff, friends, colleagues and potential partners. What, if anything, would you change about how the live industry is run today?

Event organisers are not able to hike up their prices at the rate artists do. This makes it harder to book quality line-ups, and the industry is suffering because of it.

Marc Saunders (27) Programming manager – The O2 (UK) Saunders studied music journalism at the University for the Creative Arts (UCA) in Surrey in the UK (but took a different route into the industry to IQ news editor Jon Chapple, who did the same course). After interning at Vector Management (James, Il Divo), Saunders spent two and a half years at publisher Hornall Brothers Music, before joining The O2 in London in 2015. What are you busy with right now?

Finalising 2019’s calendar and looking ahead to 2020 – and 2021! One perk of always looking so far ahead is that time seems to fly by!


How has your role changed since you started out?

My evolution within the team has culminated in me now focussing on the physical booking of shows, by means of working closely with agents and promoters to ensure we attract the best talent and book the most sought-after events. Do you have an industry mentor?

Emma Bownes and Christian D’Acuna have taught me the ins and outs of how to book shows at an arena level, and I have the utmost gratitude towards them for that. What do you do for fun?

I jog to keep active, and also finished the London Marathon this year for the Make-A-Wish Foundation. But if I called running ‘fun’ then I’d be the world’s biggest liar!

Matt Pickering-Copley (28) Agent – Primary Talent (UK) Cape Town-born Pickering-Copley started booking bands from his bedroom before moving to London aged 19. After interning at the Old Blue Last, he became a full-time member of the events team for the Old Blue Last, Vice and Birthdays. One day he got a call from Primary asking if he’d like to work with the late Dave Chumbley, and the rest, as they say, is history… What are you busy with right now?

I’m booking shows into theatres, arenas, clubs and even punk squats… One of my favourite things about my job is that every artist has different wants and needs – I pride myself on being able to cater to all of them. Did you always want to work in the music business?

Yes. As a teen I was obsessed with the DIY sub-cultures in Chicago, New York, and even London. I knew I wanted to be involved somehow but didn’t know how. I became friendly with a set of bands that felt the same way and I started booking tours for them throughout Europe when I was still in sixth form. Do you have an industry mentor?

Dave Chumbley really taught me everything I know about being a booking agent. He had a unique approach to the music industry, and life in general. It was inspiring and terrifying in equal measures. What are some of the highlights of your career so far?

Rufus Wainwright at the Royal Albert Hall on Easter Sunday this year was a very special show. We also once had Show Me the Body play in Gillett Square in Dalston, mimicking the guerrilla shows they do in NYC. What advice would you give to anyone who wants to get into, or is new to, the business?

Be patient and try not to be a tosser.

IQ Magazine September 2019


Melanie Eselevsky (24)

Natalia Zabkar (29)

Talent booker – Move Concerts (AR)

Booker – Live Nation (BE)

The youngest New Boss of 2019, 24-year-old Eselevsky divides her time between studying law at the University of Buenos Aires and working for Move Concerts Argentina. After starting out producing not-for-profit musical shows – in 2016 Eselevsky, with her friends, purchased the stage rights for Hereafter Musical, which they produced in a 500cap theatre for two seasons – she joined Move Concerts, initially as a production assistant, in early 2017.

Hailing from the Flemish city of Genk, Zabkar studied music management at PXL-Music in Hasselt and started her live music career as an assistant promoter at HeartBreakTunes. She joined Live Nation Belgium as an assistant booker in 2015, and was promoted to booker the following year. She is also a promoter rep/artist liaison for Live Nation festivals Rock Werchter, TW Classic and Werchter Boutique.

What are you busy with right now?

I am already working on 2020’s agenda. It´s a tough time because it is a presidential election year in Argentina and the exchange rate varies every minute because both the result and its consequences are unpredictable. I keep trying to find the balance between being fierce, competitive and careful at the same time. How has your role changed since you started out?

I started at Move Concerts with a three-month probation period as a production assistant. I remember one of my first meetings where I was supposed to present all the budgets, and just before I got in I had to Google the word “forklift”! During my first year, I was asked to help in a lot of different areas, which gave me a wider perspective of the business, from visas, ticketing and merch, to show settlements. I never thought I would end up in talent booking. What are some of the highlights of your career so far?

One of the show confirmations I enjoyed the most was Patti Smith. I read she was playing São Paulo and I immediately asked if we could submit an offer because I believed in the show and such an iconic artist. Now we are close to sell-out and I’m ecstatic that my gut feeling was right, and I have gained a lot of confidence. “It was an incredibly rewarding experience to have won the Tomorrow’s New Boss award this year. As an award that is voted on solely by my peers within the industry, it means a great deal to know that the passion and time I have put into this job and industry have been noticed and well received. I truly am blessed to be working with so many amazing people and artists within such an incredible industry. Congrats and good luck to all of this year’s New Bosses!”

Kevin Jergenson, ICM Partners Winner of Tomorrow’s New Boss at The Arthur Awards 2019

IQ Magazine September 2019

How has your role changed since you started out?

At Live Nation, where I started out as an assistant booker, quickly growing into booking shows myself and then being thrown into the Rock Werchter family. I’m now constantly switching between those three roles – so far, so good! Did you always want to work in the music business?

No, I was already into music journalism, when I came across an ad for a new music business school. I didn’t think twice about it. Although I never finished my degree, I met many interesting people, which gave me a start in my career. What, if anything, would you change about how the live industry is run today?

Firstly, there’s no room for ego – it’s not about you. Secondly, include more women! I’ve seen a lot of improvement on this over the years but I feel like the industry is still very much run by our male friends. What advice would you give to anyone who wants to get into, or is new to, the business?

Always lead with kindness and confidence. Don’t let any opportunity pass you by, and don’t be afraid to be impulsive.

Pau Cristòful (26) Booker – Primavera Sound/MUTEK Barcelona (ES) Cristòful is a booking agent for Primavera Sound and Barcelona nightclub Nitsa, and head of booking for the Barcelona edition of MUTEK, the festival of electronic music and digital culture. Born in Vic, some 60km from Barcelona, he will book all three editions of Primavera Sound in its 2020 anniversary year: Barcelona, Oporto and Los Angeles. What are you busy with right now?

Aside from discussing some early ideas for our 2020 festivals, we are now also in the middle of a renewal process for our dance club Nitsa, which happens every weekend in the iconic Sala Apolo.



Did you always want to work in the music business?

Aged 14 I was a music journalist and I started organising shows in Vic, booking artists like 65daysofstatic, The Wave Pictures, Matt Elliott, James Blackshaw and Peter Broderick, and accommodating them in my parents’ place. I have never worked on something that was not musicrelated and I can’t think of myself doing anything else. What are some of the highlights of your career so far?

I think that in 2019, Primavera Sound presented its most adventurous line-up: not only with major non-male representation but also including [reggaeton singer] J. Balvin among our headliners, and showcasing Asian artists, among many other examples. Where do you see yourself in ten years’ time?

Since I first attended Primavera Sound – in 2007, aged 14, in order to see Sonic Youth – my dream job has been doing what I do now. So in ten years’ time, I see myself doing what I do now: working with some of the industry’s biggest professionals, and at the same time still digging into underground scenes and figuring out a way to showcase them.

Sara Schoch (28) Music agent - UTA (US) California-born, Nashville-based Schoch is a UTA lifer, starting her music industry career in the agency’s post room and eventually becoming an assistant to CEO Jeremy Zimmer. When UTA acquired the Agency Group, she transitioned into her current role as an agent in the music brand partnerships division, where she works with artists including Hayley Williams, Post Malone, Action Bronson, Big Freedia and Saint Jhn. What are you busy with right now?

I spent the first half of 2019 working with Paramore’s Hayley Williams to build and programme her activation, the Sanctuary of Self-Love, at Bonnaroo, which was a great success. I am now helping to execute the partnerships our team has secured around Post Malone’s Posty Fest and HER’s Lights On Festival.

Sophie Lobl (28) Global festival buyer – C3 Presents (US) Born in London, Lobl made her way to the US after graduating from Leeds University. Starting her career at BBC Radio 1, she later went to WME, where she worked her way up from a receptionist to assisting Russell Warby, Ari Emanuel and, finally, Marc Geiger in the LA office. In 2019, she relocated to Texas to work for C3 in the newly created role of global festival buyer, where she works closely with the European Live Nation team on artist offers for 197 festivals worldwide. What are you busy with right now?

We are in the middle of booking the line-ups for next year and about to announce the Austin City Limits schedule! What are some of the highlights of your career so far?

Working on Tom Petty’s last tour is one of the greatest memories I’ll ever have. He was a lovely man. Launching Lollapalooza Stockholm is also a true career highlight. What, if anything, would you change about how the live industry is run today?

I think just more inclusiveness, generally. It really is getting better and there are now far more opportunities for women and minorities across the board. But that shouldn’t even really be a thing, should it? Do you have an industry mentor?

[Live Nation SVP, European touring] Kelly Chappell has been my mentor, saviour and sister since the beginning of time. She is so knowledgeable and wise and deserves all the recognition I can give her. What do you do for fun?

Hang out with my French bulldog. His name’s Francis. You should follow him on Instagram (@francislefrenchie).

Do you have an industry mentor?

Toni Wallace, the head of our music brand partnerships team. Toni guided me into my role in music brand partnerships; advising me on issues both big and small, personal and professional, every step of the way. What advice would you give to anyone who wants to get into, or is new to, the business?

Stay curious. One of the most valuable lessons I’ve learnt was from our CEO, Jeremy Zimmer: the importance of approaching each day as an opportunity to learn something new, think about things differently and to transcend the processes that dominate our day-to-day routine.


IQ Magazine September 2019

Urban Sprawl Derek Robertson examines the growth of hip-hop across Europe, from the stadium-filling American superstars to the local-language acts increasingly finding their way onto mainstream festival line-ups. For a stark reminder of how completely rap and hiphop has taken over mainstream culture, consider the case of N.W.A. Thirty years ago, the group released a song that so incensed the authorities and white America – Fuck The Police, taken from their debut studio album Straight Outta Compton – that the FBI felt compelled to write a letter to the band’s label and distributing company complaining that “advocating violence and assault is wrong and we, in the law enforcement community, take exception to such action.” Police started to


refuse to provide security for their concerts and, condemned by politicians, for a short while they revelled in their status as “the world’s most dangerous group.” Fast-forward to today, and the recent arrest of rapper A$AP Rocky in Sweden. Charged with assault following an altercation with a 19-year-old male and forced to remain behind bars until his trial – there is no right to bail under the Swedish criminal justice system – the chorus of celebrity pleas and fan petitions to “Free A$AP” were joined by none other

IQ Magazine September 2019


Canadian superstar Drake is the world’s most popular artist on streaming services

than Donald J. Trump, 45th president of the United States of America. “Give A$AP Rocky his FREEDOM,” he tweeted in late July. “Very disappointed in Prime Minister Stefan Löfven for being unable to act. Sweden has let our AfricanAmerican community down in the United States.” For a figure as divisive and controversial as Trump to even know who A$AP Rocky is – and let’s not forget his new BFF, Kanye West – speaks volumes as to rap and hiphop’s current cultural status. The genres have long since been regarded as the new pop, with the biggest stars now elevated to first name, superstar recognition – Kanye, Cardi, Nicki, Jay, Tyler, Kendrick. And, of course, A$AP, whose first two albums went platinum, selling over 750,000 copies combined and topping charts the world over (and racking up billions of streams). Europe is fertile ground for the genres, and not just at A-list level – everyone we spoke to for this feature emphasised the strength of localised scenes across the continent driven by passionate, committed individuals; talent is spread far and wide. “The hip-hop scene in Europe is stronger than it has ever been,” says Jay Belin, a music agent for WME in London. The agency books some of the biggest names in hip-hop globally, and so has witnessed the genre’s growth on this side of the Atlantic first-hand. “Whether you are talking about chart positions, hard ticket sales or festival inventory, there are more urban artists owning the leader board than ever before,” he adds. “Night and day,” says Belin’s colleague James Rubin, a music partner at WME, when asked to compare the scene today with five or ten years ago. Back then, he says, only the very top acts globally sold “real tickets and played serious slots at major festivals. Nowadays, most A-level events have a large percentage of foreign and domestic hip-hop artists on their bill, and the hard ticket business is healthier than ever.” “Hip-hop in the European market is at the forefront of the industry,” says Ari Bernstein of ICM Partners, an agency that reps rising new stars such as Little Simz, Bhad Barbie, and Migos. For Bernstein, an abundance of such fresh, exciting talent is evidence of the genre “exploding” over the last five years and how the demographic of people calling themselves hip-hop fans is only getting bigger. “And as you can imagine, as the demographic and the audience grows, so do ticket sales,” he says of the healthy live scene. WME partner Brent Smith, who represents the likes of Drake and Kendrick Lamar, states, “Drake is the most streamed artist in the world since streaming began and he can sell out several O2 Arenas in London, three AccorHotels Arenas in Paris, etc. across the territory. This tells you everything you need to know about the general health of hiphop in the UK and Europe.”

