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VIP NEWS
PREMIUM > VOLUME 150 > OCTOBER 2012
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VIP NEWS >
OCTOBER 2012
McGowan’s
Musings
Welcome to the 150th VIP News! – I can’t
One thing though was that it was very chilly
course to keep the Monopolies Commissions
quite believe it myself, but it’s true – shouldn’t
on a couple of nights, we’re definitely now
busy – we’re getting quite used to waiting
Manfred Tari and I be getting some sort of
into the cold weather events and I’m going
with bated breath for the outcome of these
long service medal? – Or something….
to have to watch what I pack for my trips to
considerationsin the last few years.
Paris and Tampere for MaMA and Music and Anyway – the whole of the VIP team was
Media next month…
in Hamburg last week for the Reeperbahn
industry to take on the appearance and the
Festivaland of course Reeperbahn Campus.
There’s a lot going on with the giants of the
table manners of Jabba the Hutt, (what do
It seemed to me, and others have said
industry at the moment, firstly, as expected,
you mean you’ve never seen Star Wars?….)
the same, that this year’s event raised
Universal has been given the go ahead by
there is still activity down here amongst us
the
making
the European Commission to complete it’s
humans; on the good side there is hope that
Reeperbahnan essentialdate in the industry
take over of the EMI record company. But
as the Live Music Bill comes into effect many
calendar. See the report in this issue.
there are conditions; Universal, the record
new venues will come into operation at the
companythat puts the major in majority of
start up end of the business (see article in this
the business, will have to hive off some of
issue) whilst on the bad side the effects of
its own assets and EMI labels and catalogues
a torrid season for UK festivals have claimed
such as Parlophone, Chrysalis and Mute -
two more victims. Vince Power’s Music Festi-
they do get to keep The Beatles and Robbie
vals Ltd, Hop Farm and Benicassim, has called
Williams – just to keep them going of course!
in the administrators, as has the 21-year-old
Just to assure us that we shouldn’t be scared
family friendly event Guilfest.
standardquite
noticeably,
COLOPHON > VIP-News is published by: VIP-Booking 145-157 St John Street London Ec1V 4PW
that the giants will swallow us all up, the EC
Managing Director: Ronni Didriksen rd@vip-booking.com General Manager: Peter Briggs pb@vip-booking.com Writer and editorial: Allan McGowan am@vip-booking.com Writer: Manfred Tari mt@vip-booking.com For advertising enquiries please contact: Peter Briggs pb@vip-booking.com +44 870 755 0092
2
However – while we’re waiting for the music
said in a statement:
It seems that even Vince’s previous Midas
“The very significant commitments proposed
touch has not been enough to combat the
by Universal will ensure that competition
pressures on festivals. It’s also a shame to
in the music industry is preserved and that
see Tony Scott’s event go – I once spent an
Europeanconsumers continue to enjoy all its
overawed half hour at a backstage table at
benefits.”
Guilfestwith Eric Clapton and Peter Green, not to forget Arthur Brown. I’ve got the
Another colossus, Mr. Philip Anschutz has
photos somewhere to prove it and my son
decided to put AEG, the second biggest
recently rediscovered the napkin bearing
concertpromoter in the world, and owner
the autographs of the two great guitarists
of a huge string of sporting and music ven-
(probablyworth a fortune by now!)
ues plus other things, up for sale, we now have to see who’s got the odd 6 or 7 billion
So – as they say in China – we live in
to spare to become the owner of such units
interestingtimes! Ladies and Gentlemen –
as AEG Live and the O2 venues – and of
The News!
VIP NEWS >
OCTOBER 2012
UK Music Researches Impact of Live Music Act Allan McGowan am@vip-booking.com On Friday 21st September UK Music unveiled new research into the potential impact of the Live Music Act 2012. Passed as an Act of
“I am delighted that
Parliamentin March 2012, the Live Music Act will see the deregulation of live performance
early indications show
in venues of no more than 200 people.
it will energisetens of UK
Music,
commissioned
ResearchGroup
at
the
The
Market
University
thousandsof new live
of
music performances,
Bournemouthto survey 1000 premises to consider the potential impact of the Act. The research indicates that despite 2.4 million
Ed Vaizey
exactlyas we hoped.”
live music performances taking place in the 12 months that immediately preceded the
Small venueswill no longer have to apply to
everythingfrom the state of the economy
survey, the UK appetite for live music is still
their local authorityto stage live music. The
to noise restrictions. In fact throughout
not satisfied.
