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Madness live at the Midem Festival

Midem 2013 explained

ON STAGE The live music starts tonight

DOWN TO WORK Midem delegates talk business






Pascal Gregoire, of La Chose, is a ďŹ nalist in the Midem Marketing Competition in Brand Central, Riviera Hall, 15.45

German electronica artist Christopher von Deylen — aka Schiller — speaks at the Direct2Fan Camp, Riviera Hall, 17.00

Asaf Avidan, ‘the love child of Dylan and Joplin’, performs live during the Midem Festival at Magic Mirrors, 21.40

Success story

The stats

The Hunt is over for Midem theme song


RENCH band Birdy Hunt is back in Cannes after winning the Midem 2012 Pitch Your Song competition. Last year Midem organisers invited any act that had a track on artists’ community site SoundCloud, to enter the competition. The winning song would become the theme to this year’s Midem. And the winner is: My Friend by Birdy Hunt. You will hear the song everywhere during Midem 2013, introducing videos on the website and during the live conferences in the Palais. And you can hear it live here in Cannes when Birdy Hunt plays at the Midem Festival’s Magic Mirrors venue, tomorrow at 20.30. Birdy Hunt bass player Thomas Goetschy told Midem News : “Winnning the competition was a real honour, but it’s also a delightful pressure — because we must mark this presence in continuity, through adversity to the stars.�

55.74 million

Picture of the day

digital songs were sold in the week ending December, 30 million of them in the US. This was the single largest week for download song sales ever, according to Nielsen Soundscan

Maximum exposure for MINI

Tweet of the day

@midem How to follow midem 2013 live, in Cannes or not. Via #midem hashtag, & :) 24 Jan 13 The MINI, a truly iconic brand


HE RELATIONSHIP between music and brands is under the spotlight at MIDEM in the new Brand Central area sponsored by MINI, online music service Guvera, and Mood Media. Brand Central oers a programme run by industry experts who will be decrypting the synergies between music and brands. Training sessions and workshops will focus on how to use music to convey messages, led by music-lovers Bart Mol and Pol Hoenderboom of Tribal DDB Amsterdam. Wieden+Kennedy Amsterdam will look at the Heineken Legends global campaign, and Live Nation Entertainment will show how access to live music has become a key consumer motivator. The Music & Brands Case Study programme will explore several successful collaborations including Moxie’s successful Kingdom of Jewels digital campaign that brought together US singer Brisa Roche with Swiss jeweller Swarovski.

Midem news in 1972

Representatives from MINI will be discussing how the brand’s two-night music festival MINI United has given a new dimension to brand entertainment by reinforcing MINI’s position as an iconic brand. British rock band The Ting Tings, who performed at both Midem Festival and MINI United Festival last year, will also attend. Brand Central will also host the second Midem Marketing Competition, where 20 ďŹ nalists compete for awards in two categories: the best use of music or partnership with an artist in a marketing campaign, and best music placement in a campaign. Heineken will outline how it brought the ID&T dance event, Sensation to Southeast Asia, and Ogilvy & Mather will discuss the emergence of brands that are building initiatives to support creativity and nurture independent musical talent for Ford’s Bands in Transit initiative.

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Midem grows to embrace the expanding music ecosystem Midem director Bruno Crolot looks back at a great year of music and explains how industry developments CTGTGƃGEVGF at this year’s market

How has the last year been since Midem 2012? We’ve observed a number of positive trends, not least that digital album sales grew by 14% in the US, over that Global streaming revenues were up by 40% in 2012, the digital music market was up by 14% in France and physical still represents 70% of total sales in the UK. Digital services, such as Deezer, expanded into new territories in 2012 and the growth of Spotify, Vevo, Google Music and Amazon are reasons for optimism. And the announcement of more services such as Dr Dre and Trent Reznor’s Daisy will certainly add to the new dynamism. Then there’s the rise of K-Pop, which is very present at Midem this year — and we can’t ignore PSY’s billion views on YouTube. But behind the PSY phenomenon, there is a trend towards globalisation, where we are seeing artists from every continent reaching audiences everywhere across the globe. It’s really exciting to see that this is now also true for African artists too. The fact that we have five new pavilions this year, from Korea, Malaysia, Congo, Senegal and Ghana, shows that artists and labels from these countries want to connect with an international audience, and it is easier now to attract a worldwide audience thanks to online services like YouTube. Investment in music start-ups surpassed $600m in 2012, up by 34%. Amanda Palmer raised a record $1m for her next album on Kickstarter, and Adele sold 10 million albums

Midem director Bruno Crollot

in the US. These are both very good developments … and I think everyone was surprised by the news that Trent Reznor is abandoning self-releasing and has returned to a major label. And, personally, I’m delighted to see that David Bowie is back. You introduced a number of new initiatives for Midem 2012. What else is new this year? We are focusing on the entire music ecosystem. We have the content zones within the market – the D2F Camp and the Innovation Factory — and a new one for this year called Brand Central, which is all about the passionate relationship between music and brands. Brands are getting more and more involved

with music, consequently the case studies presented in the Brand Central zone at Midem this year will highlight some of these campaigns including the Mini United Festival with Sony Music and Ting Tings, Heineken with Sensation, and Swarovski with Brisa Roche. Still with the brands theme, Visionary Monday features a presentation from Amex’s John Hayes. He will present American Express Unstaged, the innovative livestream music series which launched in the summer of 2010 in partnership with VEVO and YouTube. Visionary Monday, the plenary conference sessions with industry experts from all sectors discussing the future of the industry, and hopefully shaping some aspects of the future.