Urban Expansion While urban music – a term which many feel doesn’t properly capture the passion and intensity of the best rap and hip-hop – has undoubtedly become something of an unstoppable juggernaut, many people tie its rise to that of streaming,

IQ Magazine September 2019

“Foreign artists are now able to represent themselves and become international stars without having to pander to or ask for recognition from an English-speaking audience. Which I think is dope.” ShaoDow – rapper juggernaut, many people tie its rise to that of streaming, technology, and increased social media use, platforms without which the scene would not have grown to become as dominant as it has. “Urban music has absolutely taken over because it lends itself perfectly to the memes and viral videos kids have been sharing,” says agent Mike Malak at Paradigm. “That makes certain songs ‘cult’ faster, and further boosts the excitement around a particular artist or track.” “It is a culture that reacts very strongly and instantly with social media and streaming, and an act can elevate themselves very quickly through these channels,” agrees Steve Strange of X-ray Touring. He’s worked with Eminem for over 20 years, something he describes as “a fantastic experience throughout,” and sees the rise of such superstars as being indelibly tied to the modern world and new music industry structures. For Caroline Simionescu-Marin, a consultant for WME’s music team, it’s more about platforms such as streaming, and YouTube lowering the barriers to entry for a lot of rap music, and helping it break through the underground to become the mainstream. “Apple and Spotify are hiring the right gatekeepers, and in turn, turbocharging editorial for a lot of artists who wouldn’t have a look in otherwise,” she says, pointing to rapper Dave topping the UK album chart as proof of this new paradigm.

Rap-id Rise Such a rapid rise is also highlighted by Rubin, who notes the speed at which fans now engage. “In the past, it could take an artist years to go from selling 250 tickets to 2,000-plus, but now it can happen almost overnight with the right music/ branding/videos/viral moments.” This can also be explained by what Belin terms the “democratisation of consumption, which allows a kid in Toronto to be listening to the same artists as a kid in Birmingham.” As such, he says, styles of hip-hop like drill and trap are now universal, with the beats behind the lyrics operating as “the bridge between cultures.” SJM’s Chris Wareing, a concert promoter with years of experience in the rap and hip-hop scene, goes even further, and believes that technology has completely subverted traditional power structures around labels and artists. “Some genres rip up the rule book, and rap music is one of them,” he explains. “Now, the artists are the stars – they have the choice to roll out their music almost whenever and however they like, and subscribers can access this immediately. The ability to be able to release like this adds to the excitement and keeps things fresh and interesting.” Artists themselves agree; streaming has been a blessing,


Hip-hop Pusha T, repped by Mike Malak, at Afisha Picnic in Russia © Valeriy Belobeev

“Hip-hop in the European market is at the forefront of the industry.” Ari Bernstein – ICM Partners not a curse. Some of the numbers – even for less established stars – are incredible, and proof that success can be had without the traditional requirements of a label’s budget, marketing resources or media clout. London-born rapper ShaoDow is one artist who has gone the DIY route, selfreleasing three albums, building a brand, and touring across Europe. He cites the power of the Internet for gaining direct access to fans, and providing the scope to be independent yet still make a decent living from one’s art. “Streaming has allowed people to discover new music easier, especially independent music,” he argues. “It’s entirely possible to build a strong following without a label’s money. It’s also great to see hip-hop scenes and a handful of grime scenes, popping up in different countries – completely separate from America or England – with their own style, their own language, their own slang, and their own take on the genre; foreign artists are now able to represent themselves and become international stars without having to pander to or ask for recognition from an English-speaking audience. Which I think is dope.” WME’s Smith adds, “As music consumption becomes easier via streaming, industry gatekeepers become less important. Childish Gambino, Kendrick Lamar, and Tyler, The Creator are legitimate million-dollar-plus festival headliners in the UK and Europe, with none of the traditional metrics. Fortunately, fans now have a louder voice than the old-school music business of cover stories and radio play.”

Rap-acious ShaoDow is based in London – an obvious musical hotspot regardless of style and genre – but he mentions Birmingham and Manchester as having particularly vibrant scenes right now. Chris Wareing goes as far as putting Manchester on a par with the capital while noting there are “different sub-genres doing well in both Bristol (older, more classic-style hip-hop) and Birmingham, with newer chart urban and hip-hop.” Band on the Wall, a venue that’s been a cornerstone of Manchester’s musical and cultural heritage for over 25 years, has been instrumental in the rise of the city’s hip-hop and rap scene. According to Simon Webbon, the venue’s head of marketing and communications, it “cemented itself as a space where hip-hop artists can hone their craft and perform, a long time ago. When we reopened in 2009, the hip-hop scene was closely aligned with the drum and bass scene, and over the years we’ve seen that evolve as people reinvent themselves and create new music.” “Manchester now has plenty of breakout artists representing the 0161 [city dialling code] across the UK and further afield,” adds Band on the Wall programming officer Santana Guérout, who name-checks IAMDDB, Children of Zeus, and Bugzy Malone, as some of the local heroes putting Manchester on the map.


Further afield, a variety of European locations are cited as being hotspots. “Paris,” says Mike Malak, with its “consistently unique approach to fashion, music and culture, and, of course, its own very strong urban scene.” “The easy answer is the Netherlands and Sweden,” according to Belin, while Simon Clarkson, a fellow agent at WME, notes that, “Germany has long had a strong domestic scene and a good following at festivals and arena-level tours.” Berlin, Amsterdam, Cologne, Stockholm, Dublin, Copenhagen; all were name-checked as being hotbeds of talent and exciting developments. But many people are also looking east, to the success of artists like Tommy Cash (Estonia), Alonya Alonya (Ukraine), and places like Poland as having untapped potential.

Czech Rap-ublic One of the most esteemed hip-hop festivals anywhere is the Czech Republic’s Hip Hop Kemp, an event that has survived for 18 years by trusting gut instinct and seeking out the very best, most exciting artists, regardless of their standing. “Give me goosebumps and you are what I’m looking for,” says co-founder David “Affro” Man Maryško. “Take me somewhere. Change my day. Change my life. Hip-hop in the Czech Republic has always reflected what was going on in the world of hip-hop and was trying to put it in the local context and make it its own. The success [of the genre] is opening doors, and it’s up to us what we do with those open doors.” Affro points out the trickle-down effect that hip-hop’s explosion has had on local music fans and how it’s simply “the biggest thing right now.” He observes, “A few years ago, 13-year-old girls were listening to Kelly Family. Now they listen to the local equivalent of 21 Savage and want to have face tats.” But he’s at pains to note that in a globalised world, with literally anything simply a click away, competition for fans’ money and attention is fiercer than ever. “When we started, I couldn’t care less about whom they had on a bill of a German festival as it was simply too far for my fans to go, but these days we are competing with the whole of continental Europe. At the same

IQ Magazine September 2019


Contributors time, our aim has never been to be ‘the only festival’ but to be ‘the best’; some things you cannot buy, borrow, or mimic.” The last few years have certainly seen such events solidify their positions in the calendar and in their popularity with dedicated and hard-core fans, but as everyone is keen to stress, as the pie gets bigger, so does everyone’s respective slice. Noah Simon, an agent at UTA who runs point for stars like Young Thug, Lil Uzi Vert, and Tierra Whack, praises these festivals for “hitting their stride with a younger generation, mostly 15 to 25 year olds. A generation who once blew off steam to emo and metal now moshes to 808 drums and LED screens.” He also points out the crossover between electronic and hip-hop line-ups, and how international rappers are now performing alongside DJs at events like Belgium’s Tomorrowland, Findings Festival in Norway, and Hungary’s Balaton Sound. René Götz runs Openair Frauenfeld in Switzerland, one of the first events in Europe to focus on rap and hip-hop, and has also noted this crossover effect. “Since urban music became mainstream, other Swiss festivals are paying big fees to rap acts, and promoters are trying to launch new urban festivals,” he says. Despite such competition, Openair Frauenfeld’s booker, Andrej Malogajski, believes that the event “remains one of the most important urban events in Europe, and it still has first priority for urban artists.” Glance at any large festival line-up and it’s true; rap and hip-hop feature far more prominently than they did a few years ago. Just as with Coachella, mainstream events now have no issue with booking such artists to headline, or having them play much higher on the bill, something that Sean Goulding (also an agent at UTA) ascribes to genres being less important in this day and age. “If you look at the Reading and Leeds festivals, you’ll see Post Malone sharing the same stage as the Foo Fighters. Promoters and festival bookers are embracing this trend with the large-scale events in their programming.”

David “Affro” Man Maryško, Hip Hop Kemp; Jay Belin, WME Artists; Ari Bernstein, ICM Partners; Simon Clarkson, WME Artists; Tony Goldring, WME; Sean Goulding, UTA; René Götz, Openair Frauenfeld; Santana Guérout, Band on the Wall; Julian Gupta, Melt! Booking; Andrej Malogajski, Openair Frauenfeld; Mike Malak, Paradigm; James Rubin, WME Artists; ShaoDow, Rapper; Caroline Simionescu-Marin, WME Artists; Noah Simon, UTA; Steve Strange, X-ray Touring; Chris Wareing, SJM; Simon Webbon, Band on the Wall; Brent Smith, WME Artists. Openair Frauenfeld in Switzerland is the biggest hip-hop gathering in Europe

IQ Magazine September 2019


Hip-hop At the grass-roots end of the business, artists like Society of Alumni rely on clubs like Manchester’s Band on the Wall to help build fan bases © Martin Barretto

“Some genres rip up the rule book, and rap music is one of them.” Chris Wareing – SJM

Urban Legends For Chris Wareing, it’s simply a question of progression. “At the moment, the biggest rock star in the world is Travis Scott; his live shows are incredible, up there with some of the best I’ve ever seen,” he says. “People want to see him headline, as it’s as much an experience as seeing Metallica.” Mike Malak agrees – such a change is a reflection of the rise in the genre’s popularity. “People want to see what they listen to at home,” he says, with criticism in such a shift coming from “a minority of people who don’t want to move with the times. But urban acts higher up the bill or headlining absolutely deserve to be there; they’re the new rock stars and know how to work an audience better than any genre out there at the moment.” Clarkson notes that this is also just good business sense, and that “major music festivals and events will simply fail if they do not programme and curate with the times and to reflect the real interests in their market.” Take Glastonbury, one of Europe’s most storied and prestigious events. Back in 2008, when Jay Z headlined, the decision was famously criticised by Noel Gallagher – “I’m not having hip-hop at Glastonbury. It’s wrong,” complained the Oasis guitarist – and led to sluggish ticket sales (the event only sold out the day before it was due to start, leaving founder Michael Eavis to lament that he might never take such a risky programming decision again). Yet this year, Stormzy’s elevation to Friday-night headliner was almost universally lauded, and he delivered a historic set that will, for years to come, be seen as a cultural watershed. “A monumental achievement,” says ShaoDow, and one that “sets a new level of aspiration for tomorrow’s rappers and MCs.” But he’s also at pains to point out that it was just one moment among many in recent years, and that “the scene does not rest entirely on any one artist’s shoulders; there’s too many dope rappers and MCs who’ve contributed towards the elevation of it and even more fans who’ve made it all possible.” Across the board, agents, promoters, bookers and artists agree that the genre has never been in ruder health and that, as ShaoDow puts it, “the sky’s the limit – hip-hop in general has already taken over the world.” Julian Gupta of Melt! Booking notes how things are getting more professional and that opportunities are increasing for everyone; “the rest of Europe is also becoming stronger, with this year seeing Spanish or Italian Rappers touring the EU.” Continued collaboration and cross-genre pollination is also exciting – helped as ever by cheap technology and the ubiquity of the Internet. “The mash-up of different music styles,” says Malogajski of the next boundaries to be broken, citing Travis Scott and James Blake’s Mile High as an


example. Chris Wareing mentions the Lil Nas X phenomenon Old Town Road and how he’d “like to see more artists initiating their own festivals – I believe that will come sooner rather than later.” WME’s Smith tells IQ, “Hip-hop is already the most listened to genre in the world. Kendrick Lamar just won the Pulitzer Prize for Music for his record DAMN making him not only the first rapper to win the award, but also the first winner who is not a classical or jazz musician. No contemporary artist has ever won… not Bob Dylan, Led Zeppelin, David Bowie, or Prince.”