Act will mean that the staging of live music
the country several venues have closed
will be cheaperand easier for venues up and
down in the last year, hopefully the Act will
According to the findings, the Live Music down the country. UK Music has committed
have a beneficial effect, but the increased
Act could lead to an additional 13,000
to workingwith the Musicians’ Union on an
competition from pubs who may not charge
venues staging live music in their premises
awareness campaign for venues and artists to
on the door, aiming to cover costs from
for the first time, and a further 23,000
ensure that the Act has the biggest impact. We
increasedbar sales, may be too much for
venues increasing their current provision of
also look forward to working with Government
those non pub venues who also need door
live music. In total it is possible that 36,000
on the implementation of the Act.”
take to stay solvent.
premises will stage more live music once the Act comes into force than they have in the
Ed
Culture,
As Dominique Czopor of the independent
last 12 months.
Communications & the Creative Industries,
promoters and venues association We: Live
DCMS, says:
and owner of the 250 capacity Boiler Room
The research showed that more than half
“The Live Music Act is a thoroughly welcome
in Guildford told IQ Magazine as far back as
(51%) of small venues in England and Wales
piece of legislation. It had my full support and
the summer of 2011:
currently hold a licence from their local
that of Government as it became law and we
“Creatively the UK is at the forefront of music.
authority to stage live music. However 78%
are now committed to seeing it implemented
We have so many amazing bands that play,
of all small premises surveyed were unaware
quickly and efficiently. New legislation should
but because the market is so saturated it puts
of the passing of the Live Music Act. The
be scrutinised and initiatives like this UK
pressure on the venues. And because pubs
researc h has indicated that there must be
Musicresearch will help Government assess
now put on so much music, it’s taken away
an education process to unlock the Act’s full
its impact.
the mystique of going to a venue. At the entry
Vaizey,
Minister
for
potential.
level there are more places staginglive music However, much as this all sounds like good
than ever but fewer dedicated musicvenues.”
Jo Dipple, Chief Executive of UK Music said:
news for aspiring musicians to develop
“The results of this baseline research are very
their acts and to start building a fan base
Well, let’s hope that things develop as well as
exciting. The Act, as we had hoped, has a
get their first foot on the ladder to success,
UK Music and the Government optimistically
potentially huge impact on the live music
not everyon e will necessarily welcome all
predict – it’s possible, but it will definitely be a
scene. The purpose of this legislation is to
this new potential. Many existing dedicated
case of ‘Watch this Space’ for some time yet.
encourage more live music performances.
live venues are having their problems with
3
VIP NEWS >
OCTOBER 2012
Finland Pursues International Growth in the Music Sector
Tuomo Tähtinen
Allan McGowan am@vip-booking.com Finland’s Minister for European Affairs and
show that it’s able to cope with the major
Monroe have led the way for many acts
Foreign Trade, Mr. Alexander Stubb, visited
ongoingchanges. I’m looking forward to
not only from Finland but also from other
London on Thursday 20 September, aiming
beingable to help music companies to find
countries . Nowadays, however, there are
to boost partnerships between the Finnish
new partners and expand their business.”
numerousindie bands getting their feet
and British music scenes. The trip, aimed at
The Ministerial visit is part of the Music
on the ground internationally and acts like
accelerating growth in Finland’s blossoming
FinlandUK initiative for 2012-13. The venture
Phantomhave created quite a buzz in the
music sector, was organised by the new
aims to boost music exports and raise the
UK due to being blogged about by The XX.
national export organisation, Music Finland,
profile of Finnish music in the UK and other
The biggest growth business-wise, however,
along with the Ministry for Foreign Affairs
target markets influenced by it. The project
comes from the songwriting sector of the
and the Finnish Embassy in London.
is being co-funded by several government
industry. Just to mention one writer, Teemu
ministries, the Finnish Performing Music
Brunila just recently became the first Finnish
Tuomo Tähtinen, Executive Director of
PromotionCentre (ESEK) and the Foundation
songwriter on a Billboard #1 album in the US.
Music Finland commented:
for the Promotion of Finnish Music (LUSES).