SEVAN Juste Toi & Moi

Licence Internationale Jeff Records

Jeff Records/Play On

Jeff Records/Believe

Jeff Records/AZ

Jeff Records/Play On

Tél. : + 33 1 81 29 35 57 • Mobile : + 33 6 80 42 69 21 / /




Our competitions — Midemlab, the Marketing Competition, Midem Hack Day, and Speak At Midem — are all designed to encourage and celebrate innovation in music. Live music has always been important to Midem. What highlights can we expect this year? Perhaps the biggest initiative last year was the launch of Midem Festival and Midem Off, our live presentations offering big shows, at the Festival, as well as smaller fringe gigs in the bars and clubs around Cannes. Both continue this year, but with the Festival having been brought closer to the Palais — in the custom-built Magic Mirrors, which has a real Festival feel to it. The Midem Festival this year features international stars including Madness, Archive and C2C, as well as rising artists Lou Doillon, Asaf Avidan and Balthazar. The prize for winners of a competition featured on is the chance to perform on stage at the start of each evening’s Festival programme. Midem Off features so many genres, from Austrian pop to Senegalese hiphop. We also have the Malaysian Supernova night and the SACEM jazz evening. How is the classical sector represented at Midem this year? This year we have a new Classical Zone within the Palais including a discussion lounge with dedicated conferences hosted by BBC Radio 3 presenter and classical music authority James Jolly. There is also the Classical Embassy, in the Majestic’s Salon Marta, where you can discover new talents of the classical world. And a highlight of this week will be the great Chinese pianist Lang Lang’s keynote during Visionary Monday

Social media, and technology generally, have become important for artists, and for the industry generally. How is this reflected at Midem 2013? Midem has been listed by Techcrunch as one of the 50 must-attend tech events worldwide, and companies including SoundCloud, Soundkick, The Echo Nest, Next Big Sound, Ovelin and Webdoc all had their international launch here as winners of the Midemlab startup competition. The fact that artists are becoming increasingly involved in the business side of the business is another trend reflected at Midem … Yes, and it is a very important trend indeed. Lots of artists are willing to be hands on as far as their business affairs are concerned, even those signed to labels. And it’s a trend that goes hand in hand with social media and audience engagement, where artists are increasingly engaged with their fans and audiences, and the use of crowdfunding services such as Kickstarter and PledgeMusic, which help artists fund their projects. Some believe in DIY, others sign with labels. We’ve observed both trends and try to represent them both. The music industry lost Claude Nobs at the start of this year, one of the industry’s great figures ... Claude was a visionary who loved music, and not just jazz. Despite Montreux being known as a jazz festival, he booked every kind of act and pioneered the idea of an eclectic line-up based on quality as opposed to genre. He was also a great supporter of Midem and a deserving Midem Personality Of The Year. He will be missed.

Training ‘a priority’ for the industry THE MIDEM Academy continues in 2013 offering marketing training to music industry employees across three main topic areas: Music Industry 101, Entrepreneurship and Marketing. The Academy offers training and networking formats that deliver interactive education and encourage business acceleration. The 32-course programme features experts engaging with the audience, sharing their knowledge and providing practical advice. Speakers for 2013 include Emilien Moyon from the Berklee College of Music – Valencia, Mark Mulligan of MIDIA Consulting, journalist and consultant Emmanuel Legrand, Axel Quack of Pixelpark, Rynda Laurel of 1968media, Catherine Luckhoff of and George Howard of Berklee College of Music/Wolfgang’s Vault/Concert Vault. Alongside that, on Monday 28 and Tuesday 29 January a new training scheme called Marketing & Edition Phonographique is being launched for members of French industry bodies SCPP, SPPF and SACEM. Under the DIF (Droit Individuel de Formation) training initiative, French participants can get funding from specialist French training organisation AFDAS. Conducted in English

by internationally renowned music industry professionals, and developed by Midem and LexisNexis Formation, each workshop was developed in collaboration with the Berklee College of Music in Valencia and Sciences Po Paris. “As noted by the General Delegation for Employment and Vocational Training in 2010, training of employees is a priority for the music industry, especially in areas of marketing and promotion,” Bruno Crolot, director of Midem, said. “Faced by so many changes, the industry needs to diversify its expertise by encouraging its employees to acquire transferable skills to exploit new technologies, adapt to the many changes in the industry and demonstrate creative, innovative marketing. Midem is partnering with this initiaVKXGHQTVJGƂTUVVKOGQTICPKUKPICP ambitious programme of vocational training as part of its 2013 edition in Cannes.” %QPƂTOGFURGCMGTUVQFCVGKPENWFG Neil Cartwright, director of Million Media (UK), Michael Fiebach, founder and CEO of Fame House (US), Ariel Hyatt, CEO of Cyber PR (US) David Loscos, CEO of Tenzing Media (Spain) and Scott Perry, Sperry Media founder, and president of New Music Tipsheet (US).

crank up the volume

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BMI rebranding reflects ‘time of transformation’