Beyond Europe For Webbon, the genre’s future health and relevance will be safeguarded by “new music from artists who explore different genre boundaries and take their influences from across the musical spectrum – super, super exciting stuff happens between those gaps.” But the most pertinent – and in some ways poignant – point is made by both Tony Goldring from WME and UTA’s Noah Simon. “I’m excited about the huge potential in Africa and helping to build a touring infrastructure that will allow hip-hop artists to tour there and satisfy the massive demand,” says Goldring. Simon agrees, “The lines of genres will continue to blur as the world becomes a smaller, more interconnected place. African music feels exciting to me – I don’t think we’ve come close to realising the potential that exists by tapping into a thousand years of musical tradition.” Hip-hop and rap have truly gone global and, it seems, are only going to get bigger and better – and more influential. “In the past, it could take an artist years to go from selling 250 tickets to 2,000-plus, but now it can happen almost overnight…” James Rubin – WME

IQ Magazine September 2019

Captain of Industry

Raised in a sailing family, Tom Schroeder has navigated Coda to remarkable success. Now, as he celebrates 20 years in music, Schroeder is skippering Paradigm’s ambitions for global growth. Gordon Masson reports.


pend any amount of time with Tom Schroeder and you cannot help but be impressed by his cerebral dissection of the music industry and his ability to sniff out opportunities and identify changes, big and small, that can be made to improve the work/life balance for staff at Paradigm, and, crucially, the artists that they represent. “A lot of people are shocked to hear millennials demanding a different kind of lifestyle but at Paradigm we are approaching that in another way – maybe it’s the millennials who have got the work/life balance right and we should be learning from them,” he notes at one point, when musing on how ridiculously all-consuming the business can easily become. That empathetic, open-minded attitude was prevalent at Coda and remains evident to anyone visiting the now

IQ Magazine September 2019

Paradigm UK offices in central London, where the company’s 100-plus employees enjoy a progressive environment that is a pleasure to conduct business in. But that’s a far cry from Schroeder’s own early career experiences when he admits to overworking to the extent that he is still recovering to this day. “For the first five years as an agent, I didn’t have a holiday and I think it’s taken an additional 15 years to unpick the damage that did to me,” he says. “Stress is a very real issue as an agent and in an agency. For sure many of us are in a privileged position, but that doesn’t mean you don’t feel the pressure. We have seen it at all levels of the company, and are now taking a very proactive approach to dealing with it and preventing it impacting on everyone’s well-being.”


Tom Schroeder Tom with wife, Emilia



hat caring side to Tom’s nature is, perhaps, inherited as his mother was a social worker before going on to become the head of education for the London borough of Camden, earning a CBE for her efforts. Born in West London, Tom grew up in a sailing family and was a sporty child. “I wasn’t into music much at school, but I competed at national and international level as a windsurfer,” he reveals. That all ended at 17, “when I inevitably discovered the things that we all do as teenagers…” Faced with a common teenage choice, Tom somewhat followed in his mum’s footsteps by opting to study sociology at university although as his dad worked for Guinness, he also significantly contributed to that side of family lineage during his years at the University of Nottingham. “Most 19 year olds need a few years to work out who they are, and that’s definitely what university gave me,” he says. “Meeting people from all walks of life was really important, and I’m still friends with a lot of them. But I horsed around and probably got the lowest 2:1 in Nottingham University history because they felt sorry for me.” He admits, “When I arrived in Nottingham, I thought about how I could become the cool kid on campus. That’s why I decided, with friends, to put on some gigs. Fortunately, for us, there was this very cool Scottish guy, James Bailey, who ran one of the city’s best clubs, The Bomb. He took a chance on us, so we put on Thursday- and Friday-night residencies and we’d go hall to hall in the university, selling tickets.” Those early residencies also introduced him to someone who he was initially wary of but who would become his mentor and one of his closest friends,. “We had a jungle night and Alex Hardee at MPI repped a few acts we wanted to book,” says Schroeder. “Alex had a bit of a reputation, so when we wanted to book DJ Krust, or whoever it was, we ended up getting really stoned and pulling straws to decide who would make the phone call. And, of course, I pulled the short straw. “When I called him, he was on another call: ‘Tom, just hold for a minute,’ he said, before on the other line shouting,‘Listen, you Welsh cunt, if I find out where you live, I’ll come and burn your fucking house down.’ And then I booked the act with him. That was my first experience of Alex Hardee.” Knowing that he wanted to pursue some kind of career in music, Schroeder spent a summer in California, where a cousin owned a recording studio. “I tried making dance music but I realised I was nowhere near good enough: proper musicians were at a different level. So I came back to the UK and started thinking about the companies I’d potentially like to work with.”

The Coda crew let their hair down at the horse races

“Tom is an incredibly progressive and uncompromising thinker and constantly challenges us to be better on all levels.” Marty Diamond, Paradigm


IQ Magazine September 2019

Tom Schroeder S-elf-ie in socks



ance music’s loss was definitely the agency world’s gain – and one company in particular. “It was a Tuesday morning,” says Tom. “I sent a speculative email to MPI, asking if they had any jobs. By a massive coincidence, Phil Banfield had called a staff meeting that same day where he announced that he wanted to find a young, motivated kid to look for and sign new talent. My timing was perfect.” What wasn’t perfect was the resulting job interview. “In the room were Phil, Alex, Cris [Hearn] and Gemma [Peppé]. Within a couple of minutes, Alex said he had emails to check and walked out. Cris did the same about a minute later, followed quickly by Gemma. So I thought I’d blown it.” However, Tom exploited the one-on-one situation to learn about the business and spent the next 90 minutes quizzing Banfield. His enthusiasm struck a chord, and a few days later, he was offered a job. “My mates warned me it would be too much about business and not about the music. But I ignored them, thank goodness, as 20 years later I’m still at the same company, albeit after a couple of name changes.”



ooking back at the first half of his career, Tom is refreshingly honest about the struggles he endured. “When I started at MPI, I had no acts at all. It was a shitty way to start out. I just sat at my computer playing solitaire and reading the booking notes of Alex and Cris to figure out what they were doing.” Thankfully, Hardee threw Schroeder a lifeline. “One day he called me into his office, handed me 30 CDs of an act called Suv, and told me to go and book a tour. So, I did. And it was really tough. But that’s basically what I did for the next ten years; I just scrapped every day.” Things began to evolve when Hearn left for pastures new. “MPI was shrinking and Alex threatened to leave too, unless something changed, so they spoke to Clive [Underhill-Smith], Rob [Challice] and Jon [Slade] at Concert Clinic, who were experiencing similar issues, and the two companies merged to form Coda.” Tom recalls, “At the time, Primary were really strong, and the Americans – WME and CAA – had just arrived, while at Coda we found ourselves building act after act, only to lose them to the bigger agencies. It was really frustrating.”

“He is a brilliant businessman and even better human being.” Lee Anderson, Paradigm



owever, that dilemma gave the Coda hierarchy steel. “We wanted to show people there was a different way of doing business,” Schroeder says. “Alex believed that if we did things right and showed people that you can work in a positive way, then things for Coda could work out. And as infuriating as it is, Alex is usually correct.” Years & Years are enjoying a phenomenal live career thanks to Paradigm agents Schroeder, Jess Kinn, Marty Diamond and Ashley Mowry-Lewis

IQ Magazine September 2019


Tom Schroeder Tom with children, Max and Luca

Detailing Coda’s fundamental change in strategy, Tom tells IQ, “Some people were stuck with the idea – and some agents still have this belief – that record labels and promoters are the enemy. We took a different approach, spending a lot of time with the labels and treating promoters as partners. And that’s worked well for us. It’s sensible and it’s how the business should work. “That prompted us to start looking at lots of things in a different way. For instance, I did the first Spotify presale because a manager asked me how we could make sure we were getting tickets directly into the hands of real fans. The bottom line is that our creative approach works and now we’re the first choice for a lot of labels and managers who push acts our way.” Although Schroeder is renowned for his strategic brain in terms of corporate moves, fellow Paradigm agent, Clementine Bunel, is impressed with the way he devises artist career plans. “It’s inspiring to watch Tom in meetings with artists – I always take notes because I learn something every time,” she says. “He has amazing intuition and comes up with innovative plans with substance that wow everyone in the room and convince the artist to buy into it.” Indeed, an insight into Schroeder’s creative mind dates back to when Disclosure hit the big time. “At an end-of-tour party I was called into their dressing room to explain what the plan was for the next three years – I had to sober up very quickly. I had been spending a lot of time trying to understand why brands’ direct social channels were relatively weak – and socials generally were so personality driven. It was clear that this was hugely empowering to music acts – but applied everywhere – compare Cara Delevingne’s with Chanel’s, for

Tom Schroeder instance. I wanted Disclosure to speak directly to their fans, curate and own a festival as opposed to playing on someone else’s. So I told Disclosure not to play any more UK shows but instead they should create their own festival to take full control of their brand – the end result was Wildlife in Brighton. And I have continued pushing this agenda with events like the hugely successful Lost & Found festival in Malta – headlined, curated by, and owned by Annie Mac.” However, he wasn’t always as responsible when it came to getting that particular act a gig. “When they were just breaking, I levered them onto Primavera for £10,000. I was at Pitchfork in Paris with Fra from Primavera and we’d both had a couple of drinks, so we decided to play table tennis for the fee.” The game started at £10,000, with every winning point worth £1,000. “I won by eight points, and to my amazement, Fra honoured it – £18,000 for the booking. But I often wonder what I’d have done if I’d lost by eight points.”



aking the analogy of Alex Hardee being JFK when committing to America putting a man on the moon, then Schroeder is most definitely NASA. And the job he has done in helping Coda grow has been nothing short of remarkable. “Alex and I are yin and yang – you couldn’t find two more different personalities,” says Tom. “We have a very strange relationship – don’t get me wrong, we care about each other,

“Maybe it’s the millennials who have got the work/life balance right and we should be learning from them.” and we are friends as well as colleagues, but we are complete opposites. And it just works unbelievably well in the work environment – I don’t think we would have achieved what we have done independently. Our strengths and weaknesses are relatively opposite, but there is total trust between us. We are as awkward as ever with each other, but there is something very special underneath that.” Hardee puts it another way. “If I am the heart of Paradigm UK, then Tom is the brain. We are a very good partnership and are telepathically linked on every business decision. Generally the way things work now is that I usually madly try and find new acquisitions, agents, agencies, branding, literary departments, festivals, or whatever. Then Tom does all the skilled and hard part of the job and manages to somehow put it all together so that it actually amounts to something instead of a big mess. “We are not a corporate company but Tom would be a skilled corporate player in another life. But he also has a great moral compass and fairness, so that is why Coda has worked and he is a great, long-life friend.” In explaining the company’s enviable success, Schroeder focuses on Coda’s mantra to stay ahead of the curve as a proactive, rather than reactive, business. “When I started, being an agent involved getting a tip from someone about

Tom Schroeder Dressed to impress on his 40th birthday

a band that was already signed to a label, waiting for some radio play, then getting that act some gigs – it’s what I call ABC booking,” he says. “Right now, the music business is about creativity, delivery and consumption, but it is constantly being turned on its head and that’s what I find so exciting. I love the fact that I can do something this week that was not possible back in April. The way I look at it is, we are now in the age of teams. Rather than being the last person in a planning meeting – ‘Oh yeah… what about live?’ – I’m now the person who calls that planning meeting.” He continues, “The other element that’s thankfully changing is partisanship between agencies. There are now a new bunch of significant agents coming through the ranks: Jon Ollier with the biggest act in the world; Craig D’Souza is a lovely chap and has a ton of well-deserved momentum at present; Obi [Asika-Iweka] has built a very successful company independently whilst ruffling some feathers along the way; and Summer Marshall has built an enviable roster and reputation with a smile on her face and a young family. Of course, they are all competitors but that doesn’t mean there has to be animosity or any lack of respect, and I am glad the industry is moving on from that crap.”