He has also written songs for Pixie Lott and
“Finnish artists have gained a strong foothold
4
JLS and made it to the UK album chart #2,
in international markets and there’s strong
Finland’s music sector is investing about
demand for our songwriters and composers.
a millioneuros annually in the UK market
Another thing is the music-related tech
Minister Stubb’s trip is the first of its kind
duringthe two-year project. Finnish firms
companieslike Mobile Backstage. This is
for our music industry, and we’re eagerl y
and their British partners will benefit from
something we’ve been working on a lot
awaitingconcrete results from it. We’re
the state input, including tour and marketing
lately . In music, tech-startups are creating
lookingfor new business opportunities
support. In market value surveys conducted
new ways to make money and we are
with British partners as we meet the global
by Music Finland, companies engaged in
pushingthem heavily, too.
economicchallenges. Britain is our most
exportingmusic have on numerous occasions
important export market, and our investment
indicated that with German-speaking Europe
If we look at our UK operations this year only,
will benefit both the Finnish and local actors.
and the Nordic region their most important
Finland is investing close to a million euros in
Finland believes firmly in opportunities for
export market is the UK. For this reason
actions towards the UK market out of which
growth in music and other creative sectors.”
Finnishmusic companiestarget the UK (the
about a half comes from music companies
focus market in 2012-2013). The objective
themselves and the rest from the Ministry
Along with a delegation of some 20 Finnish
is to increase the export volumes of Finnish
of Employment and the Economy and the
music professionals, Stubb met with executives
music and to promote the visibility of Finnish
Ministry of Education and Culture. Finnish
at BBC Radio 1 and 3, the Universal Music
music in the UK and other target markets,
companies and their partners in the UK can
Group and Serious, a producer of live jazz,
which are influencedby the British market.
benefit from the funding through subsidised
international and contemporary music. The
The aim is to create growth within the
marketing and promotion, as well as touring
visitors also met a broad selection of UK music
businessand to generate new business to
and other live productions, to mention a
professionals and media figures at a reception.
both directions.
few.”
The Finnish delegation represented an array of
musical styles and industry segments.
Project Manager Riku Salomaa told VIP
For more information contact:
News:
Riku Salomaa Project Manager,
Prior to the event Minister Stubb said:
“Finland is known for its classical, jazz and
UK Music Finland
“The Finnish music sector is currently going
- especially - its metal music. Bands like
Riku.Salomaa@musicfinland.fi
from strength to strength. Its success stories
Nightwish, Children of Bodom and Michael
Phone: +358 40 705 2606
January 26-29th, 2013 Palais des Festivals Cannes / FranCe
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VIP NEWS >
OCTOBER 2012
Reeperbahn Festival ’12 Allan McGowan am@vip-booking.com
This year’s sold out 3 day Reeperbahn Festival 2012 outperformed last year’s successful event presenting a programme of more than 350 events over 60 locations, attracting 25.000 visitors. 290 German and international musicians performed in the clubs
Reeperbahn Festival Arts presented more than 40 events including
around Hamburg’s Reeperbahn to audiences of fans and industry
visual arts, poetry slam, digital arts and film - twice the amount of
representatives. For the first time the Festival also featured classical
last year’s event.
music. Seven broadcasting trucks from the Norddeutsche Rundfunk (NDR) 22 international Showcases took place at this year’s festival, including
recorded 40 concerts for German television. An additional 80 shows
presentations from Luxembourg, Estonia, Lithuania, Portugal, Singa-
were recorded for national and pan-European radio broadcasting.
pore and Taiwan. For the second time the Canadian Music Association (CIMA) presented acts from the Canadian music scene at Hörsaal.
Alexander Schulz, Head of Reeperbahn Festival, was understandably
Over two days bands played the well-visited club. Stuart Johnston,
pleased: “Reeperbahn Festival was sold out, despite the increase in
President of the CIMA commented:
capacity. It was a unique atmosphere, where the love for music and
“The Reeperbahn Festival is one of the key entry ways not only into
art brought together artists, visitors and delegates. For the latter
the German music market. Canada has an infusion of different music
Reeperbahn Festival is one of the most important market places in
styles and this festival is a perfect opportunity to show them all to an
Europe.”
engaged crowd of fans and representatives.”
Tickets for Reeperbahn Festival 2013 are now available for a limited time with an Early Bird-price here: kj.de/tickets.html?artist=2334&event=10560
Reeperbahn by night. Photo: Matias Boem
6
The place to be – Spielbudenplatz, Hamburg
For the second time the Canadian Music Association, CIMA, presented acts from the Canadian music scene at Hörsaal
VIP NEWS >
OCTOBER 2012
Reeperbahn Campus ‘12 Allan McGowan am@vip-booking.com
Mark Sutherland - Journalist, Bernd Dopp -Chairman & CEO Warner Music Central & Eastern Europe, Detlef Schwarte - Head of Reeperbahn Festival Campus, Lyor Cohen - CEO, Recorded Music, Warner Music Group, USA. Foto: Katja Ruge, Reeperbahn Campus
The Conference part of Reeperbahn Festival had to do some quick re-
Detlef Schwarte , Head of Reeperbahn Festival Campus gave VIP
organisation when let down over the availability of two main rooms,
News the facts concerning the Campus:
however although the large tented Conference area was somewhat beset by wind and construction industry noise (the sort of
A total of 2.494 professionals attended the Reeperbahn
sounds adopted by certain bands in Germany as
Festival Campus: 2.124 delegates (up 600 on last
music in the not so distant past!) all meetings
year) and 370 media representatives (same as
were successful and well attended. Your’s
2011).
truly was happy to chair several of
Detlef summed up by saying:
these being particularly entertained
”Wow, so now it’s over for 2012!
by a session on the wonders of the German Market – who say’s the Germans don’t have a sense of humour!