CIMA turns up volume on Canadian musical talent


ANADIAN Independent Music Starr (Granitewish Entertainment), Luke Association (CIMA) is showcasing Nicholson (Gypsy Soul Records) and Mathe strength in depth of Canadian nafest/Chris Greenwood (Manafest Promusical talent on its stand in the Riviera. ductions). “Last year proved to be a challenging one On Monday, the Ontario Media Developfor the music industry in Canada, on a par ment Corporation (OMDC) will present with the situation globally,” said Stuart The Ontario Showcase under the CanaJohnston, president of CIMA. “But it also dian Blast banner. Featured artists are presented new opportunities for growth. Alejandra Ribera (Pandyamonium ManaAs new trade relationships are forged gement), The Balconies (Audio Blood/ country to country, and the demand for Coalition), Divine Brown (Fullcc Music Canadian music around the world accele- Group) and Jesse Labelle (Wax Records). rates, CIMA members continue to develop new artists to meet this demand.” Midem is a cornerstone in CIMA’s strategy to access the world music market, Johnston added: “Consequently, we are presenting a full measure of seasoned companies, as well as new exhibitors such as Believe Digital Canada, on the Canada stand this year.” A key component of CIMA’s international strategy is the Canadian Blast showcase, which enables delegates to present their artists live. “This edition of Midem will mark the fifth annual Canadian Blast showcase, which will take place over two nights at Morrisons Pub,” Johnston said. The line-up for tomorrow features Ann Vriend (Watson Entertainment), Kim Bingham (Mudgirl Music Group), Kinnie CIMA’s Stuart Johnston: “new opportunities for growth”

MI COMES to Midem 2013 on the back of a new brand campaign, intended to reflect its industry leadership and to push forward the tradition of innovation that has driven the US performing-rights organisation since its establishment in 1939. “We have always embraced change and we will continue to do so,” said Richard Conlon, senior vice-president of corporate strategy, communications and new media. “The campaign underscores our commit-

ment to empowering markets and nurturing the creative spark. We will continue to support our writers and publishers, so that the art of songwriting can continue to prosper.” Conlon said BMI’s “diversified business model and strategic vision” had enabled it to stay abreast of a rapidly evolving music industry. He added: “A commitment to change across every facet of an organisation is necessary to meet the opportunities and challenges of today’s market. And BMI has that commitment.” BMI has always worked at a grass-roots level with its writers, launching services such as BMI Live, which allows gigging songwriters to input up to six months of their performance data to be considered for payment. Conlon said: “BMI nurtures and develops long-term relationships with its members. We offer educational workshops, organise showcases at major industry events and host our own award shows to celebrate songwriters and composers.” Despite the tough economic climate, Conlon observed that the digital business has been growing steadily at 20% year-onyear. He added: “It’s a time of transformation and value shifting. Value is still there and capital is still there and creativity is still there. We may need to redefine them a bit, but they are ready to yield new art and commerce. Collaboration is easier. Barriers to entry are lower. It’s an exciting time.” BMI’s Richard Conlon: “exciting time”


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Alliance Records, A York, Catalogik, CD Baby, reauExport New Yo ords, ADA, Allegro Media Group, c e R B B A , 8 8 t tc 8 8 , l a t i g i d 7 , nment, Brown Paper Tickets, Bu i s a d t r r rt o e c t e n E R k 5 n 3 a 3 r , F c i b s o u B m . t t, , n s e d r m o int Systems, CV America, e c o e p ag r R n e a t !K7 wn Media, Coun ntdow cords, BMG Rights M u e o R C e , l n i h ny i c V ac a g M n i g k i o B o , C c c. , n t I n , l e a d t i n g e i p D e d M n ed I n , Epitaph/Anti Records, Believe Digital, BF rtainment One onccoord Music Group, Consolidat p Con usic, eMusic, Entert rds Group, o M c n e e R v e s s S a n p e v m e o l C E , , t n n o i e at m i c n i o a s t r s e A t n o e E ds, Eaggle Rock Fedora, INgrooves Fontana, China Audio-Vid stribution SSeelect, Domino Recor e Records, High Note / Savant / v i , Dist at s N n ' a e n i c o O G , d a a i e d , D e , M y t l i a c i t l i b g i u D P o l G e i r t t, A n / Cyber PR ack Avenue Records, MediaNet note Entertainme use, Getty Images Music, Glass gs, Long Live Crime Records, M o n i H d r e o c ag e t R n i F n , . , a l p s r P es e o ne n e Co C u L t , c e i s s n r i u f o t , i M c c c. i l c n I o s i S d n n, n e o i a n t i P e Laura Dev sic, Ottomatte, Fat Beats Distribu j uwar, Kobalt Label Services, erk, Next Big Sound, Nielsen Mu s, Jaggjag w e t t n e u T Tu N i , , , s s s i o l n l x o E i a t s N u l s , o o e S R c l , a a y p r n S u o t y i n M at e , n t C r n e e t e h n I T m , f e Entertain inment,t Robot O Initiative Musik GmbH Muusicmetric, MUSICSTRAT, MVD eservoir Media, Robbins Enterta cords, M R e , n R e a y i s e s n d o e r e s p h R t i , M s , m d r S m o , e c c d i i e s R M u l , l t M f u o n B s e d o e r r e c c i R S , M y a , a D Megawave ecords, Silv Real Gone Music, Record Store bsman LLP, Side One Dummy R y Tigers, lms Music, Razor And Tie, Rdio, hukat Arrow Hafer Weber & Her S n n, a i d a n al/Heads Up, The Orchard, Thirt a n C o i y l t at e n r r c e t e n S I , PlayNetwork, PledgeMusic, Psa c n r o a i l t e u T b i , r c t i s g i e D at C r t S S , h G s i A f T TA e l , b k n m a t u h R c , n a i y ecords, d S R e , t P M n i V , RSB sic, Virtual Label, o er Entertainme Rostrum Records, RoyaltyShare igital, Spotify, StoryAmp, Sunflow l Trade Administration, Ultra Mu D a t i n p o i S , at e n r g e n t a n I h c e x c r E e d n m u ralution o m b o S e , C Z s f , d o r e t o b n c u e e sh R ds, U.S. Departm sic, Yep Roc, YouT Folkways Recordings, Soundbru s Corporation, True North Recor oup, Xanadu Records, XBox Mu r d G n u c i o s s i u p M o r 5 T Tr , X n i d d, p n s u p o o s T d , l r d o e h W s l , s o o d r T To o , Wind Up Rec Tommy Boy Entertainment

A2IM is improving the business of independent music labels. Contact Jen Massett (jen@a2im.or m.or org) g or Jim m Mahoneyy (jim@a2im.or @ @a2 g) to learn how A2IM can benefit your business. WWW W.A2IM.ORG .