Schroeder has helped Rudimental take their live performances to festival headliner status


aving built Coda into an international powerhouse, the board of directors’ crucial manoeuvre came six years ago, when they entered talks with Paradigm to form an alliance that would give them – and their clients – a true global perspective. “There was always a crossover of artists with Paradigm,” explains Tom. “Alex has been quoted as saying that we finally found some Americans that we like, and as throwaway a quote as that might be, from a business point of view it’s pretty close to the truth. There’s a very different culture in the American agency business, but Paradigm were by far and away the closest to Coda when it came to sharing the same vision for servicing our clients.” In 2017, Coda also inked a joint venture with leading film and literary agency, Independent Talent Group (ITG). “That came through a relationship with Duncan Heath, an eccentric Englishman who has just bossed it over this side of the Atlantic,” says Tom, disclosing, “There are huge things happening between us this year. For sure, bringing the companies together has brought some big challenges but we are totally invested in it and the future of our business will be exciting because of it.”



ith Coda recently rebranded as Paradigm, Schroeder is at the helm of the company’s global ambitions. “I am focussed on gluing the companies together and I’m all about achieving tangible results,” he says. “For example, we’ve set up a branding and corporates department that is now starting to generate great results. My belief is that a lot

With wife, Emilia, and friends at a Coda Agency party


IQ Magazine September 2019

Tom Schroeder of these service departments at other agencies are just fluff, as they don’t have the personnel to deliver what they claim they can. But we’re putting boots on the ground and we’ve now got ten people in branding and corporates, in the London office alone – and there are some real characters there, thinking outside the box. I love working with Milly (Allen) who has an insane ability to bridge the gap between corporate brands and young cutting-edge artists – understanding what is important to both parties. What she is doing is unique in my mind, and with Dom Prosser now joining, we have not just significant numbers in the team, but the very very best at what they are doing. We are going to turn that world on its head – I couldn’t be more confident.” Admitting that the global status means that Coda’s underdog tag no longer applies, Schroeder observes, “There are lots of canny managers who are now looking for a different service for their acts, compared to even two years ago, so you need to have the desire to be cutting edge and unafraid to continually shake the tree and evolve – you cannot be isolated, just doing one part of the business any more.” Indeed, now operating as Paradigm, the company is well placed to offer its clients a growing range of services, on a worldwide basis. “Coda – and now Paradigm – is a fair, altruistic, caring music company, and down the years, as a board, we have made some very good decisions,” he says. “The last five to ten years have been wild, and I believe the next five to ten will be even wilder. But I would be bored if it was just the same thing day in, day out.” That attitude is something Tom’s US-based colleagues embrace. “Besides being a great agent, Tom is a thoughtful and creative manager who understands how to grow a company,” says Paradigm Entertainment Group president, Greg Bestick. “His management skills are a big reason Coda hasn’t fallen over during these years of rapid expansion. He’s a fierce advocate for building the best global structure for artists and managers and promoters, and he’s not shy about giving his US colleagues a friendly nudge to keep Paradigm’s global integration on track.” Those sentiments are echoed by Paradigm’s head of global music, Marty Diamond. “Tom is an incredibly progressive and uncompromising thinker and constantly challenges us to be better on all levels,” he says. “He is at the forefront of our efforts to co-ordinate our strategies globally across all platforms: touring, branding, corporates and new business opportunities. Tom also has the one thing that sets him apart from others, his heart is totally in the game.”

2019 is proving a busy year for Schroeder’s clients slowthai (above) and FKA Twigs (below), with the former on tour in support of his debut album, Nothing Great About Britain, while Twigs prepares to release her long-awaited second album, Magdalene, later this year



nd he’s also popular with fellow agents. “It has been a pleasure to know and work with Tom for the last ten years,” says Paradigm colleague Lee Anderson, who reps the likes of Disclosure in North America. “Tom’s outside-the-box and ahead-of-the-curve thinking for his clients have raised the bar for creative and impactful agenting globally. He is a brilliant businessman and even better human being.” Closer to home, London-based Natasha Bent, adds, “Tom and the partners have built an environment where everyone feels supported and can thrive. They realise the importance


IQ Magazine September 2019

Tom Schroeder Represented by Schroeder, David Exley, Sam Hunt and Tom Windish, The xx are benefitting from the full Paradigm global service

of everyone’s wellbeing, particularly in an era where it seems like working 24 hours a day is the norm! “As a mother of two young children, I could very well have taken a sideways step in my career but I’m actually thriving. I know that this is due to Tom, the partners, and everyone at Paradigm wanting me to do well, cheering for me every step of the way, and allowing me to work in a way where I can be the best agent and mum possible. I feel sad that not everyone can be part of a team like this but truly grateful that I get to be a small part of Tom and Paradigm’s legacy and vision.”



aving realised some incredible goals with Coda and Paradigm, Schroeder was naturally on a high when, in summer 2018, events at home pulled the rug from under him. “In August, my youngest, Max, who was just one year old, got seriously ill and was rushed to hospital, where they initially thought he had meningitis… That was finally ruled out, only for blood counts to change significantly and we were faced with a diagnosis of leukaemia. Moved to the incredible Elephant ward at GOSH, we were heading towards the start of a terrifying treatment plan with Max having a permanent line fitted in preparation, when the bone marrow aspirate came back clear of cancer. “On a Sunday morning, we went from looking down the barrel to being discharged with a healthy young boy. Our oncologist packed us off with a ‘I don’t get to give good news very often’.” The surreal situation rocked Schroeder to his core and he was determined to do something positive. “Max’s oncologist connected me with the Kids With Cancer charity, so for a period, when people called me at Coda, I’d tell them I’d only speak to them if they donated some money.” That exercise raised tens of thousands of pounds and inspired Schroeder to organise this month’s Music Mudder fundraiser for Nordoff Robbins Music Therapy. “Charity is definitely going to be part of my career now,” he pledges. “I may be a bit late to the party but I have big plans and I’m working on something significant with a couple of artist managers to launch a sustainable fund-raising concept. I knew something good had to come from Max getting sick, and I’m glad to say I’ve found it.”

“I cant stand agents who think they are bigger than the artists - but when you stop being scared of losing artists, then you become a great agent, making great decisions.” Enjoying the glamour of the Monaco Grand Prix with Disclosure’s Guy and Howard Lawrence


IQ Magazine September 2019

Tom Schroeder Schroeder is part of DJ Annie Mac’s inner circle who have built the hugely successful Lost and Found Festival



eflecting on his career to date, Schroeder muses, “As an agent, I think there is a crucial point in your career where fear stops impacting decisions or thought processes. I can’t stand agents who think they are bigger than the artists – but when you stop being scared of losing artists, then you become a great agent, making great decisions. For me it was when both Disclosure and Rudimental started to take off at the same time.” Reliving that period, he says, “With Rudimental it was phenomenal – I remember cancelling a show at Cargo because we hadn’t sold any tickets, then 12 months later we’d sold out three shows at Brixton Academy in an instant. And Disclosure reacted around the same time in the same way. It’s what you always hope for, obviously, but that stress when one of your acts takes off is huge. If you have no reference points then knowing what to do and what pitfalls to avoid can be seriously detrimental to your sleep and mental wellbeing. “But that’s one of Paradigm’s major plus points – everyone in the company shares their knowledge so people are not on their own when an act explodes. We work in teams the vast majority of the time, and we are very thoughtful in terms of those teams and supporting younger agents, getting them working with big bands alongside another agent. There is never any sort of land grab in terms of services or support.” Indeed, one of Schroeder’s proudest achievements is the personnel he’s helped bring in. “We do not say ‘yes’ to everyone who bangs on the Paradigm door. The company’s unique working atmosphere is incredibly important and it would be stupidly easy to bring in someone with a mind-set that doesn’t work, whereby the entire company would suffer. “But the people we have brought in, like Natasha Bent, Sol Parker, Geoff Meall, Anna Bewers, Tom Taaffe, Clementine Bunel, they’ve all added elements and are changing us for the better. We now have 104 people at Paradigm in London, and as directors we have a responsibility to all of those employees. It’s not something we take lightly.” Nonetheless, he adds, “We definitely need more women in the business – they bring different skills and the way they relate to people is better. No one will ever convince me that a menonly meeting can produce the same results as a more genderbalanced discussion. Men behave poorly in those environments. When I look at the likes of Emma Banks and Lucy Dickins, I see two of the very best agents in the game – they both seem to have a way of communicating with their artists that I don’t

see in other agents. Maybe it’s just a personality thing, but I am a complete believer that the world will work much better for everyone with more women running it.” As for his personal future, Schroeder’s passion for music figures high. “I’m always looking for new acts. I have a lot of respect for the older generation of agents but my career will be very different from theirs. Consumption has changed, as have the demands on agents and agencies. I still get the greatest thrill out of discovering and signing new acts on the start of their journeys, and having a real impact on their careers and lives.” However, he admits, “When I’m sitting in my rocking chair in my old age, I think the thing I will be most proud of, is what we have done with the company… A big agent once told the press that Coda was ‘a brilliant cottage agency.’ Well, we might have been a cottage but now we’re a castle, and I’m not done yet.” And it’s obvious that banishing the bullies and making the agency business a place where future generations can enjoy meaningful careers, is a major motivator for Schroeder. He concludes, “Early in my career, a big manager told me that if he called an agent and he had not been called back within six hours, they would be fired. There are some people who still operate like that, but at Paradigm, we’re working in a new era and I no longer have people call me up where I dread to see their number on my phone – I just don’t work with those people any more and neither should anyone else.”