Reeperbahn Festival Campus says a big thank you to all who attended. We are very happy everythingworked out so well and we’re impressed
34 nations were represented with the largest delegations coming from Denmark, UK, Netherlands, Switzerland, Canada.
with the love and smart ideas that every one of our 150 partner organizations and companies brought to the Campus. We hope everybody took home some great memories and a lot of inspirationfrom Hamburg.”
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VIP NEWS >
OCTOBER 2012
More comments on Reeperbahn Festival 2012 Bernd Dopp, Chairman and CEO, Warner Music Central & Eastern Europe: “Reeperbahn Festival is developing terrifically and is THE get-together for the German musicindustry, musically and regarding international attendance.” Carsten Schumacher, journalist, Intro/ Festivalguide: “Reeperbahn Festival has lined up some of Germany’s most beautiful taverns like a string of pearls and this alone would be enough to
Peter Jenner:
Carlo Schneider:
fall in love. And on top of this also focuses on
“The Reeperbahn Festival is a place to think
“It is a really really nice mixture of network-
the important things: music and the relaxed
about the future of the music in a place
ing, workshops, panels and also seeing the
conversation about music. Only fools would
which is the history of music...”
artists.”
stay at home!” Claudio Trotta: Barley Arts - Italian Promoter: “In a very short time you can meet a lot of different people from all over the world doing different work, all in the big family of music entertainment”
Jens Michow: President – BDV (German Ben
Challis:
Lawyer
-
Glastonbury
Festival/ Founder - A Greener Festival:
Promoters Association): “It is the place to be!”
“Lots of great bands, lots of great music and lots of great creative diversity...”
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8
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04.10.–07.10.
VIP NEWS >
OCTOBER 2012
Reeperbahn Campus – Diversity at Risk? Allan McGowan am@vip-booking.com
The theme of this year’s Reeperbahn Campus was “Diversity at Risk”.
For example, in the 80s I spotted the heavy metal music potential and imported the ‘Monsters of Rock’ festival. Later, in the 90s I dreamed of setting up a big festival in the style of Reading, or Rock Am Ring,
With the steady and seemingly inexorable rise
and - maybe in a period when Italy was not ready for it - I created
of corporatisation(see comments in McGowan’s
‘Sonoria’. I still put myself on the line and take risks to turn my visions
Musingsin this edition) in the music industry, with
into reality.
a particular incursion into the live sector, is there
On Barley Arts’ roster there is always room for shows which are very
still room for the individuality and the inspiration
different from one another, such as, AC/DC and Kris Kristofferson,
that createdthe business? There were two keynote
Bruce Springsteen and LMFAO, the Queen musical ‘We Will Rock You’
speeches on this topic, one from UK lawyer Ben
and family shows like ‘Walking With Dinosaurs’, a music festival like
Challis, and one from leading independent Italian
‘10 Giorni Suonati’ a sort of ‘boutique event’ created by us, based
promoter, and well-known figure at events like the
on quality and sustainability, as well as international ‘edutainment’ exhibitions, and Italian rap and indie rock gigs. That’s because I’ve
ILMC, Claudio Trotta MD of Barley Arts. We may refer
always thought that diversity enriches human beings. Moreover, as
to Ben’s speech in a future issue, but for now, with
Freddie Mercury would say, “Whatever you do, do it with style”.
his permission of course, we publish Claudio’s speech:
That’s a good point, too. The theme of the speech I’ve been asked to deliver is actually a subject
Thanks for inviting me to this important conference, which is so rich
that concerns me greatly, the standardization, the globalisation ,
in its contents and potentialities, and thanks also for choosing me for
the consolidation of a few big players in the worlds of music and
this keynote speech. I guess this choice might be due to my proverbial
entertainment, media and communication. This is something that
attitude, which is to say what I think at all costs, with no limits or fear
has been colliding on a daily basis for many years, with people like
of any kind, which sometimes gets me into trouble!...
