VIP-News Premium - Vol 164 January 2014

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速

VIP NEWS >

JANUARY 2014

McGowan’s

Musings

Welcome to the first VIP News of the year,

new year conference­season kicked off

and we, and I’m sure many of you, wish her a

I hope you all had a great holiday and that

with another­sold out edition of Eurosonic/

full and speedy recovery.

you’re now in the process of setting up a

Noorderslag­in Holland. The VIP team were

successful­and happy 2014! As ever the

out in force and though the weather in

Back at home the rain still fell and everything­

Groningen­was not great – too much rain

seemed damp – but then I do live by the

and an excess of grey, the atmosphere in the

sea! But you’ll possibly be glad to know

Oosterport and in the venues and bars was

that the seagulls are up to their old tricks,

to say the least lively and spirits were high.

on my first day back in the office I heard a

Although certain territories were still feeling­

tapping at the window, oh no I thought it’s

the economic­pinch throughout­2013, many

Shitty back to annoy­me, but no, it is I think

companies and individual­s were reporting­very

(huge resounding­horror film organ chord

good and in some cases best ever results­from

goes here…) Son of Shitty! Not yet white, still

the year, entering­2014 with high expectations­

grey and mottled of feather, but somehow -

and a great deal of optimism.­A first day panel

presumably­genetically­- aware of the art of

looked at the rising international­touring­ infuriating window tapping… I see trouble figures­with the help of Pollstar and promoters­

ahead!

from the UK, Holland and Germany were very

COLOPHON > VIP-News is published by: VIP-Booking 145-157 St John Street London Ec1V 4PW Managing Director: Ronni Didriksen rd@vip-booking.com

Sorry about that diversion, but I’m aware that

from the German promoters Association

some people like to know these things… In the

the BDVA, that there had been an overall

world of the live music industry much seems

decline in the live business, this was not the

to be happening in the UK, with a new UK/US

experience of FKP Scorpio, with MD Stephan

Agency joint venture being announce­d, a UK

Thandscheit reporting a record year. As the

Conference taking itself off to New York (See

first major trade event of the year Eurosonic

stories in this issue), and Festivals falling over

is something of a barometer for the state of

themselves to announce their 2014 line ups

General Manager: Peter Briggs pb@vip-booking.com

the current and ongoing business in general

even before the Christmas turkey has been

and without taking too much for granted the

digested!

Writer and editorial: Allan McGowan am@vip-booking.com

readings seem encouraging. (See report in this

Writer: Manfred Tari mt@vip-booking.com For advertising enquiries please contact: Peter Briggs pb@vip-booking.com +44 870 755 0092

2

positive. Although there had been reports

issue.)

So, all we need now is a bit of sunshine and the future for 2014 looks bright, as ever make

On the downside Ingela, wife of Eurosonic­ sure that you let us know how things are organiser­Ruud

Berends

suffered

an

going­with your business and in your territory

unfortunate­accident in Groningen, and

in general, so….excuse me, someone seems

had to be hospitalised after falling down a

to be tapping at the window, I’ll have to go.,

metal staircase in the early hours of Saturday

in the meantime Ladies and Gentlemen – the

morning­, she is happily now back at home

News!

VIP NEWS >

JANUARY 2014

Here Come the

2014 Conferences!

Allan McGowan am@vip-booking.com

Following on from Eurosonic the next two

Then of course the 26th edition of the

ILMC is famous for each edition having a dif-

major industry events take place in Cannes,

International­Live Music Conference (ILMC)

ferent theme – this year it’s Circus,

South of France and London.

returns to the Royal Garden Hotel, Kensington,

But I’m pretty sure no animals, apart from

London from Friday March 7-Sunday March 9.

the odd promoter driven wild by the antics of

MIDEM, the longest running of all the industry­

You have to be invited to attend the leading­

Agents, will appear on the Conference floors,

events has moved back slightly this year, so

event of the live industry, but if you can get

in the corridors or the bars where the non-

maybe the sun will shine on the Croisette­ two industry figures that have previously

stop networking will take place!

in Cannes as in olden days, following­pretty

attended­to recommend you, then you are

grey weather in the past couple of years.

welcome­to register. Although ILMC proper

We’ll bring you more news on the Confer-

MIDEM will run from 1-4 February, and The

starts on Friday, Thursday sees the third edition­

ence Agenda in the next issue.

VIP team will be in attendance alongside

of the ILMC Production Meeting (IPM) and in

luminarie­s such as Marc Geiger, Global Head

the evening The ITB Showcase takes place

For full details so far go to www.ilmc.com or

of Music at William Morris Enterprises (WME)

at the Archangel while things take off at the

to register apply to registration@ilmc.com

US, Lyor Cohen – Founder 300 – US, Jean –

Royal­Garden with the IPM Closing Drinks.

Michel Jarre – Composer/Producer and now President of CISAC.

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info@in.stuttgart.de www.in.stuttgart.de

13.11.12 18:32

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VIP NEWS >

JANUARY 2014

UK and US Agencies Announce Joint Venture Allan McGowan am@vip-booking.com

In a Press Release from London and Los Angeles earlier this month

The agreement with CODA will be the second joint venture partnership­

the UK’s CODA Agency and the US based Paradigm have announced

for Paradigm, following their agreement with AM Only, a leading

the setting up of a joint venture partnership. This formalisation of a

electronic dance music agency representing such international­stars

global alliance sees Paradigm acquire a 50% stake in the company

and Grammy winning artists as David Guetta, Skrillex and Tiesto, in

CODA Agency Limited.