“When I’m sitting in my rocking chair in my old age, I think the thing I will be most proud of, is what we have done with the company.” Spending quality time with Luca


IQ Magazine September 2019

Tom Schroeder

Testimonials It’s been a pleasure and privilege working alongside the mercurial Tom Schroeder these past four years. A man whose inquisitive nature would put most science professors to shame, whose commitment to gambling on the golf course knows no equal, and whose dedication to his profession is unquestionable. Tom is a true pro, someone who has provided a huge cornerstone of the fabric and the culture here at Paradigm. Comparisons between him and the North Korean dictator can sometimes be a little harsh, especially as he is someone who puts the many before the few – unless you are looking for a gimme at less than six feet. In which case, it’s easier to just pay him. Sol Parker, Paradigm Talent Agency Tom is one of the nicest people I’ve had the pleasure of working with. Make no mistake, he’s hard as nails when it comes to cutting deals, but it’s done straight and fair. He is one for giving good counsel and I know I can call him if need be to get advice on touring situations for another angle to look at things. From where he is now, he will bring along a coterie of new agents cut from his cloth and that is a good thing. Raye Cosbert, Metropolis Music I may get a lot of the headlines, as I am much funnier than Tom (and also everyone else at Coda), but he is every bit as responsible for the growth in Coda as anyone, so it’s great that he is getting this recognition from IQ. Tom is ten years younger than me. Ten years ago I was nowhere near his level of skill or maturity as an agent, so expect great things from him in the next ten years. Alex Hardee, Paradigm Talent Agency Congratulations on 20 years in the industry, Tom. I can’t believe it’s been that long since we started working together, when we booked all the breakbeat DJs on the MPI roster, in the late 90s. Fast-forward 20 years and I’m still booking acts like Disclosure and Slowthai through you. It’s a testament that you’re always ahead of the game and finding the hottest new acts. Ming Gan, Fuzzy What has always stood out with Tom is that he is always asking the important questions about this business. He’s soaked up a lot of knowledge. Couple this with his experience and sharp brain and you have not only an awesome agent but a true leader. It’s been great to see him hitting his stride and becoming one of the best live agents around. Rob Challice, Paradigm Talent Agency

Tom is one of the few people in live music – and indeed in any strand of the music industry – who can layout a genuine long-term strategy for the artist and dig in. He thinks big but isn’t impatient to get there. Sam Stubbings, manager - Mura Masa Tom is an incredible agent and friend. He is really smart with his vision and analytic nature – he’s always thinking about three years ahead… that’s why I rate his ability and opinion so highly. It’s hard at the start for a promoter to get a roster going, but when people like Tom open doors for you early in your career, you remember it many years later, like I do, and pay it back as much as possible. Jack Dowling, SJM Concerts I’ve worked with Tom for many, many years and it’s always been an enjoyable, straightforward and rewarding experience. He keeps things simple and direct with no messing about. He supports the independents and wants them to succeed – a rarity in the ever more corporate world we find ourselves in. Congratulations on 20 years in this make-it-up-as-you-goalong business we call the music industry! Tom Baker, Eat Your Own Ears Tom completely understands how each artist is unique and needs to have the right strategy, that’s not only right for the longevity of their career but also for their health and well-being. He came up with the fantastic idea of doing Printworks and Ronnie Scott’s back-to-back and even though it had its challenges, it worked a charm. He’s a top agent and a top man to boot. Duncan Murray, manager - Tom Misch I love to work with Tom because he’s part of this new generation of agents who understands that you can be a great agent and do good business without being an asshole and a tough guy. He’s clever, wise and a hard worker but he’s also gentle, full of humanity and loves music – a rarity in this industry. Long life, Mr Schroeder – we’ve a bunch of projects to work on together in the future. Manu Barron, Savoir Faire There are three words to sum up Tom Schroeder: punctual, trustworthy, understanding. It’s not easy for a promoter from Korea to be taken seriously, but Tom is very understanding about things like the capacities of our shows, and he does not pass by the small promoters, as he wants to help us grow the local market for live music. I was quite surprised by how welcoming he was to me, given the calibre of artists he represents, but we have gained trust and I recently did my biggest ever show, thanks to Tom. Quincy Kim, BNL Global Networks

IQ Magazine September 2019


Testimonials I expect the senior people on our team to be able to think beyond their area and to have a valued opinion on the big picture. Tom is undoubtedly that – he always has the bigger vision of the artist in mind. He intrinsically understands and values who the artist is and backs them, constantly looking to add value, challenge and be ambitious. Michael Stirton, manager - FKA Twigs Tom has been an excellent partner for us, booking Flume in Europe and the UK since the beginning of the project. He’s extremely sharp and has savvy instinct about his artist’s position in the market. Not only has he helped Flume tremendously but he’s also been a great partner and mentor to our team at Future Classic. Nathan McLay, manager - Flume Tom does much more than just look after an act’s live career – he helps build the act up from the ground and is an integral part to the strategy of the whole campaign. He’s at the centre of most interesting ideas. Jack Street, manager - Disclosure

Tom is a true gentleman with a passion for new talent, wisdom and gentleness, which I truly appreciate. I’ve booked numerous acts from Tom, and I feel privileged to be able to do so: FKA Twigs, Rudimental, The Magician, Duke Dumont, SBTRKT, Clean Bandit, The xx, Disclosure, Years & Years – to name a few. What Tom and his team at Paradigm have achieved down the years is just stunning. Toffen Gunnufsen, Skral Festival Tom always tells it like it is, straight and efficiently, and has such a highly attuned work ethic. I really appreciate his realism and how he just relentlessly gets on with it. Justin Sweeting, Magnetic Asia Promoting in mainland China is very different from anywhere else in the world. Social media usage has to be unique when you’re communicating with 1.007 billion active users, while permits for shows can be complicated to obtain, but Tom understands all of that and manages to convince his clients to make the extra efforts needed. Tom works closely with artist management to successfully build up artists’ profiles in China. Edward Liu, Live Nation China

Testimonials From a manager’s point of view, Tom has this amazing ambitious streak for his clients. He’s keen to question why we do certain things, while he always has incredible ideas to boost artists’ careers. I love working with him because he’s so professional and, from a label point of view, he’s just so creative across anything to do with music that he helps us to make better records. Caius Pawson, Young Turks Tom has become a good friend. I think it started when I realised he lived about 200yds from my house and loved golf. He is a very good golfer and I see how he signs so many great acts... he’s competitive! But he’s truly one of the smartest people I know in the music industry, he thinks differently than other agents and is a step ahead. Most of all he’s a lovely human, great family man, fun to be on the golf course with and great to go for a beer with. He’s one of the good guys. Toby Leighton-Pope, AEG Presents

Tom is one of the kindest agents in the business and a great partner. He is always super responsive, considerate and caring. He was one of Fource’s biggest supporters in our early days and he has proven to have a good ear for recognising emerging talent, which for a company focused on developing artists in our markets, is a match made in heaven. Even when we had to deal with a difficult situation where we had to cancel a show with Disclosure at the last minute because of an unexpected safety issue, Tom was super cool and understood that we all had the best interest of the fans and artist at heart. We congratulate Tom on 20 years in the business and here’s to the next 20! Anthony Jouet, Fource I’ve known Tom since the early days of Coda (his drum and bass days) and what I like about him is that he always tends to keep things simple. He doesn’t pretend he is your best friend, he is straightforward and clear, and most important for me, he tends to avoid making you (and him) lose time on something when it doesn’t look likely to happen, which is always very appreciated in our job. Mikaël Benhamou, Sónar

Tom Schroeder

Testimonials Tom has great taste and an ability to build artists in close collaboration with a promoter or festival. As an example we had Disclosure play a 5,000-cap stage in 2013 and brought them back two years after to headline the legendary Orange stage. We all felt confident from the beginning that the artist would grow, and the audience reaction from the first show confirmed it. It is no surprise that this happens to one of Tom’s artists as we always feel we are talking about more than just one show; there is always a plan to push things further. Thomas Jepsen & Anders Wahrén, Roskilde Festival Tom was one of the founding partners of Coda Agency and has been instrumental in growing the company while at the same time developing into a truly great agent. He is a great source of knowledge, constantly leading and guiding our agents so there is continual career progression. At the same time he provides vision and leadership within the management team, adding a dimension that has been key in the growth to becoming part of Paradigm. I know Tom will continue moving Paradigm forward to progress and develop further. It has been a pleasure to watch his professional growth in the last 20 years. Dave Hallybone, Paradigm Talent Agency I’ve had the privilege of working with Tom for a long time and he’s a great agent - I really appreciate his musical taste. During one my first meetings with him, he recommended seeing SBTRKT at Shepherd’s Bush Empire but to arrive early to check out the support act. Two years later I sold 7,000 tickets for Disclosure in Warsaw, the support act that night. Łukasz Minta, Live Nation Tom has such a strategic and considered touch in a landscape of agents, which has been historically brazen. As the touring space has become so competitive I really appreciate that about him and it is a quality that I see in a lot of the younger agents coming up under him.

I’ve worked with Tom for nearly 20 years. He’s been a friend and ally throughout my career. His rise to the top from sweaty drum-and-bass raves in Nottingham, to a club DJ agent, to a world-class live agent and business leader has been so impressive, but I never doubted it. He’s kind, considered and far too smart for this game, he deserves all of the success. What a banging career! And I’m sure he’ll keep on challenging and pushing the industry forward. Lucy Coates, manager - Annie Mac Tom was the first team member appointed to be a part of the Rudimental team before we were signed. He, like me, believed that Feel The Love was a hit and helped us do everything it took to get properly set up for when we did eventually start working the record. It took us a year. He did more than book shows, he helped develop the band with myself and Black Butter to ensure they were positioned correctly. He patiently walked me through what had to be done when I knew nothing and basically was completely winging it. He nurtured us from our first unpaid gig at Fabric in 2010 to sold-out arenas. Watching Tom play referee to Rudimental, Disclosure, Method, WHP, SJM and myself throughout the three Wildlife festivals we did together was something else... Not sure how he managed it but he did, and that is one example of why he’s worth every bit of the 2% commission. From everyone at Black Butter, congratulations on 20 years, Tom. Henry Village, MANAGER - Rudimental Tom’s a great guy and a great thinker. It’s not always just about the money (though he does push on that too). He’s always clear with what he wants artistically and strategically for his acts. Working with him on The xx for the whole of Europe was a genuine collaboration and that style always benefits his acts. Here’s to another 20 years Tom. It’s always a pleasure. Melvin Benn, Festival Republic

Oliver Sasse, manager - The Black Madonna, Daniel Avery, Mall Grab, HAAi, Tiga Since I started as a promoter 12 years ago, Tom has been very supportive and loyal. He took a chance on me and I will never forget that. His roster represents some of my favourite artists and is an absolute joy to work with, as is his team. (Tom, this piece is sponsored - x) Xenia Grigat, Copenhagen I have no special anecdotes about Tom. I love working with him. He is always honest and a true gentleman in every deal we have done. Congratulations, Tom, on your 20-year milestone in music. Michael Harrison, AEG Presents


IQ Magazine September 2019




SOLUTION Showdown Ahead of the Event Safety and Security Summit (E3S), IQ provides a snapshot of some of the most innovative projects, software and resources helping to keep the live entertainment industry safe today. Running a live event entails many security risks, be it keeping track of who exactly is attending or working at a venue; ensuring safety protocols are effectively implemented and staff suitably trained; managing crowds; or even dealing with lost property complaints. Many safety aspects have been handled without any technological aid in the past, allowing for human error and often relying on guesswork or snap decision-making. In anticipation of their presentations at E3S on 8 October, IQ profiles some of the industry professionals who believe their solution is the next big thing...

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Paul Foster, OnePlan

Matthias Immel, Deep Impact Artificial Intelligence (AI) is one of today’s biggest buzzwords. But the buzz is justified: AI will significantly change all areas of life – including the event and live music industry. Deep Impact is passionate about AI and its possibilities. The company, based in the city of Winterthur, Switzerland, is developing state-of-the-art, AI-based applications. Its facerecognition solution is one of the most powerful worldwide. Banks are using this software for running background checks on new customers, whereas stadiums and football clubs use it to identify troublemakers during a match. Deep Impact has the ambition to cover several aspects of security around an event, starting with accreditation. Staff working at an event like a festival are a potential risk – as the temporary termination of Rock am Ring showed two years ago… The software provides a solution by performing an automatic background check (based on open source intelligence and/or blacklists from state authorities) of all event staff, as well as a verification of the person at the accreditation centre to check it is in fact the individual on the list. Deep Impact can also be used to identify troublemakers and to analyse social media communication in a defined geofence, for example, the area around a festival site or arena. The software analyses the communication in this fence related to security-focused keywords. When one is used on various social media channels, the system creates a notification. It doesn’t matter which language the message is written in, it will be captured and instantly translated via AI algorithms. In addition to mitigating security threats, this tool can also monitor communication around black market ticket sales near a certain venue or event location.