Moozar offer is rewarding A2IM back in Cannes to artists the â&#x20AC;&#x2DC;third wayâ&#x20AC;&#x2122; build on growth in the US ŠJean-Baptiste Millot

Moozar co-founder David Brami


grations, Moozar has attached one speciďŹ c link to each track wherever and whenever it is posted, in order to leverage the power of social networks. â&#x20AC;?Registering on Moozar is free and easy because there is nothing to upload. And if for any reason an artist wants to leave, just one click and itâ&#x20AC;&#x2122;s over,â&#x20AC;? Brami said. â&#x20AC;&#x153;We are introducing the Reward Link plus a new version of the service at Midem. Hundreds of artists have already joined and we are counting on Midem to enable us to recruit thousands more,â&#x20AC;? Brami added. â&#x20AC;&#x153;We also hope to attract the interest of opinion leaders such as the Midemlab juries for our unique business model based around the â&#x20AC;&#x2DC;third wayâ&#x20AC;&#x2122;. Moozar appears at the Pitch session on the Direct2Fan stage on today at 15:50

of the worldwide marketplace [IFPI], the need for our membersâ&#x20AC;&#x2122; American repertoire to be monetised overseas has never been greater.â&#x20AC;?

Photo: Christine Butler

LOBAL direct-to-artist service Moozar allows artists to be rewarded wherever and whenever their content is enjoyed and shared online. â&#x20AC;&#x153;There are billions of songs accessed daily through free and legal services such as YouTube, Dailymotion, SoundCloud, Vimeo and Tumblr, and still, fans have no way to really show the artists their appreciation,â&#x20AC;? Moozar co-founder David Brami said. â&#x20AC;&#x153;The reward is a voluntary contribution to show artists some gratitude for the emotion that their music gives.â&#x20AC;? Brami said the concept came to him in 2006. â&#x20AC;&#x153;We were at Midem in 2010 and 2011 and have been studying the marketâ&#x20AC;&#x2122;s expectations and fears for all that time. Now we are ďŹ nally ready to present the result of our work at Midem 2013.â&#x20AC;? Using Facebookâ&#x20AC;&#x2122;s open graph and API inte-


ICH BengloďŹ&#x20AC;, president of A2IM, the American Association Of Independent Music, comes to Midem after a successful 2012, which saw the independent sector take the NÂş1 spot from the majors in the US. â&#x20AC;&#x153;From October to November last year, independents controlled the top slot on the charts for seven consecutive weeks at NÂş1 on the Billboard 200, with tracks including Mumford & Sonsâ&#x20AC;&#x2122; Babel from Glassnote, Jason Aldeanâ&#x20AC;&#x2122;s Night Train from Broken Bow, and Taylor Swiftâ&#x20AC;&#x2122;s Red from Big Machine,â&#x20AC;? BengloďŹ&#x20AC; told the Midem News. â&#x20AC;&#x153;Great A&R is reaping revenues from all sources,â&#x20AC;? he added. He identiďŹ ed what was behind this growth: â&#x20AC;&#x153;Independent digital album share has risen by our computations to over 39% market share, signiďŹ cantly underscoring that our independent music labels and their artists sell a body of work, not just singles, and are compensated accordingly.â&#x20AC;? In addition, as direct access to consumers continues to increase, supported by non-FM radio streaming channels including iheart radio and Pandora, and on-demand services including eMusic and Rdio, â&#x20AC;&#x153;access to independent music discovery has never been greater for great musicâ&#x20AC;?. At Midem BengloďŹ&#x20AC; aims to build on recent growth for the sector. â&#x20AC;&#x153;With our support, our members will be out in force in Cannes, looking for distribution and label licenses, mobile and other technology agreements, and synchronisation licenses for TV, ďŹ lm, games and ads,â&#x20AC;? he said. â&#x20AC;&#x153;As the US marketplace has shrunk to 26%

A2IM president Richard Bengloff



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The digital supply chain depends on standards The worldâ&#x20AC;&#x2122;s biggest companies implement DDEX standards in their digital business to improve efďŹ ciency Come and see us in the Riviera Open Space at Midem Or to ďŹ nd out more about joining DDEX and implementing the standards visit /Artist-name

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Brands, artists and music ‘We love playing in Cannes’ lovers can live in harmony A FTER winning the DMC World DJ Championships five times, French group C2C decided to turn their turntable talents into real songs. They set about sampling classic instruments to get the Seventies/Eighties sound they love and began to work with a number of singers. The results can be heard on the album Tetr4, released on C2C’s own label On And On, which is now licensed to Mercury/ Universal. A single taken from the album, Down The Road, charted at No1 on the SNEP chart in France, and also did well in Belgium, the Netherlands and Switzerland.