me who love the ‘old role’ of the entrepreneur, ‘armed’ only by the awareness of his idealistic folly, thinking he can do something which is
But seriously, I believe the choice has to do with my professional
useful not only to himself, to his own company, to his employees and
historywhich has been based for almost 35 years on my work in the
to their families, but also to the society he lives in and to the historic
music business and which has expanded in recent years also in the
period where he belongs.
entertainment business. Maybe some undertakings have not been
10
immediatelysuccessful, commercially speaking, but I have always
And in order to make you understand my thoughts more clearly I’d like
carried on with passion, courage, boldness and a keen vision of the
you to hear two quotes from Luigi Einaudi (1874 - 1961), economist,
future.
journalist, politician and 2nd President of the Italian Republic.
VIP NEWS >
OCTOBER 2012
- The plant of competition doesn’t come on its own and it doesn’t
The cons ... are the loss of cultural identity, the phenomenon of
grow by itself, it’s not an ancient tree that cannot be shaken by the
standardizationwhich causes damage to each one of us, the various
raging storm, it is a delicate shrub that must be protected with care
different‘cultures’ that merge into a single and often impersonal
from the diseases of selfishness and of particular greedy interests and
‘mix’ ... too often we listen to Italian, French or Swedish songs which
which must carefully be supported against the dangers that threaten
are so terribly similar to other Anglo-American ones.
it from any side within the economic sphere. (Taken from: “Economics of competition and historical capitalism”, June 1942, page 65).
I read an interesting study by Francesco Podestà about Globalization, which I embrace as a whole. He distinguishes between passive and
- Thousands, millions of people work, produce and save no matter
active globalization.
what we can invent to bother them, to obstruct and discourage them. It is their natural bent that drives them, not just for profit reasons.
1. Passive is what comes out of - for example - increasing division
The pleasure, the pride of seeing your company flourish, gain credit,
into genres, sub-genres and microgenres of music: commercial/alter-
be an inspiration and be trusted by an ever wider clientele, expand
native, classical/easy listening, pop/rock and so on. It tends to become
its facilities, are a mainspring for progress which is as powerful as the
a mental limit we might not be aware of, as it happens in our life
pure profit itself. If it wasn’t so it would be hard to explain why there
where we are used to think in terms of right/wrong, left/right, black/
are entrepreneurs who dedicate all their energies and invest all their
white. Globalisation is seen as a threat to our personal individuality.
money in their own company to end up, quite often, with an income
In this case, we are moving towards a confusing musical listening
which is far more modest than what they could safely and comfortably
experience.
have gained elsewhere. (Taken from: Dogliani, “Dedicationto the company of the Guerrino Brothers”, 15th September 1960).
2. Active globalisation is the result of an experience of curiosity. A simple and basic need for musical knowledge leads towards research
From these comments it’s quite evident that my thought is not so
and learning. We make a voluntary effort and tend to extend our
strange, weird or crazy after all...
musical culture. The globalisation is lived as an expansion of our own individuality. In this case, we are moving towards a music experience
But let’s take a step back to our recent past and define the concept
awareness.
of music globalization. These two opposite forces that lead us to passive or active We are all used to listening to American songs, to English songs, to
globalisationhave a huge influence not only on what we listen, but
Spanish ones, or to songs in any language. The pros of this fact are
also on how, where, when and why we listen to music. Of course
the personal enrichment of our own culture and to other people’s
the same force does not always affect us, but while the first one is
cultureproviding, through its anthropological meaning, a daily
automatic, the second one requires an effort on our part. So it’s up
balance, as the ‘language’ of our biological time, as the days which
to us to side with one or the other. Choosing to do it one way or
are spent all in pretty much the same way, yet all being different one
another is what creates the different idea of a company of people,
from the other.
of business companies, of groups of individuals who work today in the Music Business and Entertainment, and of the artists and the
Another pro is the widening of the horizons, the contamination
audience which is also a primary active element rather than a passive
of genres, the removal of those barriers between a ‘cultured’ person
one and which has wider opportunities nowadays since the British
and an ‘over cultured’ one, between ‘light’ and ‘serious’, between
computer scientist Tim Berners– Lee invented the Internet together
pop and classical.
with Robert Caillau.