IQ Magazine September 2019

OnePlan is the world’s first centralised event-site-planning platform. It allows anyone to map, draw, plan and procure every aspect of their event site and operations. The platform saves event planners time and money, generating consistent professional plans, reducing stress and, crucially, improving safety and security. OnePlan facilitates easy calculation of crowd density and evacuation rates by using intuitive space planning and measurement tools. These numbers can then be agreed upon and enforced. A multiuser functionality lets event organisers share plans with security personnel and law enforcement at the click of a button, ensuring key safety and security stakeholders have full visibility of the event as plans develop. This gives plenty of opportunity for identifying and minimising risks and threats as they emerge. Accurate real-time information about the event allows safety and security teams to plan and deliver their operations in the most effective way. Interpol has recognised the value of a centralised eventplanning system and is now using OnePlan to support immersive training for major global sporting events. With other law enforcement organisations showing a keen interest in the platform, and global events adopting the system, OnePlan is raising the bar for event safety and security.

Edo Haan, Safesight Netherlands-based Safesight is a software application that ensures employees, suppliers, partners, volunteers and other parties know and execute their responsibilities, checklists, safety plans and protocols. When incidents do occur, Safesight helps an organisation to take predictable, efficient and safe actions to control the situation. Safesight software originated from the work that the company’s owner, Edo Haan, enacted as safety officer at music festivals. As well as being used at events such as Mysteryland, Pukkelpop and Zwarte Cross, the software is also implemented at stadiums and convention centres, including Borussia Mönchengladbach’s Borussia-Park in Germany, and RAI Amsterdam and Rotterdam’s De Kuip in the Netherlands. Using Safesight software, event organisers are able to optimally inform and instruct all those involved in an event. For example, they can assign tasks or disseminate information in accordance with safety protocols to specific employees at any given moment. This could be to the security team, technical production staff, stage management or the cleaning department. Via a centralised dashboard, management has an accurate overview of the people that have – or have not – completed their tasks. If an individual, or a whole team, lags behind, this is visible in real time, and management can take action accordingly. Finally, using a cloud-based logbook available via a browser or through the mobile app, all information is collected and, if necessary, quickly shared with the event stakeholders. This helps those in charge to have a complete overview of what is happening in and around the event. The logbook also acts as an important tool for collecting a valuable database for management.



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Security consultancy ID Resilience and management system Raven Controls are the creations of former policeman Ian Kerr. Kerr’s experience in security stems primarily through his ten-year career with Police Scotland where he worked in emergencies and counterterrorism, planning, designing and delivering contingency exercises for major events, political conferences and tier-one counterterrorist activities. Having found a passion in resilience, Kerr set-up resilience consultancy business ID Resilience in 2015. Specialising in testing, exercising and crisis management consultation, Kerr and his team have gone on to work with a large number of arenas, stadia, venues and major events across the UK and internationally. Through the work of ID Resilience, weaknesses in current market solutions for recording and managing issues became evident, with most venues using traditional processes such as office-based systems or outdated handwritten logs. These methods are time consuming, prone to human error, and do not facilitate clear communication, which is essential when it comes to safety and security. Raven Controls is an integrated real-time issue management system that provides unparalleled levels of situational awareness, ensuring the right information is available to the right people at the right time. Kerr and his team continue to work closely with industry leaders to provide venues and organisers with the protection and accountability they deserve. Raven has been used at the Ryder Cup 2018, European Championships 2018, the Scottish Event Campus and Celtic FC, among others.


Ian Kerr & Jennifer McLean, Raven Controls & ID Resilience

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NotLost is a simple online tool that enables organisations to modernise their lost-and-found process. Despite being the norm within many organisations, antiquated lost-property systems are time-consuming and frustrating for staff. Not only is a good (or bad!) lost-property experience memorable for customers but it also acts as an unwelcome distraction for the busy security staff who often deal with it. Mountains of items, endless phonecalls and long queues are an all-too-familiar sight for anybody managing lost property at live events. These issues are exacerbated by analogue systems and poor process. In 2017, a group of event experts recognised this and set about creating a 21st century solution. The result is NotLost, an innovative cloud-based platform that enables organisations to manage their lost property with speed and ease. Found items are registered in under ten seconds using image recognition software, customer enquiries are handled promptly using keywords and images to search across the platform, and a simple one-click lost/found comparison helps staff to quickly identify and return items. The platform is proven to save organisations between 50 to 80% of time spent managing lost property, freeing up valuable staff capacity for other important tasks. NotLost also allows venues and live events to deliver an excellent customer experience in this often-overlooked area. With the O2 Arena on board as NotLost’s first client, the team is now proud to be working with many of the UK’s leading organisations and venues, including the SSE Arena Wembley, AEG Presents and Broadwick Live.

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Rory Cole, NotLost

IQ Magazine September 2019


Chris Kemp, Pascal Viot & Gerard Van Duykeren, The Safe Project The Safe Project, an Erasmus+-funded initiative aiming to improve safety and security training across Europe, consists of two programmes. The first is for those at, or aspiring to be at, management level in the event, security and crowded space industry, while the second is for operational purposes and focuses on the practical elements of security and crowd management. The programmes have been created to provide both subject-specific knowledge and skills that relate directly to the workplace. Those teaching the programmes are practitioners that can provide experiential, as well as theoretical underpinning for those participating. The programmes cover six major aspects of managerial delivery and provide a wide range of subject areas and skills. During each module the participants study theoretical concepts, engage in case studies, and work in groups on scenario-based learning to ensure that they absorb both skills and knowledge. Each module has an assessment, which takes place during the programme. The project is practical, applicable and specifically designed to be used by trainers in classroom scenarios to teach event professionals about the event environment. It comprises: ‘learning in the round,’ which captures the fluid relationships and engagements between the different actors in the work-based learning process (participant, specialist, and facilitator) in both the design and delivery phases. The course brings together the perspectives of these three key actors, and the best practice in organisational culture is captured and perceived in a manner that would not be possible by any one of these actors individually. A work-based learner no longer reflects upon workplace issues and challenges from a single aspect, or even ‘in the main,’ but now in the round. In a fully realised work-based learning process, the learner is fully engaged in that learning process.

Andrew Tatrai, Dynamic Crowd Management Andrew Tatrai has taken 35 years of practical experience in major event management and crowd security back to school, researching technological pathways to replicate the human decision-making process involved in crowd management. It has long been accepted that crowd management expertise resides within the realm of professionals making subjective judgements on how and when to intervene to keep crowds safe. The human intuition that drives crowd management decisions is a form of pattern recognition, that is, the memory of good and bad experiences assist a crowd manager to avoid or encourage situations for the preferred outcomes. Working in accordance with the work of Israeli-American psychologist Daniel Kahneman, Tatrai believes the need for machine learning and observation to enhance decisionmaking is clear. People have limitations in assessing risk, which far exceed mere lack of experience, bias and poor observation. Combining feature recognition, machine learning, data science modelling and visualisation, it is now possible to measure the changing mood of the crowd on a massive scale.

IQ Magazine September 2019

When modelling large volumes of data, patterns emerge and predictability is possible. This is quicker and more accurate than even the best current human crowd managers, and importantly provides evidence of a change in measurement of crowd metrics. Testing and trials have shown the model is responsive to management intervention. This research has resulted in the digital measurement of crowd density in actual persons per square metre, the measurement of the velocity of a moving crowd and the estimation of crowd mood by feature extraction and data visualisation. The net result is a product software programme that can provide better crowd metric measurements for control room, police assessment and decision support.


Map Key Agent Promoter Agent/Promotor Venue Festival


Landstreffet i Stavanger


Terminalen Ålesund Live Jugendfest Sommerfesten på Giske


Alta Kultursal Studenhuset City Scene Aronnesrocken Audioland


Førdehuset Førde Folk Music Festival


Sky Agency Gamlebyen kulturhus Månefestivalen


Skral Festival Bluebox


Harpefoss Hardcorefestival

Haugesund Sildajazz


Brygga Kultursal


Hamar bluesklubb



Arendal Seaside Production



Canal Street Festival


Asker Kulturhus


Rainbow Booking Kraftfestivalen


Brak Brilliance Kjell Kalleklev Management Made Norsk Artist Formidling Standing Ovation Wake Management Wonderland Bergen Live Mount Event Stageway Artistgruppen Talent Farm Bergenhus Fortress Bergen jazzforum BIT Teatergarasjen Carte Blanche Grieg Hall Hulen Koengen Lille Ole Bull Ole Bull Scene USF Verftet Bergenfest Beyond the Gates Ekko Nattjazz Vill Vill Vest

Kroa i Bø


Bodø Kulturhus Bodøfestivalen Parkenfestivalen


Norsk Country Treff

Brønnøysund Rootsfestivalen


Scandinavia Live Agency Jærnåttå

Dalekvam Reel Noise


Drammen scener AS Drammen Sacred Music festival Elvefestivalen i Drammen Globusfestivalen


Drøbak Festivalen





Festspillene i Nord-Norge

Heimdal Rock Partner

Hemnesberget Hemnes Jazz & Blues

Henningsvær Trevarefest



Jotunheimen Vinjerock


Kongsberg Jazzfestival Energimølla


Sørf Agder Theater Christiansand Blues & Roots Club Imperiet Odderøya Live Palmesus Sørveiv Vivid


Norway Rock

Lakselv Midnattsrocken


Kulturhuset Banken DølaJazz

Mo i Rana Rød Snø


Next Step Molde International Jazz Festival Rabalderfestivalen




Malakoff rockfestival

Nordic Beats Norske Konsertarrangører Turbine Agency Waterfall Music All Things Live Bureau Storm Live Nation Norway TimeOut Agency & Concerts UFA Live Blå Black Box Teater Blaest BpopMentometer Chat Noir Cosmopolite Det Norske Teatret Det Norske Studentersamfund Gamla Jaeger AS Kafe Hærverk Krøsset Lund Gruppen Arrangement Oslo Concert Hall Oslo Music Hall Østkanten Bluesklubb Parkteatret Scene Revolver Rockefeller Music Hall Røverstaden Sentrum Scene Spektrum Telenor Arena Vulkan Arena by:Larmfestivalen Djangofestivalen Folkelarm Findings Inferno Metal Festival Midgardsblot Metal Festival Miniøya Musikkfest Norwegian Wood Festival Oslo Jazz Oslo Pride Oslo Sommertid Oslo World Over Oslo Øyafestivalen Piknik i Parken Sommerøya Tons Of Rock


2MEvent Rockeklubben i Porsgrunn


Randaberg Arena

Samuelsberg Riddu Riđđu


Riddu Riđđu


Sandnes Bluesklubb


Toothfairy Live Kadetten


Liongate Sarpsborg Festival



Spitsbergen PolarJazz


Stavanger Artistbyrå Checkpoint Charlie DNB Arena Folken Stavanger bluesklubb Sørmarka Arena Stavanger Konserthus Viking Stadion Tou Scene Mablisfestivalen MaiJazz Utopiafest


Hell Artist Booking Blues In Hell




Bø Jazzklubb


Slottsfjell (taking a break in 2019)




Bastard Bar Clarion Hotel The Edge Kulturhuset Tromsø Studenthuset Driv Tvibit Bukta-Tromsø Open Air Festival Rakettnatt

Trondheim Livesentralen Trondheim Concerts

Norway Rock Agency Polar Artist TEMPO Byscenen Granåsen Arena Lokal Moskus Olavshallen Sverresborg Arena Trondheim Spektrum Tyven Feminalen Festningen Juba Juba Olavsfestdagene Pstereo Trondheim Calling Trondheim Pride Trondheim Rocks UKA




Countryfestivalen Vinstra


Vossa Jazz Ekstremsportveko

Norheimsund Bygdalarm


Notodden Blues Festival


Amber Booking ArtistPartner Artist Vision Nama New Kicks Booking Nordic Live Radar Booking Stageway Talent Waterfall Music FKP Scorpio HES Just 1

IQ Magazine September 2019






Consistently voted as one of the happiest countries on the planet, Norway is also one of the most active in terms of live music. Coincidence? Adam Woods investigates.