January 2012.

CODA Music Agency celebrated its 10th anniversary in 2012 and

Marty Diamond, Paradigm’s Head of its East Coast Music Division

has grown rapidly in recent years representing over 500 artists and

said, “We have been working closely and successfully with CODA

DJs from numerous genres. The company’s Directors are Agents Alex

for many years and share common values and a deep commitment to

Hardee, James Whitting, Marty Diamond, Rob Challice and Tom

artist development. This new partnership is the next logical step as we

Schroeder supported by Greg Bestick, Dave Hallybone and Managing

continue to carefully grow our Music Division with the artists interests

Director Claire Horseman. The company currently works with artists

always at the forefront of our planning.”

including: Bastille, Bon Iver, Disclosure, Ellie Goulding, Emeli Sande, Imagine Dragons, Jake Bugg, Rudimental, The XX, The Lumineers and

Sam Gores, Chairman and CEO of Paradigm said, “We could not be

many others.

happier to start the New Year with this partnership with CODA, a terrific­group of agents who are dedicated to growing artists careers

Paradigm is one of the entertainment industries major talent

the right way. This furthers our strategy of aligning with agencies

agencies­ , with 130 agents in Beverly Hills, New York, Nashville

around the globe that share our values and our commitment to the

and Monterey, guiding the careers of an elite roster of clients in

highest quality representation.”

motion­pictures, television, music, theatre, comedy, publishing, digital media­ , physical production, commercials and voice-overs.

VIP News spoke to Coda MD Claire Horseman and Director/Agent

Considered­a taste maker in the Music business, Paradigm represents­

Rob Challice about the new joint venture:

a wide range of highly respected artists including; Aerosmith, Black Eyed Peas, Coldplay, Dave Matthews Band, Ed Sheeran, Eli Young

Claire Horseman only took over as MD at CODA in March last year,

Band, fun., Imagine Dragons, Janelle Monae, Jason Mraz, Phish and

having previously had a successful career working for BMG and

Toby Keith amongst many others.

Columbia­.

Rob Challice, Coda Agency

4

Claire Horseman, Coda Agency

VIP NEWS >

JANUARY 2014

How did your move to Coda and into the Agency business

as an LLP, so we formed CODA Agency Ltd as the entity to complete

come about?

a 50/50 partnership.

– Horseman: Someone said to me I’ve seen a job that’s got your name written all over it! So I went in and met all the Partners. I only really

What do you think are the main strengths of the coming

knew Alex Hardee (Coda Director/Agent), we worked together on

together­of these two Agencies?

Calvin Harris’s debut album project. He was probably the only Agent

– Horseman: For a start, unlike some Agencies, the Directors are

who I worked closely with back then. I had never thought that labels­

all still Agents, Marty Diamond of Paradigm is also on the Board of

worked well, or closely enough, with Agents (except perhaps if you

CODA and it’s my job to run the business side. Both Paradigm and

were working indie/rock acts), and when marketing budgets got

CODA are very strong in an A & R sense and tip each other off when

squeezed the need for tour support always got questioned. Now it’s

they come across something of interest. The main thing is that with

much more integral, and of course live is a massive part of an artist’s

both Companies the main motivation is whatever’s right for the artist.

development and career.

The joint venture will enable the two agencies to pool their expertise and resources on a global basis.

How has it been since you took over looking after the Coda business?

I was wondering whether this deal would be exclusive enough

– Horseman: It’s been a bit of a roller-coaster ride since moving from

to stop you working with other agents in the US or will it allow

the record industry side to the live business, but it’s allowed me to

you to continue working relationships with other agents that

bring in some fresh ideas and a new approach, and the deal with

you have worked with previously?

Paradigm has certainly followed on from that.

– Rob Challice: Coda will continue sharing clients with other agencies in USA, i.e. where we book an act in Europe and they book the act

What do you think was the main reason for this deal coming

in North America. The same applies to Paradigm, where they have

together when it did?

clients they book in North America and there are other agencies

– Horseman: The two Agencies have worked together for quite a

booking the band here. We firmly believe in managers placing their

while and there is a lot of mutual respect. Following the completion

artists with the most appropriate agents in respective territories. Also,

of their deal with AM Only, Paradigm was looking for other areas in

we don’t want to go down the route of ‘making’ one of our agents

which to expand, and it seemed quite natural to approach CODA.

represent a band that they don’t believe in, that ethos remains at the

Other Companies had made approaches, but Paradigm has a very

centre of how we make decisions.

similar style and there was a lot of common ground. CODA was set up

Marty Diamond, Coda Agency

Sam Gores, Paradigm Agency

5

VIP NEWS >

JANUARY 2014

Concert-To-Go with

Simple Minds Manfred Tari mt@vip-booking.com

The’ Take Away Concert Experience’ continues.... German company

audio-merchandise­ -item will consist of recordings delivered in an

Bleeker Street Entertainment will join Simple Minds on their European­

MP3-format­and delivered on 4 gigabyte USB-sticks.

tour and provide fans with instant live recordings on USB-sticks throughout the UK act’s upcoming tour.