Tribal DDB’s Bart Mol (left) and Pol Hoenderboom: sourcing “perfect music”


SOLID relationship between an artist and a brand can be a powerful union, according to Pol Hoenderboom and Bart Mol, creative directors at Tribal DDB Amsterdam. In their session this morning, which starts at 10.30 in Brand Central, Riviera Hall, the Tribal DDB executives will examine the parallel lines connecting advertising and the processes involved when using music to convey a message. Brand Central, a new Midem initiative, offers delegates a destination dedicated to the music and brands ecosystem. Delegates can also discover the finalists of the marketing competition, be inspired by case studies, learn how to sync music, and take part in training sessions and workshops with branding and strategic experts. Mol sees music as being more and more crucial for brands. Speaking before today’s session, he said: “In the past, creatives were the ones deci-

ding on the kind of content produced. Now, we have to keep our ears to the ground and an eye on societal trends. We need to listen to society as opposed to shaping it.” He added: “The world is becoming a smaller place and the power is shifting towards the consumer. This doesn’t mean that everything needs to be co-created or user-generated, but it does mean that the final concept is judged more critically than ever before.” This trend has made the job of advertisers and brands more difficult, Hoenderboom acknowledged. “The challenge is bigger and needs a fresh approach,” he said. “The importance of the correct use of any form of expression, whether it’s film, dance, visual art or music, is growing. Our mission is to source perfect music that not only fits the brand, but also instantly inspires the audience.”

Reach us at Midem to know all about Musikki’s upcoming version that will become the number one destination for music lovers. @musikki

TuneCore President of Publishing, Jamie Purpora reveals Sub Pub agt. w/ Native Tongue Music Publishing for territories Australia/New Zealand #TuneCore

C2C: “looking forward to rocking the town”

“The album is now being released all over Europe, and also in the US, which we’re really pleased about,” C2C member DJ Atom said. “We already have dates planned around Europe, including several in Germany. I hope we can also get over to America for some shows to support the release.” C2C is playing tomorrow night at 22.50 in the Magic Mirrors. “We love playing in Cannes,” Atom said. “We were here last summer as part of Les Plages Electroniques and we’re looking forward to rocking the town again.”



Nunes tells you how to get Yes Sir Boss on stage 50 million YouTube plays R Julian Nunes


ANT to know how Julia Nunes has achieved 50 million YouTube plays? At today’s Artists Speak To Artists session, you will get the chance to ask the unsigned US singer/songwriter your questions about viral video, crowdfunding — and even playing the ukulele, an essential part of Nunes’ signature sound Nunes is well known for performing a mixture of her own material and covers by her favourite artists, including The Beatles, The Beach Boys and Destiny’s Child. Actress Molly Ringwald said she took up playing the ukulele after seeing Nunes on YouTube. An album of cover versions called You

FOLK group Yes Sir Boss, the winners of the PLAY MIDEM LIVE 2013 competition, organized with Indaba!, will be appearing at the Midem Festival tonight. The band is signed to Stone’d Records, the label of soul sensation Joss Stone, which was launched at Midem last year as part of the Artists Speak To Artists seminar series. Yes Sir Boss has cultivated a distinct and indefinable sound that spans brooding Balkan blues to indie rock. Over the last year, the Bristol, UK-based sixpiece has played its blend of horn-led

Tube Covers — Nunes’ fourth release — came out in 2010, while her most recent album Settle Down, released in 2012, was preceded by a campaign on US crowdfunding platform Kickstarter. Nunes hoped to raise $15,000 towards the costs of recording the songs, but ended up raising $77,800, making her effort the third most successful music project ever on Kickstarter. Nunes appearance on the Midem stage is part of a series of presentations by artists including DJ Spooky, Blink 182’s Mark Hoppus, SB.TV founder Jamal Edwards, Kellee Maize and Schiller.

Yes Sir Boss: signed to Joss Stone’s Stone’d Records

Saturday 26 Magic Mirrors - 20:00 20:30 Yes Sir Boss

Saturday 26 Salon Martha, Majestic 20:30

21:40 Asaf Avidan


22:50 Madness

hooks, offbeat rhythms, epic riffs and catchy lyrics at over 150 shows, including headline and main-stage support slots at many of the UK’s biggest festivals. The band has performed live sessions for Radio 1’s Rob Da Bank and BBC London’s Joanne Good, as well as supporting Joss Stone on the European leg of her Soul Sessions 2 Tour. Yes Sir Boss’ debut album, Desperation State, is released in the UK and will be out in the rest of Europe in February. The release will be followed by an extensive tour of Germany, Switzerland, Austria, the Netherlands and France.

Adriana di Paola Clemens Kercshbaumer Tenor

Iurii Samoilov Baritone

James Baillieu Soprano

Maria Celeng Piano

Saturday 26 Jamendo @ B.PUB Dj Danman - Electro, USA We Are Fm - Electro Rock, Netherlands Kellee Maize - Hip-Hop, USA

Austria Sound Great @ Morrison’s Irish Pub Trio Fidelio - Classical Eva K Anderson - Pop, Austria The Bandloop - Pop, Austria Stereoface - Pop, Austria

Radio Agora FM @ Ma Nolan’s Yes Sir Boss- Folk, UK



Finding a new soundscape Julian Newby speaks to conductor John Axelrod, whose Classical Rock concept came to fruition at Midem 2012