IQ Magazine September 2019

Norway doesn’t have the world’s biggest population – about 5.4 million – but don’t let anyone tell you it’s small. If you were to drive from the site of the country’s southernmost major music festival to its northernmost – from Bystranda beach in Kristiansand, home of Palmesus, to Midnattsrocken in Lakselv, well into the Arctic Circle – you’d be looking at a 25-hour, 2,120km road trip through Norway and Sweden. Ergo, you might want to think about flying. Between those two points on the Norwegian side, in addition to 450,000 lakes, there’s a lot of music. Some agents suggest there are more shows in the capital of Oslo than in Stockholm and Copenhagen combined. Others claim Norway has more festivals than any other country per head. “Concerts are still the most popular cultural activity among Norwegians, besides the cinema,” says Tone Østerdal, CEO of live music trade association Norske Konsertarrangører (NKA). “And there are so many festivals now. We are not that many people but there are very many festivals around.” Live Nation Norway managing director Martin Nielsen has a simple explanation. “After being in the winter snow for such a long period, there’s a lot of interest in being able to go outside and enjoy the summer and go to a nice outdoor concert,” he says.



“It’s a strong and well-run live industry all over the country, and there’s a good bond.” – Are Bergerud, Tempo The Norwegian concert business was worth NOK2.6billion (€270million) in 2017 – more than half of the NOK4.9bn (€510m) total value of the Norwegian music business [source: Rambøll Management Consulting/Arts Council Norway]. Norway is, of course, a major producer of music – not quite at Sweden’s level, but with plenty of recognisable names, from A-ha and Röyksopp to Sigrid, Susanne Sundfør, Nico & Vinz, and Marcus & Martinus. And given its strong exchange rate and sound consumer base it is known, internationally, as a pretty lucrative spot that earns its place on a tour schedule. “We are out on the outer edge,” says promoter Peer Osmundsvaag of All Things Live Norway. “You go to Norway for a reason, whether that be a financial one or because you have a strong fanbase here. It is not somewhere you just roll through.” There’s certainly money here, as everyone knows, but as well as the standard high-octane live business that fills arenas in the largest cities, Norway has a large, often volunteer-driven network of grass-roots venues and small promoters, with regional music hubs tasked with supporting talent and initiative outside Oslo, and strong communication between regions. Oslo is clearly the key Norwegian market, but other major cities – Bergen, Stavanger and Ålesund, scattered up the west coast; Trondheim in the centre; and Tromsø in the north – maintain their own highly independent scenes. No two of them are any less than five hours from each other by road, and most are much more. The geographical isolation of each city has effectively meant that each one has developed its own live identity, fuelled by hearty festivals and small venues. “Norway is really about five countries in one, centring around the major cities,” says Osmundsvaag. “Therefore, the local festivals are very strong, because they are all so important for the local communities.” Norway’s oil wealth also has ways of trickling down into the market. The Norwegian Cultural Fund had €98m to spend in 2018, having granted support to 2,546 out of 6,668 applications from the worlds of music, literature and other arts, the year before. Festivals tend to attract more support than the broader live business, Østerdal suggests, but money also goes to regional talent development and new venues, and the NKA is active in knitting the industry together at all levels. “For all of Norway, the reason we have a good live music scene is because of the NKA,” says Are Bergerud, head of

Contributors Are Bergerud, Tempo; Bård Flikke, Pstereo; Vegard Heskestad, Turbonegro/Kafé Hærverk; Isak Harbitz, Buktafestivalen/Bastard; Martin Nielsen, Live Nation Norway; Peer Osmundsvaag, All Things Live Norway; Tone Østerdal, Norske Konsertarrangører; Stian Pride, FKP Scorpio; Hanne Sætre Thunestvedt, Brak; Claes Olsen, Øya Festival

Trondheim’s Tempo hub. “Everyone meets up and we all talk to each other all over the place. It’s a strong and well-run live industry all over the country, and there’s a good bond. Tone [Østerdal] is doing important work.”

Promoters Norway has promoters aplenty, though as in many European nations, long-time independents are increasingly finding themselves tiring of the indie lifestyle and seeking solace in consolidation. Agency and promoter Friction/Atomic Soul was picked up last December in Dutch investment firm Waterland Private Equity’s Scandinavian roll-up, and now operates as All Things Live. Goldstar, another previously long-serving indie, is approaching two years as part of FKP Scorpio. “It has definitely made a big difference,” says promoter Stian Pride of the move. “We are adjusting to being part of a larger group, and that’s only a positive. It’s important to feel a healthy amount of pressure to perform in any business. We’ve also gained hundreds of colleagues, and as we get to know them, we learn from them. It’s not just about the next big thing but also smaller day-to-day things.”

Acrobatics are popular with both artists and fans at Bastard in Tromsø © Silja Lomakka


IQ Magazine September 2019


Live Nation promoted Smashing Pumpkins at the Oslo Spektrum in May 2019

“It’s important to feel a healthy amount of pressure to perform in any business.” – Stian Pride, FKP Scorpio All Things Live’s Osmundsvaag, founder of Friction/ Atomic Soul, has a similar perspective. “It’s going very well, I like it,” he says. “It’s people we have worked with from way back when, and there’s very little change except bringing these people together and working as a group when that works best, and individually when that’s best. “Being an independent promoter is not really in fashion anymore, is it? It’s a high-risk world and it’s good to work where others have your best interests at heart.” Recent shows have included a 55,000-cap Eminem show at Oslo Sommertid that went down as Norway’s biggest ever. “That’s a big number in Norway,” says Osmundsvaag. “It’s 10% of Oslo – but then again, 75% came from out of town.” Live Nation, which grew out of the long-ago acquisition of local independent Gunnar Eide Concerts, constantly ushers international acts through the market – Pink, Metallica, Bon Jovi, Elton John, Foo Fighters and Phil Collins have all performed well lately. “We are going to be a bit slower this year, but in 2017 and 2018, we set new records for Live Nation Norway,” says Nielsen. “It’s difficult to do better every year.” In the background, the terms of the market have been gradually changing. The student ‘culture houses’ that

underpin the new music scenes in many Norwegian cities report that the autumn live music calendar is starting slowly, as students who have gorged on festivals all summer recharge their fun-seeking batteries. Meanwhile, promoters keen to get down to the business of autumn shows are waiting longer and longer for the artists to come. “When I first started, and that’s probably 12 years ago now, we used to have all the arena acts coming and touring in quarter four, to leave as much time as possible for the festivals,” says Nielsen. “The last few years, it’s been a very slow Q4 and a very busy January, February, March, April. I’m guessing that it’s down to festivals everywhere else. And the fact that a tour that starts in November will only give you September, October


“Being an independent promoter is not really in fashion anymore, is it? It’s a high-risk world and it’s good to work where others have your best interests at heart.” - Peer Osmundsvaag, All Things Live Norway on-sale after the festivals finish in the last week of August.” Many of Norway’s promoters are outside Oslo, including Bergen Live, with its regular Bergenfest event at Bergenhus Fortress – which this year drew Bon Iver, Clean Bandit, Patti Smith and Madrugada – and newcomers such as Trondheim’s Livesentralen, which will stage major shows for A-ha (at the new Spektrum) and Rammstein (a 30,000-cap sell-out at Granåsen Arena) next year. “Trondheim is quite far north – it’s seven hours’ drive from Oslo – so most of the productions come by plane, but we do have a lot of stuff that comes. But it’s not the same as if you were in Central Europe – it is quite demanding to get here,” Livesentralen promoter Bård Flikke tells IQ. Norway operates almost entirely regionally, so Oslo promoters will need a local partner if they are sending an artist to another city. “There’s something about promoting – you really need to know the market,” says Osmundsvaag. “The regional details are that different that if I put on a show in Bergen on my own, I would probably do about 60% of what a local promoter could do.”

Outside Oslo Picturesque Trondheim, 500km north of Oslo, has been perhaps the most prominent regional city on the Norwegian live map lately, with the redevelopment of its Trondheim Spektrum venue, reopening any minute now, having more than doubled in size to 12,000 standing and 8,500 seated. Metallica, meanwhile, recently drew 40,000 fans to Granåsen, a ski-jumping centre that previously hosted Bruce Springsteen and Robbie Williams. Each of Norway’s key cities represents a demonstrably important source of grass-roots talent. Sigrid emerged out of Ålesund, Röyksopp from Tromsø, Kings of Convenience (and lots of black metal) from Bergen, Aurora from Stavanger and so on. And for each of those better-known names, new and old, there are dozens of others attempting to launch. In Trondheim, local acts get a solid push from the Trondheim Calling showcase and from a supportive local infrastructure. “There is, of course, a thousand reasons why Trondheim produces so much music,” says Bergerud of Trondheim’s fertile scene. “We have one of the largest universities – almost 40,000 people living in Trondheim are students. That’s a demographic that loves music, but,

“…a lot of our main festivals are reporting good sales this year and there’s a lot of optimism.” - Tone Østerdal, Norske Konsertarrangører


“We don’t take any kind of money, because we want to give up-and-coming bands a chance.” - Isak Harbitz, Buktafestivalen/Bastard of course, there also is a lot of talent that needs a place to do shows. The last concert I was at in Trondheim was with a band called Highasakite. They formed about 220 metres away from the venue when they were at uni, and now they are playing to 6,000 people.” Tromsø, dizzyingly far north, has a productive scene of its own, and again there are strong local resources. Local agent Isak Harbitz books the city’s iconic, 6,000-cap Buktafestivalen and a local bar called Bastard. “That’s kind of like a CBGB-inspired place,” he says. “We have around 200 bands a year. It’s small, it’s a 100-capacity venue, and you can hire it almost for free. We don’t take any kind of money, because we want to give up-and-coming bands a chance.” Harbitz works in a building that also contains the Tvibit youth centre, where the facilities include free practice rooms. “You compare that with Oslo, where everything is private. That has a big effect. New bands are popping up all the time.” Harbitz started his agency to tap into talent that might not otherwise make it out of Tromsø. “I think there’s so many good bands and artists in the north that don’t get recognised in Oslo,” he says. “But we are breaking bands from Tromsø all over the country. I have got bands at Roskilde. For me, it’s like winning a jackpot. There’s no agency north of Trondheim and there’s a lot of amazing artists here that no one works with, and not that many people round here know how to book tours.” In Bergen, regional music hub Brak has worked hard for 21 years to try to stem the talent drain from the regions to Oslo. “That’s what we talk about a lot – that very many musicians, when they reach a certain level, move to Oslo because they think the opportunities are greater there,” says Brak project

manager Hanne Sætre Thunestvedt. “We are constantly trying to figure out what’s the next thing we have to do [to make that less inevitable]. “We are really lucky that we have the Cultural Council, and Bergenfest are really good at booking local talent. They don’t have to do that but they want to do it to push local artists forward and help them grow.”