The ‘official bootleg’ costs 30 Euro and will be offered in the concert venues or can be bought afterwards on the web site

Every concert will be recorded, mastered and made available for

www.bleecker-street-shop.com/

purchase­by fans immediately following each show. This special

1-4 February, 2014 Palais des Festivals Cannes, France

Gain insight, make connections and accelerate business.

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Case study Rita Ora’s success with VEVO’s ‘Lift’ video platform

Get inspired

by Marc Geiger Global Head of Music – William Morris Endeavor Entertainment (USA)

Meet rising start-up stars & VCs at MidemLab

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Midem, the leading international business event for the music ecosystem.

Register now and save €100 on midem.com (Special rates for artists, students and young companies)

To exhibit, advertise or showcase your product, call Javier Lopez now on 020 7528 0086 or javier.lopez@reedmidem.com

6

MIDEM_MusicWeek_224x155_1312.indd 1

03/01/14 16:27

VIP NEWS >

JANUARY 2014

Glastonbury Festival Emerging Talent Competition Allan McGowan am@vip-booking.com

Emily Eavis, Glastonbury

Glastonbury Festival has announced the

Once entry closes, a panel of around 40 of

Last month Arcade Fire were announced as

details­of

the UK’s top online music writers will help

the first headliners for this year’s festival,

competition­ , which gives unsigned artists­ compile a longlist of 120 acts. The longlist

which will take place between 25 and 29

from the UK and Ireland the chance to

will then be whittled down to a shortlist of

June at Worthy Farm in Somerset.

compete­for a slot on one of the main stages

eight artists by judges including Glastonbury

at the festival.

organisers Michael and Emily Eavis, before

this

year’s

emerging

talent

a live final showcase in April decides the Scouting For Girls, Stornaway, Treetop

winning­ act.

Flyers­and The Subways to name a few have all taken part in previous editions of

Glastonbury co-organiser Emily Eavis said:

the competition­ . Last year’s winners Bridie

“We get very excited about new music, and

Jackson­and the Arbour played five sets at

the emerging talent competition is just a

Glastonbury last year.

brilliant­way for us to discover fresh talent.”

“Our stage bookers come down to the live

Acts will be able to enter the competition­

finals, and dozens of the acts who’ve entered

between­20

over the years have been given a slot at the

and

27

January

via

www.glastonburyfestivals.co.uk/information/

festival.”

emerging-talent-competition-performing/”

“We can’t wait to see what this year’s

festival’s website.

competition­ brings.”

7

14 - 17

januarY 2015

groningen, nl

The

European

music platform The

The

European

music platform

The

European

European

platform

platform

music

Thank you for attending

EUROSONIC NOORDERSLAG EUROSONIC NOORDERSLAG EUROSONIC WORDT GEORGANISEERD NOORDERSLAGWORDT DOOR WORDTGEORGANISEERD GEORGANISEERDDOOR DOOR

Eurosonic Noorderslag 2014

See you next year Early bird registration and act submission open May 1, 2014 Act submission closes September 1, 2014

SPONSOREN

music

Previous edition in numbers Total amount of visitors (sold out) . . . .

SPONSOREN SPONSOREN Conference visitors (sold out) . . . . . . . .

Nationalities . . . . . . . . . . . . . . . . . . . . . . . .

Acts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Number of stages @ Eurosonic . . . . . .

Number of stages @ Noorderslag . . . .

Media & journalisten . . . . . . . . . . . . . . . .

EBU radio stations . . . . . . . . . . . . . . . . . .

ETEP festivals . . . . . . . . . . . . . . . . . . . . . .

International festivals . . . . . . . . . . . . . . . .

38,500 3,275 39 337 36 11 307 30 89 419

VIP NEWS >

JANUARY 2014

> INDEPTH STORY > EUROSONIC NOORDERSLAG 2014

Eurosonic Noorderslag 2014 - Peace, Love & Business Allan McGowan am@vip-booking.com Groningen

in

January

has

become

a

Memorable moments? Stefan Lehmkuhl

it is not yet known whether this organisation

lovely­tradition. A host of players from the

from Melt Booking confessing while winning­

will install and maintain an office in Brussels,

Europea­n live music business and even from

the price of the festival line up 2013, that

the political and administrative nerve centre of

further afield, make this pilgrimage to the

he never expected to win an award for a

Europe, to continue to lobby for the benefit

famous­town in the North of the Netherlands

money­losing festival and Ivan Milivojev of

and the needs of popular music.

each year, celebrating the start of the new

Exit Festival­who sharply concluded regarding­

year with a stimulating trip involving talents,

RFID-systems for festivals “I am using it to

Eurosonic Noorderslag has reached a level

tokens and travel adventures...

make money, not to promote it!”

where many things occur simultaneously – it’s busy! It has become almost impossible to

Without any doubt, Eurosonic Noorderslag is

With the ‘beer crate sessions’ Eurosonic has

follow­up on all of the developments, notabl­e

one of the best music conventions in Europe.

created a new conference format, presenting

information or concerts during this event.

With a slight increase in concert goers and

single speakers in a cross between a lecture

Meanwhile the event continues to deliver­an

officially 25 more international delegates,

and a personal Q&A session. The informal

ongoing flow of valuable issues and encounter­s

another­sold out edition of this convention

character of these sessions actually seems to

that are essential to the present and future­of

yet again provided a fresh opening to the

work better than the more official speeches,

the European music business. With all this in

business agenda for a new year.

such as the keynote by Karel Barták from

mind, the Eurosonic Noorderslag­team once

the European Commission, who presented

again delivered an extremely well produced

There is certainly no lack of talent. As usual

Creative­Europe, the new culture support

and fruitful convention.