11
VIP NEWS >
OCTOBER 2012
Globalisation also allows some extraordinary opportunities, I mention
music, but always with the same focus to deliver not just sounds of
briefly two among the many: Firstly, Music Crowdfunding: the case
world music but Experiences of the world in music. Bishop said the
of Amanda Palmer.
aesthetic of the label is actually ‘un – existing’: no ‘world’, ‘ethnic’,
Amanda Palmer used to sing with NY band Dresden Dolls, signed
‘alternative’, no ‘labelled’ music.
by Roadrunner label, part of Warner Music Group. Now she’s unsignedand manages her career by herself. Recently she launched a
Let’s listen to Alan Bishop’s words
subscription, via Kickstarter platform, asking her fan base to finance
“MANY PEOPLE ASK US WHAT OUR AESTHETIC IS, BUT THE ANSWER
her oncoming music project, with a minimum subscription of 5 dollars
IS ALWAYS THE SAME: WE KNOW IT WHEN WE HEAR IT”
that includes a free digital download of the deluxe version of the album. Her goal was a budget of 100.000 dollars. She reached 1 million dollars, offered by 20.474 subscribers. 10 times more than
“WE EDUCATE NATURALLY PEOPLE WHO ARE WILLING TO LISTEN, BUT AS A LABEL THIS IS AN UNCONSCIOUS FOCUS”
what she expected. She said the total budget will support not only the recording of the album but also a benefit project that her investors
“SURE WE HAVE SPECIFICS THAT WE GRAVITATE TOWARSDS: 1960s
may like.
MUSIC; RAW, EXPRESSIVE AND UNFILTERED SOUND; A FOCUS OF NORTH AFRICA, THE MIDDLE EAST AND SOUTH EAST ASIA...WE
Another interesting contemporary experience is the case of the
HAVE SO MANY INTERESTS! “
SublimeFrequencies record label, from Seattle, a label founded by Alan Bishop that started publishing recorded documents of street
“I have my recorder wherever I go and am always looking and
musiciansand radio stations of far-off lands like Sumatra or Bali,
listeningfor something to capture in sound. Almost all of my favourite
mostly recorded many years before the label was even a thought.
momentscome from random encounters that I would have never
So proper ‘world music’, quite different from the polished versions
predicted. Persistence and patience are essential to these processes.”
you usually find near the cash register of a coffee shop... Then in 2007 Sublime Frequencies published the domestic tracks of a Syrian
12
musician, Omar Souleyman, then the album from a Saharan guitar
These world music records have migrated from the shelves of the
band called Group Doueh, that is, contemporary, active, Touring
specialistshops to enter the big media stores. Is there any connection
artists, expanding the label’s focus from archival to contemporary
between this and the removal of the borders, which can be seen
VIP NEWS >
OCTOBER 2012
todayin the globalised world? Has a new awareness aroused within
differentsensitivities but who share a unique individual and common
the public?
desire: to express themselves through their work, their identity, their ability to produce and promote new models which may have
Popular music has undergone a conceptual evolution, which has
their own dimension and their own economic, social and ecological
transformed it into ‘world music’, and this latter role fully fits the
support. It’s a new renaissance for the entertainment, concert, and
culture of the globalised record company industry. This gives birth
festival business, which has a global wider attention at 360 degrees
to a few concepts such as ethnic music hybridisation, ethnic music
focusing on the quality, diversity and richness of the offer.
patchwork, global music, global music city, a widespread ethnicity. The aim was to apply the analytical tools of globalisation to a field
No power-concentration into the hands of a few shall prevent us from
of cultural production, ethnic music, which is a particularly rich and
continuing to express ourselves and in such a fragmented society, so
stimulating crossroads of meanings.
insecure and uncertain about the social models to follow and look
We should not be afraid of globalisation, we should carry on with
up to, there are - paradoxically - more offers and possibilities. Today
professionalism, creativity, courage, efficiency. This seems to me - and
there are many more openings and less cultural homologations than
luckily to many other players in the world - the recipe to positively and
for examplein the 80s and 90s.The age of ‘Video Music’ is finally
actively apply those processes of change within the society we live
dead, the divisions between the musical genres, the style and the
in, processes which obviously don’t only involve our much beloved
productionand organizational possibilities are definitely broken. But
‘entertainment family’ but also society as a whole, our present, our
it takes initiative, resolution, originality, and the will to study,
future, and especially future generations.
to know and understand the various niches, as well as the ability to expand and highlight them. - We can make it!
How is it possible to compete in our live entertainment business with giants such as Live Nation, Universal, Viacom, and AEG and to take up the opportunities of globalisation? There are relations and trade
Claudio’s speech concluded with Jimmy Cliff singing,
between independent people around the world who might have
“You Can Get it if You Really Want it.”