Festivals Big names in the Norwegian festival calendar include the much-loved Øya in Oslo’s Tøyenparken, All Things Live’s Piknik i Parken (PiPfest) in the capital’s Sofienbergparken, the EDM-powered Palmesus in Kristiansand, the urban-slanted Kadetten in Sandvika, and Bukta on the beach in Tromsø. “There’s been a lot of talk that it’s hard: booking fees are going up, it’s a tough business,” says Østerdal. “But a lot of our main festivals are reporting good sales this year and there’s a lot of optimism.” There’s also a world of diversity in terms of niche events, such as Harpefoss Hardcorefestival in Gudbrandsdalen; Bygdalarm, which brings national and international indie and electronica to Norheimsund; rock music and outdoor festival Vinjerock at Eidsbugarden in Jotunheimen; and indie shindig Trevarefest in Henningsvær. There are children’s festivals, too, such as Juba Juba in Trondheim, Miniøya in Oslo and Rabalderfestivalen in Molde. Showcase festivals include Trondheim Calling, by:Larm in Oslo, Vill Vill Vest in Bergen, and Sørveiv in Kristiansand. “One of the agents told me – and I don’t know if this is true – that there’s more festivals in Norway than in any other country,” says Nielsen. “But then you also have to remember that you need to take three, four, five of those festivals in order to reach the same capacity as a Roskilde or something similar. There’s a lot of festivals in Norway that are between 8,000 and

July 2019 saw Metallica visit Granåsen in Trondheim © Sven Erik Knoff


IQ Magazine September 2019

Norway The Hives at Pstereo 2019 © Thor Egil Leirtrø

10,000, and then you have some that are 10,000 to 20,000, but you don’t really have any festivals that are above 20,000.” Part of this, suggests Nielsen, is down to Norwegian pride in creating quality festival sites. “There’s a lot of festivals in Norway that are very carefully thought out, and not necessarily from an international earning perspective, but in terms of creating something really great for the audience. In a lot of places, [promoters] won’t even start the festival if they can’t get at least 30-40,000 in there.” Live Nation recently mounted the first edition of Tons of Rock festival, in which it last year acquired a majority stake, moving it from Halden, 75 miles south of Oslo, to Ekebergsletta in the capital and increasing the capacity from around 12,000 to 20,000. “We were able to secure that amazing site, which has only been used for youth soccer tournaments before, no concerts at all, in a prime location in Oslo,” says Nielsen. “A lot of people who aren’t into rock music came. I guess they just liked the vibe, and that’s what everyone is chasing.” Clearly, amid all the success, there has been some collateral damage in recent years. Slottsfjell in Tønsberg narrowly avoided bankruptcy after last year’s event, and is taking a year off in 2019, with a plan to re-emerge in 2020. Norwegian Wood at Oslo’s Frognerbadet is another giant that has been shelved in the past few years. Island festival Hove, one of Norway’s essential events from 2007 to 2014 under Festival Republic, tried to mount its own comeback this year under the management of Arendalbased Seaside Production, but the festival again collapsed, this time with just days to go until the doors opened. “We have a couple of cases of bigger festivals that haven’t made it,” says Østerdal. “All it takes is a couple of years of weaker bookings. You have to be very sharp all the time because the competition is intense. But I think we have quite a few festivals that are unique in their own way – either very good programming or spectacular venues outside, in the mountains or by the sea.” Like many Norwegian festivals, Pstereo in Trondheim, on the banks of the River Nidelva, is the type that photographs well. Speaking on the morning of the festival’s first day, Pstereo promoter Bård Flikke, who also runs the 4,000-cap Juba Juba and the 14,000-cap EDM-based Festningen, says the impact of competition can be felt. “You can certainly see the change in the market,” says Flikke. We are really fortunate that we have been selling out

IQ Magazine September 2019

most years, though this year has been a harder year and we are not going to sell out,” he notes, citing a series of headliner drop-outs, remedied by the late arrival of Underworld.

Venues It’s hard to do full justice to the array of venues in a country that is bursting with good ones, but the scene is vibrant across the nation, and the NKA credits the smaller ones with firing up the broader business from below. Østerdal says the popular Terminalen in Ålesund has brought life to the city, and other small venues have had a similar effect on other regional markets. In Trondheim, where the closure of popular clubs Blaest and Familien left a gap in the local scene in recent years, new arrivals Lokal and Tyven constitute a fresh wave of venues, to add to the ten-year-old Byscenen, which hosts 150 concerts a year in its 750-cap space. Elsewhere, student culture houses – places like Folken in Stavanger and DRIV in Tromsø – play an important role in nurturing new talent and supporting national tours for domestic acts. “The student house in Tromsø has two stages, one with 850 cap and one with 150,” says Harbitz. “We have a new hotel [Clarion Hotel The Edge] with 1,500 capacity and the KulturHuset has 1,200 capacity, but we don’t really have a mid-sized, 400/500 venue. That’s the thing that’s missing.” In Oslo, where local promoters lament the lack of a 3,500cap venue between the city’s Sentrum Scene and the larger Spektrum, there are no other obvious omissions, with venues such as Parkteatret, Oslo Konserthus, Rockefeller Music Hall, Blå and rock spot Revolver maintaining busy calendars. “I think Oslo has been a really, really good live scene for the last 15 or 20 years,” says Vegard Heskestad, sometime Turbonegro guitarist and proprietor of the 100cap Kafé Hærverk, which specialises in experimental jazz and improv. “We have an enormous amount of concerts in all kinds of genres, although I had the opinion that younger people and younger musicians mix up everything, and that is what we try to do,” says Heskestad. “We have so many people coming to play that I can’t even go through the emails.”


My Breakthrough Moment...

Hard work, knowing the right people and a slice of good luck can all play a part in getting a proper footing on the career ladder. IQ Magazine puts some more ILMC regulars in the spotlight and asks them to share their breakthrough moments…


John Giddings Solo Agency

hen I was about 14 years old, a mate at school persuaded me to learn to play bass guitar, with the promise that we would pull chicks. I had to borrow a bass because I could not afford to buy one and that’s why, to this day, I play bass guitar with a right-handed guitar, upside down, because I’m left handed. We were at a gig and we were playing The Nile Song from Pink Floyd’s More album and this punk came up to the stage and said, ‘If you don’t stop playing, now, then I’m going to fucking hit you!’ That was the end of my career as a musician, but I knew I wanted to be part of the live music thing, even if I was not capable of being onstage. In those days, we just used to listen to LPs on our own in our bedroom, but I remember going to Isle of Wight Festival and walking over the top of the hill to see 600,000 other people who liked the same music as me – it was like going on a pilgrimage. And that was that – I was hooked.


IQ Magazine September 2019


Christof Huber OpenAir St. Gallen/Yourope


hen I was around 15, I knew that I wanted to work in music and organise events. I even wrote business plans about my future virtual company. After my apprenticeship, I looked around for job options, but at that time there were very few in the Swiss market and I couldn’t find a way in. I never lost that focus, but I had to work in several other jobs, including as a bookkeeper in real estate in 1992. Hell! Out of the blue, a former work colleague called me to tell me that she was working for OpenAir St. Gallen, as the assistant for the festival director but was going to leave. As I was so persistent in telling her about my vision, she suggested I put myself forward for the job interview. This was my chance! I went to the interview and tried to convince them that there was only one person who would be perfect to do the job. They asked me for some time as they had other candidates, but due to a timeline in my other job, I needed a quick answer. They had me complete some tests and I convinced them that I would do everything to make my dream come true. And they finally offered me the job. I remember as I drove home that I looked at other people and felt so lucky to have achieved my dream. I started in 1993, was able to take over the event company a few years later and work with wepromote Switzerland on a national level for many festivals and concerts. In addition, for the past 20 years, I have been part of the European festival family of Yourope where I’ve made so many close friends. Thank you, Lisa and Andreas, for having given me this opportunity

Fruzsina Szép Lollapalooza Berlin

ince childhood I had always been very passionate and enthusiastic about arts and music and creating and organising things. Watching the happy faces during a festival is “my fuel“ and has kept me going for so many years in the industry, despite the gigantic workload many of us deal with day to day. In 2008, I was offered the position of programme and artistic director for Sziget Festival in Budapest. I was 30 and I thought Oh my God! - this coat is really not my size. My size is S/M and that coat felt XXL. But I listened to my inner voice. I knew that if I didn’t try, I would never know if I was capable. I can always fail, I told myself, but only after trying. I´m so extremely happy that I was wise enough to listen to my inner voice, to have the support of my family, and to believe in myself. I´m so thankful for having gained such an enormous amount of experience in those seven years working at Sziget. Without which, I could have never taken the next huge challenge and worn the even bigger coat known as Lollapalooza Berlin. Moving the Lolla festival site four years in a row allowed me to learn so much and overcome so many challenges. I must say that I’m very thankful for these experiences because

IQ Magazine September 2019

now, if Elon Musk asked me to organise the first festival on Mars, I’d be up for the job. I’m so grateful to have been able to work in such an amazing industry, to have colleagues from whom I can learn day by day, and to be part of an international festival family with like-minded humans that are rocking their own festivals every summer. to find the path to your Breakthrough Moment


Members’ Noticeboard As festival season draws to a close, IQ pays tribute to the gallant production warriors who build our summertime venues.

ARTmania, Romania

Seaside Festival, Switzerland

Atlas Weekend, Ukraine

Shambala Festival, UK

Wacken Open Air, Germany

NOS Alive, Portugal

Pohoda Festival, Slovakia

If you or any of your ILMC colleagues have any notices or updates to include on the noticeboard, please contact the club secretary, Gordon Masson, via


IQ Magazine September 2019

Your Shout


What’s your most memorable moment from summer 2019? The return of Glastonbury was special for many reasons; beautiful weather, high-profile slots for UK urban artists such as Stormzy and Dave, creative genius in the form of Glastonbury-OnSea, and the guys at Block9 with their phenomenal new IICON stage. But the moment that really took the biscuit was the point my girlfriend attempted to use a Shewee for the first time. Amazing idea, terrible execution. Max Lee, Earth Agency

My best recent memory is to have promoted here in Barcelona a gig with BaianaSystem from Brazil. To our surprise, Manu Chao showed up and made an unexpected guest appearance. Christian Georgiadis, Bacana

I was on the road for a while with Rammstein this summer. The current show is the most OTT rock show I’ve ever seen, with many a breath-taking moment, especially because it’s as much theatre as music – the band are just as good at both. But the highpoint is the very end of the show when the band ascend skywards up a burning black tower and vanish in a final explosion just as they’re about to float off into space. Stunning!

My most memorable moment was a Toi Toi toilet crowd surfing at 10:30 in the morning during Gutalax’s show at Brutal Assault. Luckily, it was a fresh and clean toilet and was part of the band’s show. Tomek Ochab, Knock Out Productions

My hobby (enjoying music) became my profession 40 years ago, and sometimes this means my enthusiasm for new music is less. Or is it my age, maybe? 40 years ago, Joy Division made sure they continue to be my all-time favourite band. I’ve seen them perform live four times, in London, Amsterdam, Rotterdam and Nijmegen. Unforgettable. The summer of 2019 brought me the runner-up: The Murder Capital from Dublin played my home-town and grabbed me by the throat (and other body parts) in a very intense way, a way I did not experience since... well, Joy Division. Rob Berends, Paperclip Agency

Claire Harkness, Liverpool Football Club

The Rammstein concert at Cornellà Stadium in Barcelona – it was the most incredible outdoor show ever. Neo Sala, Doctor Music

Zac Fox, Kilimanjaro Live

2019 was certainly one of the best years in the Austrian concert business. My absolute favourite was Pink at the Ernst Happel Stadion – just an amazing spectacle – and, of course, the absolutely touching show of Phil Collins. I’m more than happy that I had the opportunity to promote these two stadium shows. Richard Hörmann, Barracuda Music

My favourite memory from this summer was hopping from Frauenfeld to Splash! to Woo Hah! with my clients Suicideboys and J.I.D. Getting to see Suicideboys take the stage at Frauenfeld in front of 40,000 people and J.I.D send his crowd at Woo Hah! into a 50-minute frenzy, was something special! Kevin Jergenson, ICM Partners

Nick Hobbs, Charmenko

I am not sure there is anything more memorable this year for us than when our crowd doctors delivered a baby at Anfield during the opening number of Pink’s set – our third concert at Anfield of the year, having not had one at the stadium for 11 years.

Getting a little pat on the shoulder and some words of thanks from the everlovely Ed Sheeran for dealing with the effects of the not-so-glorious British weather for his first night at Roundhay Park. A little appreciation goes a long way, and it was good to hear that he recognises the work that we all put in to help make his shows happen.

The weather! And the blistering Isle of Wight set by Biffy Clyro. I think they spent all of their fee on production. John Giddings, Isle of Wight Festival

I organised the summer series Royal Park Live, situated in the garden of the former Royal Palace of the Netherlands. This year, we had two special guests: on the grandstand, among the people, sat the king and queen of the Netherlands, King Willem Alexander and Queen Maxima. Patrick Kraakman, Agents After All

I seem to have spent most of my summer dancing, and the highlights were: dancing on stage with Maria May during David Guetta’s show, and dancing a tarantella with rocker Russell Lewis Warby at my 60th birthday party. Or were we dancing to the Rolling Stones? It doesn’t matter! Pino Sagliocco, Live Nation

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IQ Magazine September 2019

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