Eurosonic Noorderslag provided a well-

program from the EU.

chosen­bill of new artists and for the business­

There was only one real gripe which

buddies an interesting line up of keynote

Apropos Creative Europe, following the

concerned­the

RFID-payment-system

in

and panel speakers and interviewees such

demise­of the European Music Office (EMO)

the delegate bar on Saturday evening (the

as CAA’s Emma Banks, Lucy Dickens of ITB,

which was forced to file insolvency in October

Noorderslag show which concentrates on

Folkert Koopmans of FKP Scorpio, and a

2013, a group of 17 music export offices met

Dutch talent) in the main venue Oosterport­.

video message from a well known German

during the convention and agreed on to join

In reference to Ivan Milivojev’s previous

promoter at the European Festival Awards.

forces in order to fill the gap left by the closure

statement­this RFID-system needs to be

of the office. The new network will be known

improved­, as the payment-procedures took

as ‘European Music Exporters Exchange’ but

three-times longer than a beer is be tapped...

Networking at Eurosonic 2014

9

The Winners Of the European Festival Awards YES Group H&S Innovation Award Presented in association with the YES Group and ICM&SS Paleo Festival Best New Festival B.my.Lake Festival Anthem of the Year Daft Punk - Get Lucky

Jungle / 7 Royal Blood / 5 Milky Chance / 5 Sam Smith / 4 George Ezra / 4

Eurosonic Noorderslag in figures

Best Indoor Festival Metal Hammer Paradise

out): 38.500 Total visitors ESNS (sold

The Green Operations Award In association with the GO Group Way Out West

(previous year: 35.000) out): 3,2 Conference visitors (sold

Acts: 337 (304)

Newcomer of the Year In association with Eurosonic Noorderslag Imagine Dragons Artist’s Favourite European Festival Lowlands

rosonic: 36 (36) Number of stages at Eu orderslag; 11(12) Number of stages at No (404) Media & journalists: 307 ) EBU radio stations: 30 (31 ETEP festivals: 89 (78) 419 (417) International festivals:

Headliner of the Year Arctic Monkeys

The Winners of the European Border Breaker Awards 2014

Promoter Of The Year FKP Scorpio Best Small Festival FUSION Festival (Romania)

The EBBA’s celebrates European artists that have achieved cross border success with their first international release.

Best Medium-Sized Festival In association with Eventbrite Melt! Festival

Disclosure (UK), Icona Pop (SE),

Best Major Festival in association with Intelligent Venue Solutions EXIT Festival Marek Lieberberg

Jacco Gardner (NL), Envy (NO), Zedd (DE), Lukas Graham (DK), Kodaline (IE), – also won the celebrated EBBA ‘Public Choice Award’ GuGabriel (AT), Asgeir (IS) and

10

75 (3,250)

Nationalities: 39 (45)

Best European Festival Line-Up Berlin Festival

Lifetime Achievement Award Marek Lieberberg

The First ETEP-Chart 2014

Woodkid (FR).

VIP NEWS >

JANUARY 2014

> INDEPTH STORY > EUROSONIC NOORDERSLAG 2014

The Return of Barnaby Harodd to Eurosonic Noorderslag The delegates at this edition of Eurosonic Noorderslag ranged from

– I think it’s both, you know. We meet a lot of people and it’s always

RFID-providers

from New Zealand and tekkie masterminds from

good to see people that you’ve been in contact with by e-mail. I’ve

SXSW Interactive in Austin/Texas. However, VIP News picked on

seen a lot of people this weekend who I only exchanged e-mails with

Barnaby­Harodd from Mercury Wheels in Madrid and asked him

before. And that’s a very good thing, when you see someone you

about his experience of the current edition of this convention:

can look them in the eyes, you can actually relate to somebody a lot more, it’s very helpful. So, when you send the next e-mail next

What is your impression of Eurosonic Noorderslag 2014?

Tuesday­or even a few weeks later, you already have a closer bond

– It’s great, crazy madness that is my impression. It’s good crazy

with this person­because you’ve seen him, you’ve had a beer with

madness­!

him, you’ve laughed. That’s important.

Are you here for the first time?

We’ve also seen some acts we really like, so we’re looking for talents­as

– No, I came here like 10 years ago and then I stopped coming

well and we’ve made a lot of deals. So, pretty much all of it, checking­

because­early January is the only time where I can have my holidays

out talents, making business deals and seeking new partners.

and where I can turn my mobile-phone off. But now they’ve changed to a later date, I think it’s now nearly the third week, it that means I

What’s the next convention you’re heading to?

can come again. It’s changed a lot, it’s much bigger now.