13
VIP NEWS >
OCTOBER 2012
MaMA ’12 – Paris Allan McGowan am@vip-booking.com
Pink Floyd’s Nick Mason to be Interviewed at MaMA ’12 – Paris For the third edition of the MaMA Event to take place in Paris on October 25/26, the organisers are proud to announce that this year’s ‘Career Review’ will feature Nick Mason, drummer and founder of Pink Floyd. In ‘Retracing the Steps’ Mason will ponder on the stresses and strains of rock’n’roll superstardom - how to keep your head when all around you others are losing theirs, weird scenes in the life of a band, and the differences between now and back then, with possiblesuggestions for new bands starting out today. Interviewed
Pooling actions within a professional music network presented by
by Chairmanof MusicMetric, Jeremy Silver, Mason will also touch on
MAP.
his role as Co-Chair of the Featured Artists Coalition, discussing what
the organisation does and why it’s important. ‘Retracing the Steps’ is
The transformation of cultural and artistic professions: How to adapt
scheduled for Friday October 26, from 16.30 - 17.30
pedagogies and training methods? presented by: Le Centre Musical
Barbara Fleury-Goutte d’Or - Main d’oeuvres - Réseau Ressource.
This edition has also confirmed 120 Speakers for its main Conference
With the participation of Trempolino.
Programme. For full details go to www.mama-event.com
Partners’ workshops:
The programme will also feature the following debates co-or-
Everything you always wanted to know about technologies to boost
ganised by MaMA & its partners:
your event community presented by Greencopper.
Festivals: Health & safety, standard agreement, cashless payment...
What’s new? Presented by MaMA & Yourope
Website Demolition Derby presented by DBTH & Bandzoogle.
Venues for today’s music in Europe: an overview presented by MaMA
LIVE IN MONTMARTRE:
& CNV.
From 6 to 8 pm, there will be an eclectic and quality line-up of artistsperforming “Live In Montmartre”. Each act will play 2 sets
Music Business models: What are the main differences? Presented by
in 10 unusualplaces, such pubs, art galleries, theatres in Pigalle/
MaMA & SMA
Montmartre. Venues include La Midinette, Pub Montmartre - Chez
Clint, Galerie W, Le Saint-Jean, Théâtre de l’Atalante, Café La Cigale,
MaMA Partners’ will present the following conferences:
Le Bel Air, Au Petit.
UK market insights – Ideas and tips from UK professionals presented by PRS for Music.
14
VIP NEWS >
OCTOBER 2012
> INDEPTH STORY > GEMA
Anti-GEMA-Protests in Germany Manfred Tari mt@vip-booking.com
The new rates proposed by GEMA for the usage of music in bars, clubs & discotheques, which also apply to other live events such as
Monika Bestle
fairs featuring shooting contests or carnival events, have provoked a huge spate of objections. The new rates are intended to come into force from April 2013 onwards. The first version lists two new tariffs: U-V for events with live music by musicians and M-V for events with recorded music. Originally both tariffs foresaw a 10 percent fee on all income gained through entrance fees, sponsorship fees, donations and advertisementfees. The copyright collection society furthermore requested a surcharge for events lasting longer than five hours, for which an additional 50
But to understand why GEMA is now attracting such flack, one must
percent levy for every additional three hours was to be charged. The
also take into account Page 285 of a 2008 parliamentarian enquiry
tariffs also include significantly higher rates for free entry events,
report “Culture in Germany”. This stated that GEMA should alter
charging a minimum fee of 2.20 Euro for a room of 100 square
and improve its modus operandi by instituting a fairer distribution of
metersfor every five minutes of music played.
royalties, and acting in a more democratic and transparent manner. Furthermore the enquiry report recommended that the German
The new tariff only made allowance for a derisory 10 percent
governmentshould improve the supervisory mechanism of GEMA by
discountfor charity events. These rates have been published in the
instituting an official regulatory authority.
“Bundesanzeiger”, an official Ministry for Justice publication on April 13.
The report has not yet lead to significant improvements. However, in May 2009 Monika Bestle, a small concert promoter from Southern
Those new rates would have meant that most professional
Germany, independently launched an official petition which gained
promoters, particularly as a result of the additional time surcharges
more than 106.000 signatures by July 2009, asking the German
would have had to cope with rates increases of up to 1.000 percent
Governmentfor the reformation of GEMA citing similar complaints to
and more. In the past the German association for gastronomy and
those filed in the enquiry report.
hotels (DEHOGA) has been the main tariff partner for GEMA, but in this case protested the new rates and stopped negotiations with
Since the newly proposed rates became public in Spring 2012, the
GEMA.