ORLD renowned conductor John Axelrod came to Midem last year, along with AD Productions, to find partners for his Classical Rock concept. “While we attracted many interested parties for our unique and artistic product, I happened to meet Bernhard Rossle at the In-akustik booth,” Axelrod told the Midem News. “I reviewed their product line and partner labels and was very impressed. Not only for their classic rock releases, but also the classical discography.   Classical Rock is intended for the audiophile and In-akustik was the perfect partner for our release needs.” What is Classical Rock? This description sums it up: ”Wagner’s Ride Of The Valkyries bangs heads with Black Sabbath’s Iron Man. Queen’s Bohemian Rhapsody, with members of the Choir Accentus and featuring star baritone Nmon Ford, begins as an old vinyl recording, opens into a modern oratorio and dissolves into Liszt’s Hungarian Rhapsody No 2.” Creator, producer and conductor Axelrod brings it all together under the name of MaestroX. “I am probably the only classical conductor in the world to have worked as a rock A&R executive, which I did for Atlantic/WEA and RCA/BMG between 1988 and 1992,” he said. “I have always had a parallel interest in rock, particularly those progressive rock bands influenced by classical music — the very bands represented on Classical Rock. We intend to produce Classical Rock volume two in the coming year, as well as tour, in between my classical engagements.” He added: “MaestroX offers me a chance to explore my passion for rock

without interrupting my classical career as John Axelrod.” Classical Rock is released by In-akustik and its partner labels in Europe. For Midem 2013 the aim is to increase the licensing of the title in other territories, particularly North America and Asia, and to secure promoters for the live show, which can be seen on the bonus DVD, released with the CD just yesterday. Axelrod said that Classical Rock is part of a long tradition. “What interested me most was to find a soundscape acoustic that could balance both classical and classic rock,” he said. “Historically, The Beatles and George Martin had already begun to advance arrangements and acoustics with classical music instruments. Phil Spector borrowed Karajan’s wall of sound, and Roy Thomas Baker in the Seventies defined the overdubbed vocal to create a choral effect. From the art rock arrangements and productions of Pink Floyd, Genesis and Yes to the operatic works of The Who and Queen to early metal leaders Led Zeppelin and Black Sabbath, classic rock was deeply influenced by classical music and opera harmonies and melodies.” But he distanced himself and his work from past attempts by others that have ended up diluting both genres. “Muzak is not our interest. The integrity of classical music is presented at the highest level of performance. The orchestral arrangements of classic rock hits are unique and musical. The sonic levels remain consistent between the two worlds.  We join in one universe. That is Classical Rock.”



Acts line up to showcase the best of Austrian talent


ORRISON’s Irish Pub is the place to check out Austrian musical talent tonight. The lineup features Trio Fidelio and their unique blend of crossover classical sounds, and Eva K Anderson. Anderson started out as a songwriter and co-wrote Ich Lebe, a huge hit for Christina Sturmer, which saw Anderson receive multiple Gold and Platinum awards. Her album Go With The Flow was released yesterday. The Bandaloop — producer Justin Case, Barca Baxant and Mike Blitz — were recently nominated as one of the five Austrian acts who will compete to represent the country in the 2013 Eurovision Song Contest. The final act of the evening is rock band Stereoface. The band, which just released its second LP, Face It, plays a mixture of psychedelic rock laced with punk and pop elements. Face It was produced by Clive Martin who has previously worked with David Byrne, Echobelly, Stereophonics and The Cure.

Eva K Anderson


Midem Classical Embassy


ONTINUING Midem’s long-held reputation of bringing the best of the world’s classical performers to Cannes, the Midem Classical Embassy is held in the Majestic hotel’s Salon Marta and offers nightly performances from new and established classical talent. The host for the evenings is James Jolly, editor-inchief of Gramophone Magazine, and presenter at BBC Radio 3. Tonight’s presentation is in partnership with the Salzburg Festival

through its Young Singer project. ‘Ambassadors’ for the event are mezzosoprano Christa Ludwig, and Alain Lanceron, director of Virgin Classics and EMI Classics, France. As joint hosts of the evening and mentors to the young singers, they will enjoy, along with the audience, performances by: Italian mezzo-soprano Adriana Di Paola; Austrian tenor Clemens Kerschbaumer; Ukranian baritone Urrii Samoilov; Hungarian soprano Maria Celeng; and British pianist James Bailleu.

In tune with you The creation of the Global Repertoire Database (an authoritative source of accurate information on musical works) is an exciting move for the music industry. Deloitte has been heavily involved in the GRD project due to our extensive data analytics and music industry expertise.

Adriana Di Paola

Clemens Kerschbaumer

You can hear all about the GRD progress at MIDEM by visiting ‘GRD, it’s started’ on Tuesday 29 January at 10.50am in Conference Room, Level 01. To find out more about Deloitte please contact Neil Allcock, or visit

© 2013 Deloitte LLP. All rights reserved.

Urrii Samoilov

Maria Celeng

Claude Nobs 1936 - 2013

Merci Claude

From your many friends at Reed MIDEM



EU directive is good news Buoyant British industry pays tribute to Midem for UK artists, says PPL


ETER Leathem, CEO of UK broadcast and public-performance collecting society PPL, is optimistic about the future of UK music rights-holders as the European Union directive for the extension of sound-recording copyright protection comes into effect later this year. In September 2011, the region’s 27 member states adopted the directive, which extends copyright protection for musical recordings to 70 years from the current 50. Under the directive, which comes into effect in November, recordings released from 1963 onwards will continue to generate royalties for artists and record labels for another 50 years. “The year 1963 is when popular music, including works by The Beatles, started to take off,” Leathem said. “If this directive had not been adopted, recordings from that year would have gone into the public domain, meaning no more payments in the EU to artists and labels.” PPL is attending Cannes as part of the British Music At Midem delegation, which has its own stand where UK artists, labels, publishers and other music organisations can meet each other and their overseas partners and counterparts. British music is a global phenomenon thanks to best-selling acts like Adele, Mumford & Sons and One Direction. The string of hits performed during the opening and closing ceremonies of the 2012 London Olympics has also focused the world’s attention on British music. The music industry’s challenge is to “continue to build IT systems to support the

growing amount of repertoire in the digital format and to develop high-quality rights and repertoire data”, Leathem added. “We need to make sure we put into place quality data, and the good management of that data, to ensure that everyone gets paid.”