– Texas, South by Southwest. Oh, actually no, the next convention is the annual meeting of the Spanish promoter association APM, that’s

Do you come more for business relations or to see bands here?

in mid February. It’s going to take place in Saragossa and there will be

– I came mainly for business; how should I put this….we’ve drafted

some new promoters I think. There I will sit down with all the Spanish

a couple of agreements. We haven’t signed anything yet, but one is

promoters, some of them are really rivals, you know, we’re fighting

about to confirm. But we have also made some deal proposals that

about bands. But when we meet and have a nice glass of whatever

we will take up again on Monday and Tuesday next week. I’m working­

then we are friends again.

with Daniel Poveda who has been doing a festival in Northern­Spain, the Vida-Festival. It is a much loved and well respected festival, it’s

Has the market in Spain got a little bit better?

been running for 10 years and in the last 3 years it’s been sold out. It

– They say it’s getting better, we had a 0,3 percent growth in the last

started as a small festival for about 1.500 people, but now Danny’s

quarter, but I still think our problem in Spain is the VAT, which went

got to move to a bigger capacity for about 10.000 people. I’m doing

up from 8 up to 21 percent.

the international booking for this festival. So one of the reasons why I’m here is to check out possibilities and availabilities for bands for the

Do you expect that APM will be able to find a way to resolve

summer season.

this tax issue?

– They’ve tried very hard, we’ve had some fairly good answers from

In terms of the economic situation in Spain these days, how is

the Government, there are couple of ministers that say that maybe

it when you are talking here to UK agents or other European

it was a bad idea to increase V.A.T. on culture tickets. APM will join

agents?

up with the cinema and the theatre people and will create a single

– We made an offer, a very big offer, I can’t say who it is, but it was

culture lobby. We will continue to raise awareness and we will show

a big act. In the end it didn’t happen because the offer from another

them how many jobs are being lost. We’ve got nearly 50 percent less

bidder was twice as much as what I was offering. I thought my offer­

tours, that’s too much for everybody. Some promoters are going out

was already a high one and when I called the agent he took the

of business; some promoters have laid people off. We pay 30 percent

phone and said “Ah, Barnaby, the guy from the other country ran out

on tax and royalty deductions, so what shall we do? Our rivals in

of money.” I think that says it all.

France are paying 11 percent. So, of course I lose tours and I lose bands. That’s more a problem for us than the actual financial crisis.

But what matters most for you, looking for talent or rather to meet the right people that can ensure a proper future for your

For more information please check www.mercurywheels.com

company?

11

VIP NEWS >

JANUARY 2014

> INDEPTH STORY > EUROSONIC NOORDERSLAG 2014

At the Bar with Robert Meijerink

Robert Meijerink – Booker at Eurosonic

12

It is one of these traditions at Eurosonic

ourselves­how we could move it up to

only the delegates, can find their way, so

Noorderslag,

Robert

another­level. How can we re-invent the

they can enjoy the program in the best way

Meijerink­towards the end of the event.

heart of Eurosonic­and try to make things

possible­. When the cancellation of a venue

Meijerink­i­s the booker of the Eurosonic

better, learn from the faults of the previous

comes so late in the game, it’s like you really

festival­and as such the most relevant talent­

year. That’s always a good position to start,

have to start all over again.

supplier or coordinator for the European

but when it comes to booking you have to

Talent­Exchange Program

deal with lots of music and you have many

When did this news reach you?

choices. Every year, in that process, it’s

– In mid September and the deadline is first

VIP News: Are you happy now?

alway­s hard to find a way; but in the end

of November. Normally we start with the EBU

– Yes, I am really happy, yes.

we do find our way. Now about the negative

(European Broadcasting Union) program first,

catching

up

with

things – we had to deal with difficult things

every EBU act was confirmed, and so we had

What have been the biggest pleasures

in the booking-process, like, the confirmed

to re-schedule every act from the Huize Maas

and what were the most unlikely things

venue Huize Maas was badly damaged by

to other venues. In the end we succeeded, we

that you experienced at this edition of

a fire last year. As a booker you look at the

managed to have the Magic Mirror and also

Eurosonic Noorderslag?

entire festival­from a helicopter perspective.

the Der AA-Kerk. That’s just a particular thing

– To answer the first question: When we

You try to give every artist the best spot that

affecting the booking-process­, this is not a

started­booking this festival, we asked

is possible and ensure that the people, not

game that you play every­year; every year

VIP NEWS >

JANUARY 2014

> INDEPTH STORY > EUROSONIC NOORDERSLAG 2014

it’s something different­ . Music first, there

developed over the last few years. I think it

wait for one year. He had a massive success

are many upcoming talents, so how you are

is important to have media on board and

with his debut-album in Iceland. I saw him

going­to book the festival, who is going to

I’m really glad that we have group media

on stage in Iceland and I thought this is really

be selected and why? When I start booking­

attending­Eurosonic, because we have so

everything an act needs in order to make the

the festival then I rely on the venues we

many acts that are investing in their careers.

next step, not only content-wise. His father,

have, and as one big venue like Huize Maas

For me as a booker it is very important to

who is a famous poet in Iceland, wrote his

is gone…wow, that was my personal biggest

have the right people at the right place,

lyrics. It’s a big story and he’s a great musi-

set-back of the year. It was really like a slap in

because­I care about the acts who come

cian backed up by his friends, maybe more

the face, it pushed me not in a wrong way, of

with a growing ambition, with a strategy, a

experienced and also great musicians. It was

course, but we had to deal with it and I think

dream, however you want to call it. Media is

a great show at Eurosonic but not everyone

we’ve found a great solution by having both

very important but not only the media, the

was aware of that fact. He played twice and

venues to accommodate the acts. No one

professionals in general, people who come

one year later he earned so much success,

was talking about the ‘Huize-Maas-Effect’,

to discover the talents and invest in them, of

John Grant from Canada translated his lyrics

so I think that is a good thing.

course. It all makes sense.

and a UK Label released a UK edition.

I only noticed today that the venue was

In the past you had concerts presented­

And he also won an award…

not in the listings for this year.

by Visions and particularly Intro in

– Yes, he did.

– Yes, I was there one week after the fire, it’s

Germany­. What happened to them?

not totally destroyed but it’s badly damaged.

– Well, we don’t want to grow bigger in terms

Would you say that the ties between

of selling more tickets. It’s almost impossible­

EBBA and ETEP are a little bit closer than

I’ve been told that Eurosonic Noorderslag­

in terms of the past years, in regards to the

before?

was sold out in fifteen minutes. Can you

conference and also the live-show cases, we

– I think it’s hard to say. I think Ásgeir is an

confirm that?

do need every single thing in order to fulfill

exception­and also a great example of how

– Yes, that’s right

the bookings. It was fine to work together in

we would love to see a development, like a

the way we did, with, for example, Visions

total unknown act who is upcoming, new, it’s

Is that normal or is it a record?

or Intro, who were always great and helpful

not about winning an award, it’s more about

– No, it’s like last year.

partners, in order to present the new acts,

the fact that he is touring as an headliner­act

but we also want to work with the media in

through so many territories around the world

Have you had problems with secondary

a more targeted situation as we did this year.

right now.

ticketing?

We think that it makes more sense. If you

– Yes, of course. I think that secondary

have an Intro night, it’s always a great night,

Are you also in contact with the festiva­l

ticketin­g is an unacceptable way to make easy

well-attended, great musicians, but at the

bookers of ETEP, do they tell you, for

money. They are not doing their job, they are

end it’s not about Intro, it’s about the artists,

example­ , that they have a certain

profiting from the efforts of someone else.

you know?

demand­for dancehall or alternative artist­s?

How was it that there was a StubHub

Looking back at the ETEP edition in 2013,

– I’­m in touch with a few of them; of course I

reception­in the Oosterpoort­?

are you pleased with the results of the

like to talk with them about their preference­s.

– I don’t know. That’s really interesting, that

Programme and the EBBA Awards? Was

There are so many festivals involved at ETEP,

is new to me, really. Secondary ticketing is

there any highlight for you, something

so many genres. It’s about there being so

a hot topic, as you know. Not only in the

that surprised you in any way?

much diversity Europe. Eurosonic is focused

Netherlands­, it’s all over Europe.

– Oh, that’s a pretty hard question. There

on pop music in general, dancehall and metal

were quite a few acts who broke through.

is always a part of it but we don’t have a rich

I’ve seen so much of a media presence

Kodaline won an award, Ásgeir played his

history in booking metal acts.

here; maybe I’m wrong but it seems far

first show outside of Iceland, and exactly one

more than previously. What does it mean

year ago he was an EBU act. He is just 18 years

What is next on the agenda?

to you in terms of productions? Do you

old and for me it is great because I discovered­

– Finishing this edition, surviving this evening­,

have a higher number of requests from

this act in Iceland and in cooperation­with the

celebrating the success. Every year a couple

media companies or is it pretty much as

radio station RAS we confirmed him as an act

of weeks after Eurosonic we sit together and

usual?

to play at Eurosonic. We discussed whether

we review what we did and then we look

– We have more requests than before, it’s

it was really the right moment or should we

ahead to the next edition.

13

VIP NEWS >

JANUARY 2014

> INDEPTH STORY > EUROSONIC NOORDERSLAG 2014

On the Move with Fabien Miclet Manfred Tari mt@vip-booking.com emerging European­acts you book, the more money you get. On top of this, we’re also striving to build a sustainable, ever-growing networ­k of venues working together and learning from each other.

We will submit an application for EU funding in March of this year.

You are probably one of the very few persons in the music­ industry­that have an idea of what is going on in the political­ cosmos of the European Parliament and the European Commission­and its related administrative bodies in Brussels.

Please let us know what is happening there that might affect the music industry...

– Well, there are many subjects on the table in Brussels that have a direct impact on the music industry. A European directive on collectiv­e rights management is being discussed at the moment. The new 20142020 cultural funding Programme, Creative Europe, has just been launched. The negotiations on the free trade agreement with the US started last year, and the European Parliament elections are going to take place in May. The composition of the new Parliament will be important­for the music sector; this institution is responsible for

Fabien Miclet

voting on a great variety of legislations, some of which have a direct impact on the music industry, in a variety of policy fields including

Fabien Miclet is one of the very few people in the music business

copyright, licensing, taxation, visas, work permits, broadcasting rules,

who has a decent awareness about what really goes on in Brussels­.

and many more subjects.

Although­ , to be accurate there is a lot going on in the political universe­of the European Parliament and the European Commission,

Creative Europe is the new culture support program by

but unfortunately very little in favour of the music business.

the European­Union. Do you see a difference between the forerunner­programme and the new one?