PPL’s Peter Leathem


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HE BRITISH Music Partnership is out in force at Midem, as industry trade group BPI, collecting societies PRS for Music and PPL, the Music Publishers Association, independent labels’ organisation AIM and government agency UK Trade & Investment join forces under the British Music At Midem umbrella. More than 200 UK delegates have registered for Midem 2013 — representing an 8% jump from last year. And a live gig tonight by the iconic British band Madness is helping the UK to make a splash in Cannes. Sales of British singles shot up 6% to 188.6 million units in 2012 — the fifth successive annual growth, according to data gathered for the British Music Partnership. A massive 99.6% of that total were sold either as digital tracks or as part of digital bundles. Furthermore, digital album sales rose 14.8% to 30.5 million units in 2012, and audio recordings were streamed more than 3.7 billion times by UK music fans. In total, however, physical CDs continue to dominate the albums sector, with 69.4 million units sold. But, in a sign of our digital times, the number of CD albums sold dropped 19.5%. Meanwhile, the popularity of digitally downloaded albums was confirmed, with 16 titles selling more than 100,000 digital copies last year. Here is what UK industry leaders have to say about Midem’s contribution to the thriving British music scene…

Geoff Taylor, CEO, BPI: “[Midem] provides the perfect base for networking, promoting British music and identifying overseas opportunities for business growth.”

BPI’s Geoff Taylor Robert Ashcroft, CEO, PRS for Music: “PRS for Music has long been a supporter of Midem, along with all our other partners at the British Music Pavilion. We are here to share our knowledge, and promote and support UK music to the wider industry.” Stephen Navin, CEO, Music Publishers Association: “The opportunities ahead are plentiful — and Midem is the place to discover them and set them in motion.” Alison Wenham, CEO/chairman, AIM: “If you are serious about the international music business, Midem is a must.”



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Going Mad at Midem The very British band Madness has chosen a very un-British name for its new album. Is this a sign of a push towards a more international presence? Juliana Koranteng meets Chash Smash before he and the band take to the Midem stage

THE TITLE of the latest album from Midem headline act Madness, Oui Oui Si Si Ja Ja Da Da, sums up how far this very British band, known for its Eighties 2 Tone Ska-music origins and grassroots London-culture references, has come internationally. Playing live at the Midem Festival tonight, the show marks a return to the Palais by the iconic group 30 years after playing here in 1982 to promote Take It Or Leave It, a documentary about the then youthful band’s growing fame. At this year’s Midem the veteran sevenmember act, signed to the UK’s Lucky 7 Records, will be promoting its 10th studio album. It was released in Britain on October 29 and in France on November 12. Speaking to Midem News, co-founding band member, vocalist and dancer Chas Smash (real name Cathal Smyth) said that fans worldwide, especially in France and the US, are very fond of the band’s “quintessential Britishness”. They also love the working-class London roots that have shaped Madness’ image, sound and lyrics, he added.

“We have always had a cult following in France, where music fans are really into reggae, jazz and hip-hop,” he said, noting the band’s mutual affection for French fans. After Midem, Smash, front man Suggs and the rest of the band will play at Le Trianon in Paris on March 11, as part of the band’s otherwise mainly British tour. Asked about Madness’ longevity in a recorded-music business that has gone from vinyl to downloads during the group’s career, Smash said the band’s strength lies in its love of playing concerts. “FNAC is struggling, HMV has gone down, while the internet and downloads are going up. But for Madness, a large part of our strength is our live performances,” he said. “I personally don’t enjoy being in the studio but as a band we accept each other’s individual eccentricities. We’re also conscious of our music’s roots in working-class everyday life, which has run through our songs to this day. And our fans relate to how we take everyday life and blow it up to cinematic proportions.”



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New B2B music-discovery Yala offers instant access pact sounds like a success with award-winning apps


OUNTERPOINT Systems, the copyright, licensing and royalties software provider, has announced a partnership with music-discovery pioneer Moodagent. Under the deal, music companies will be able to tag their recordings with the Counterpoint necessary metadata Systems’ Amos Biegun: in order to exploit new era in them digitally using B2B music Counterpoint prodiscovery ducts — specifically Music Source Online. The new partnership will leverage technology ordinarily aimed at consumers to bring a new level of music discovery to the B2B market. “The biggest challenge our customers face is filling their systems with appropriate and accurate data to promote their music and this can be time consuming,” said Amos Biegun, CEO of Counterpoint Systems. “Moodagent makes this an automated and seamless process, leaving our clients the time and resources to do what they do best — generating sync and licensing opportunities.”

Peter Berg Steffensen, CEO of Moodagent, added: “Moodagent defined emotional music discovery in the consumer space, so we are naturally very excited to offer a Moodagent product specifically for the professional music market.” He added that, by integrating Moodagent’s emotional and sounds-like discovery on top of automatic listening samples and metadata enrichment, Counterpoint had yet again demonstrated its “strong commitment to its clients in sync and licensing”. Both Counterpoint and Moodagent are Midem veterans, which prompted the decision to announce the new partnership in Cannes. Biegun said: “Midem always provides the perfect stage for us to showcase our constantly evolving portfolio of products. The rapid changes in the industry since we started exhibiting at Midem in 1998 have demanded year-on-year innovation from Counterpoint.”