Till November 2013 Miclet was project manager of the European

– Yes, and I would say that progress has been achieved since the

Musi­c Office (EMO) and handled the business of the organisation

Culture Programme’ - 2007-2014. To begin with, music is now

until­it unfortunately went into administration. It has to be noted that

recognized­as an actual sector in the eyes of the EU, while it was

Miclet took over this post after the financial problems had already has

considered only as one among other components of the ‘performing

been caused. Nevertheless it was he who handled the last months of

arts’ in the last Programme. In the past, popular music projects had

this so far one and only office that until now was the one and only

to compete directly with theatre, ballet, opera and other art forms

organisation that actually undertook at least some lobbying efforts

which traditionally heavily rely on public funding and have decade­s

for popular music. And this in an political environment that is very

of experienc­e in securing subsidies. Another improvement we have

well known for mainly supporting large scale farming, financial or

triggered­is that the new Creative Europe Programme will now

chemical industries.

includ­e topics such as new business models, access to finance, and touring in its guidelines. This wouldn’t have been conceivable a few

After EMO you started working for the concert venue Ancienne­

years back, when the priority of the Culture Programme was mostly

Belgique in Brussels. What are you actually doing there?

to provide funding in support of the ‘intrinsic value’ of culture and the

– I’m currently coordinating an application for EU funding for a

preservation of cultural heritage.

very exciting project involving AB and 12 more likeminded music venue­s from all across the European continent. Our idea is to create­

Within the proposed budget for Creative Europe, 55 percent

a platform­of concert halls and clubs encouraging the circulation

of the 1.46 million Euros is dedicated to the film sector. Any

of emerging artists. It will work through a bonus system: the more

idea why the designers of Creative Europe are so crazy about

15

VIP NEWS >

JANUARY 2014

> INDEPTH STORY > EUROSONIC NOORDERSLAG 2014

supporting the film and movie industry and thereby neglecting

unbalanced. Would you recommend that in particular­the live

other creative sectors?

music sector now should launch a political campaign regarding

– It’s safe to say that the cinema industry is way ahead of most

the unfair policies of EU-burocrats and politicians?

cultura­l and creative sectors when it comes to securing EU fundin­g.

– This is a very interesting question. At the core of the cinema

In fact, before the Creative Europe Programme, the audiovisual sector­

industry’s­lobbying strategy, you find three principles: teamwork,

had its own distinct Programme, called the MEDIA Programme, which

differentiation­and visibility. Teamwork means that all branches of the

was concentrating on most of Europe’s cultural funding. All financial­

sector will speak with one voice on certain subjects (and of course,

envelopes have now been merged through the Creative Europe­ funding is one of these). Differentiation: in all aspects of the advocacy­ Programme­, but cinema is still vastly over-represented within this new

work, the film sector presents itself as substantially distinct from

system. There are various reasons explaining this ‘patronage­’ in favor

other cultural sectors, arguing the peculiarities of its value chain and

of the film industry. The first that comes to mind is that all components­

its relativ­e economic importance. And perhaps the most important

of this sector (directors, actors, authors, studios, etc.) have been

point is visibility: Often when an important subject is discussed at EU

lobbying­together in Brussels for much longer than other­cultural

level, the film sector invests in briefing movie stars and acclaimed film

players. The cinema industry holds a well-established, well-endowed­

director­s and bringing them to Brussels. And guess what: EU officials

and panoramic lobbying position in Brussels. This discrepanc­y in the

will always prefer a chat in person with Lars Von Trier, Almodovar, or

allocation of funding within the Creative Europe Programme is the

Daniel Bruhl over reading yet another policy paper on private copy

result of a 30-year old collective lobbying effort. No other cultural and

levies or cross-border licensing. Can you blame them?

creative sector has invested that much for so long in its presence in the environment of the European institutions.

There is no objective reason why popular music should be treated with less regard than the film sector. They’re equally useful soft-

The support schemes for the film sector are well developed

power­tools for Europe, they are both essential for cultural diversity

and serve exactly the needs of this industry. The needs of

and they contribute to the EU’s economy in equivalent proportions.

the music sector are to even a very far extent not so well

If the music industry manages to put together a comprehensive and

specified­and documented as thoseof the film industry. What

catchy advocacy strategy, it will achieve better results. But the sector

went wrong?

would first need to invest much more in lobbying, to start working

– Far too recently the music sector became aware of the importance

together, to believe in itself and to mobilise its artists and creators as

of advocating its case in Brussels. Besides, its lobbying effort is too

often as possible. To answer your question, yes, ambitious campaigns

disparate, torn between larger organizations focusing exclusively on

should be launched, but complaining about ‘unfair’ policies won’t

piracy and copyright, others advocating for music as a non-industrial

solve much. We need to do more in order to achieve more.

sector, and those who try to have a more streamlined impact on the industry as a whole. Another thing is the industry’s relative timidity

Since the end of December it is possible to apply for funds

regarding investment in lobbying compared to the cinema sector. A

within­the various sub-programs of Creative Europe. Within­

structure like EMO, which had a transversal approach to the issues

the previous culture program only a handful of popular

faced by the European music sector, as well as an unmatched sectorial

music­-related­projects actually received funding. The formal­

grasp of EU funding mechanisms, was shut down recently due to lack

requirements­are tough, the bureaucratic burdens even

of funding. The popular music industry needs to realise that Brussels

tougher.­Does it make sense to submit an application within

is where a large part of its future is being decided: be it for structural

such a pop-music­-hostile-environment?

funding, digital rules or trade and export regulations, many important

– I agree, these forms are quite heavy, and the requirements to

decisions are now made at EU level, not in the Member-States. I hope

become­eligible for funding are sometimes difficult to work with. But

the initiative launched last week at Eurosonic (the idea of creating a

it’s really worth it, and I see no reason why successful EU-funded

new European network of national music export offices) will go in

initiatives like ETEP or the EBBAs should be the only ones out there.

that direction.

Moreover, as I said, the new Programme is now less unfavourable to the music sector, the focus is more business-oriented and competition

16

Looking at the document ‘Commission Staff Working Paper for

is less distorted with the other performing arts sectors. Unfortunately

establishing a Creative Europe Framework Programme’ the term

EMO isn’t there anymore to help with the paperwork and to give

‘film’ is mentioned 220 times, the term ‘music’ 41 times. Digging

advice for projects, but there are specific ‘Creative Europe Desks’ in all

a bit deeper, the term ‘cinema’ 65 the term ‘concert’ 6 times. The

EU countries which are very helpful. It always makes sense to submit

document itself consists of 170 pages. With other words, this

an application as long as you have a good idea. It’s never a piece of

document even proves that the creators of Creative Europe are

cake, but if you get through, financial support can be consequent. No

obviously film enthusiasts and created a program that is very

pain, no gain…

VIP NEWS >

JANUARY 2014

Ralf Scheffler and the Rebirth Of Batschkapp Manfred Tari mt@vip-booking.com Batschkapp

untranslatable­word for a well designed guideline of health and safety settings for venues and locations.- Ed.) Planning and opening a new concert location always comes

Ralf Scheffler

along with some surprises.

– Any exciting examples that caused your astonishment?

After 37 years the well-known concert venue Batschkapp in Frankfurt

Not really - except one perhaps: the fire brigade requested an

has found a new home. It is one of these rare stories of a re-location

emergency­power supply for the smoke extractor, two very big

of a famous concert club that has existed for ages starting all over

ventilators­that start working in the case of fire and suck in smoke in

again in new location. VIP News spoke with Ralf Scheffler, boss and

the, from my point of view unlikely event, when a power black out

business mastermind of Batschkapp:

in the town district occurs by sheer chance at the same time a fire starts... A quite unlikely coincidence that would eventually only occur

What led you to re-locate Batschkapp?

in the case of war or a terror attack. However, this requirement wasn’t

– Our aim was to obtain a capacity up to 1.500 people. In fact we

to be discussed...

have been aware of the fact that extensive renovation measures were necessary to keep the ‘old’ Batschkapp in business. So we thought it

How big is the investment and are you pleased with the

is more reasonable to invest our money in a new project.

backing­by your bank and the local authorities in Frankfurt?

– The investment is around 2.7 million Euros. The real estate office of

When planning the new Batschkapp, what have your priorities

Frankfurt purchased the premises exactly for this purpose as the City

been for the new venue?

of Frankfurt was highly interested in keeping us in the city. The banks

– We wanted to obtain a better room and technical facilities for artists

actually played no role at all within this process, in fact the entire

and for the audience as well.

investment has been done completely without any support by a bank.

In particular our bank, which we worked pleasantly together with for

Have you or the architect had to consider many new obligations­

37 years, has covered itself in this regard with particular fame.

and requirements by the building authorities?

– Well, we had to consider the very well known and highly respected

For further information please check

„Versammlungsstätten Verordnung“. (A German masterpiece and

www.batschkapp.tickets.de/de

17

VIP NEWS > BUSINESS > JANUARY 2014

MUSIC IN SHARES

Music in Shares Manfred Tari mt@vip-booking.com

No exciting mind blowing news by the corporate concert companies when this newsletter went to print. Only some variations within the share price overview are to be reported: CTS Eventim passed the 40 Euro border:

Live Nation above $21

40.60 Euro for a CTS Eventim share on January 24 compared to 36.79

$19.82 for Live Nation one month ago, this time already at $21.26

Euro on December 24...

SFX Entertainment - Where has the Christmas Bonus Gone?

One Nil Less for DEAG: But also commas could make a difference on figures... 4.60 for DEAG compared to 4.19 Euro on Christmas Eve.

18

From $11.45 on Christmas Eve, down to $9.91...

VIP NEWS > MISC > JANUARY 2014

MEMBER PRESENTATION

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We advise you on what stars fit in with your concept and we offer cost-effective celebrity endorsements according to the type of event, your budget and their availability.

But our work doesn’t stop with negotiating a celebrity appearance. We also offe­r professional­advice in all legal aspects of the events industry. Examples include contract­law, non-performance or deficient performance of contracts, limited tax liability­(known as non-resident tax), sales tax, artists’ national insurance contribution­s, copyright and ancillary copyright / GEMA and GVL [German performing rights and

The AllStars Collective Territory: Europe Period: 2013 / 2014 Agency: Specific Music Agent: Paul Pacifico Phone: +442074834440 E-mail: paul@specificmusic.com Homepage: www.theallstars.co.uk

AC ANGRY Territory: Europe Period: Winter 2013 & 2014 Agency: Dr. Music Management Agent: Torsten Wohlgemuth & Miriam Guigueno Phone: +49 2331 127 46 25 E-mail: doc@dr-music-management.de Homepage: www.acangry.com

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We can, on request, see to all the logistical arrangements, such as flight and hotel­ reservations­ , transfers, security and other services associated with the usually comprehensiv­e contracts for stars and artistes.

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