ALA Music’s streaming service has spent the last year enhancing accessibility and audience building after acquiring a catalogue and securing distribution deals with 400 artists and labels. “We have been focusing on providing access to our service across all devices, so we built 11 apps covering all types of smartphones and tablets, in addition to desktop and TV apps,” said Yala Music CEO Patrick Chassany. “As a result, Yala Music won a MEFFY Award for best entertainment and discovery app — and we also reached the milestone of a million apps downloaded. The year culminated with the launch of Yala’s key monetisation feature: the advertising-supported download, with Pepsi Yala Music’s Patrick Chassany: “a as the first brand to come on million apps downloaded” board.” Yala Music’s strategy for Midem 2013 is The coming year is going to be about monetisation and expansion, aimed at forging deeper and stronger Chassany added. “Yala’s catalogue is ex- connections between the music commupanding into international music and our nity and brands. “Brands are a key part premium service will be launched in seve- of our monetisation strategy,” Chassany ral countries, thanks to partnerships with said, adding that the company is also telcos and TV manufacturers,” he said. using Midem to spread the word about “Last but not least, we will keep working the opportunities in emerging music with artists on their digital strategy via markets, such as the Middle East and North Africa (MENA). Facebook, Twitter and YouTube.”


Featured speakers

Monday 28th January 2013

Open discussions on hot 2013 topics

11:05 – 11:45

11:45 – 11:55

14:30 – 15:00 15:00 – 15:10

11:05 - 11:45 Artists Leveraging Tech & Brands 17:10 – 18:10 How the Music Industry Manages Innovation

Highlights Discover the winners of our competitions 11:55 - 12:20 Midemlab

Jyrki Rosenberg

Robert Scoble

Lang Lang

Rémi Babinet

VP & Global Head of Entertainment, Nokia (Finland)

Startup Liaison Officer, Rackspace Hosting (USA)

Pianist (China)

Chairman & Global Creative Director, BETC, and MD, Havas (France)

Auditorium Debussy, Level 1 (Direct access from La Croisette)

15:10 – 15:30 Midem Marketing Competition

Breakfast & Networking Break 15:30 – 16:00

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17:10 – 18:10

10:30 – 11:00 Breakfast Foyer Auditorium Debussy Sponsored by

16:00 – 16:30 Networking Break

Paul Mascarenas

TJ Kang

John Hayes

Mark Hoppus

CTO, Ford (USA)

SVP Service Planning, Samsung Electronics (USA / South Korea)

EVP & CMO, American Express (USA)

Musician & Record Producer, Blink-182 (USA)

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Juke is the power behind Audioboo presents artists YouSee Musik in Denmark In Their Own Words


UKE is moving into Scandinavia with the launch of YouSee Musik, a new Danish music service powered by Juke’s streaming service. Five years ago, the TDC Group — comprised of Danish telco TDC and cable subsidiary YouSee — launched the joint music service TDC Play and YouSee Play in Denmark with technology from 24-7 Entertainment. This is claimed to be the world’s first unlimited digital music service offered to mobile and broadband subscribers at no additional cost. The business model behind the service has since been copied by other digital music services and telcos worldwide. “Today music is consumed in large doses via mobile devices, so we are thrilled that we can offer a state-of-the-art music service to our broadband and mobile customers,” Anders Blauenfeldt, senior vice-president, YouSee, said. “YouSee Musik is a very exciting new entry into the Scandinavian streaming music market for

Juke. YouSee and TDC have been ground-breaking partners of 24-7 Entertainment for many years. Together, we jointly pioneered an important change in how music is consumed, so we are excited that YouSee chose our unique Juke experience for their customers,” Frank Taubert, CEO & co-founder, 24-7 Entertainment/Juke, said.

SOCIAL sound platform Audioboo is launching In Their Own Words at Midem. The project has been designed and curated by Audioboo, to capture and share track-level commentary direct from artists — telling the story behind some of their best-known songs. The project was born out of the vacuum created by the shift from physical recorded music to digital consumption: “We’re well into the next stage of music consumption, and while streaming has been a real boon for music lovers in terms of access, to

some extent we’ve lost that connection and discovery element that came with physical product,” Audioboo partnerships director Jeff Bacon said. “With In Their Own Words and Audioboo, we’re giving artists a way to engage their fans in true social conversation and make themselves more discoverable. In turn, the content can enrich the listening experience for users of streaming services, which artists can benefit via our payment gateway, partnerships with the likes of 7Digital and branded content opportunities.”

SynchTank goes to Canada Frank Taubert, CEO and co-founder, 24-7 Entertainment/Juke

Welz takes on the majors BACK in 1996, The Orchard founder Richard Gottehrer, asked Joey Welz to bring his music and his oldie catalogues from Canadian American and Caprice International on board for worldwide distribution, both physical and digital: “Before my association with The Orchard, I hardly received any royalties at all and had a hard time staying visible, competing with the majors who

had the funds to saturate the marketplace,” Welz, one of Bill Haley’s original Comets, said. “Now, you don’t have to ship hundreds of promotional copies and can still be visible on all the internet platforms around the world. These days we sell all of our 1,000 titles on an even playing field with the majors.” Joey Welz


BACKSTAGE Productions has been appointed as exclusive agent in Canada for music-synchronisation software company SynchTank. “SynchTank could be the answer to leveling the playing field for music publishers and artists giving them the edge they need in the competitive synchronisation business, which is likely where the prime revenue will come from in the digital age,” Steve Thomson, president of Backstage Productions International, said. “Music publishers, master rights holders and artists should pay attention because it is true today that we are in a penny business, or should I say a fraction-of-a-penny business. With the recording and publishing business shrinking by 90% in many countries as consumers focus on singles, where do you turn? Of course the answer to some degree is in music synchronization, as advertisers and film and TV companies contin-

ue to seize the hit and non-hit tracks of the day to give their products and programmes a competitive edge.”

Steve Thomson, president of Backstage Productions International

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