criticism of GEMA reached a new high. Hackers have attacked the GEMA-server, there have been uncountable numbers of media reports
Shortly after the new rates became public, GEMA found themselves
on TV, Radio, and in Newspapers and social media platforms that have
confronted with a massive media and political campaign arranged
increased the pressure on GEMA. Even demonstrations have been
by DEHOGA. Prior to this, GEMA had already been heavily criticised
organized, the first in July, and the latest on September 6 otherswere
for charging Kindergardens for the copying of sheet music on behalf
staged simultaneously, attracting 2.500 protesters in Berlin, 4.000 in
of the VG Musikedition, a copyright collection society for sheet
Frankfurt, 1.000 in Leipzig and Nuremberg, 1.800 in Munich, and a
music. Another example contributing to ongoing negative PR is the
few hundred in Hamburg. In the light of this ongoingnegative media
undiscloseddeal between Youtube and GEMA. Currently instead
coverage an internal GEMA memo referring to the demonstrations
of screening music videos on its German platform Youtube often
addressed to members caused further public irritation, by stating that:
displayaa notice stating saying that certain videos are not available as
“Legal action by GEMA is however - even if many of the organizers
GEMA had not granted the required music rights.
worked with false and polemical assertions –not possible due to the constitutionally guaranteed right of assembly. ” The member’s
16
VIP NEWS >
OCTOBER 2012
> INDEPTH STORY > GEMA
newsletterwas sent out before the demonstrations took place being instantly picked up on by journalists via social networks. At many of these demonstrations regional and local politicians also took part as speakers. But even more remarkable is the fact that meanwhilefive regional governments filed parliamentarian documentsconcerning the new GEMA rates. One of the first was Mecklenburg West Pomeriana, followed by Bavaria, Brandenburg, Thuringia and just recently Hessen. It is interesting to note that almost every party files parliamentarian papers recommending that measures be undertaken to stop GEMA
Marek Lieberberg
introducingthe new tariff scheme. Many of these printed papers appeal to the arbitration court of the German office for patents and brands (DPMA), asking the court for a fair appraisal of tariffs
system of collective rights management by an “economic society”
appropriatefor GEMA and those liable to pay the new rates. GEMA
and for the strengthening of the supervisory function of the DPMA.
approached the DPMA arbitration court directly after DEHOGA Meanwhile, unsurprisingly, the public debate is also heating up in the
refusedto negotiate with the society.
German music industry. In an interview, Marek Lieberberg one of the However, some of these papers go even further. The SPD and the
biggest promoters in Germany, as did many others, sharply criticised
Green Party in Hessen proposed the launch of an initiative at the
members of the supervisory board of GEMA such as Frank Dostal and
GermanBundesrat, the federal council of Germany, to follow up on
Stefan Waggershausen, of being hardliners responsible for a “self-
the tariff conflict. The Green party even called within their paper for
caresystem” for “uninvolved beneficiaries of the GEMA swamp”.
Anzeige_VIPMag_ProSky_X4.pdf
1
09.12.10
10:43
an initiative at the federal council for a fundamental reform of the
C
M
Y
CM
MY
CY
CMY
K
17
VIP NEWS >
OCTOBER 2012
> INDEPTH STORY > GEMA
Demonstrations against GEMA, the latest this September. Photo dapd
Jörg Evers, a supervisory board member of GEMA responded in
8 Euros until 2015, 8.50 until 2016, 9 until 2017 and 9.50 by 2018.
an open letter , accusing Lieberberg of making “unsubstantiated,
These new rates have only been published in the Bundesanzeiger and
slanderousattacks” on the GEMA board and the mentioned
on the GEMA website; no press release has been issued.
supervisoryboard members. These are only the latest incidents in a long and ongoing succession of a highly emotionally driven debate.
New federal elections will take place in September 2013. Currently 290.000 people have signed an unofficial Online-Petition against
Furthermore as the new scheme was originally intended to abolish
the new tariffs. The official GEMA-Reform petition by the promoter
the previously existing 10 different tariffs into two new ones, GEMA
MonicaBestle meanwhile has assembled two out of the five
is itself negotiating with different tariff partners over individual
statementsthat are required to respond to close the petition.
agreements . The first had been made with the German carnival
Whatever the outcome of the petition or any of the other
associationon July 24. The second agreement was confirmedon September 11 with the shootings
parliamentarianpapers, it would take serious efforts by political players to make the necessary
clubs association, but foresees separate treatments for their type of live events. No information has been given on these agreements. Recently, on August 3, GEMA announcedamended
versions
for its new tariffs U-V and M-V in the Bundesanzeiger. Basically GEMA retained its 10 percent claim but changed its extended time surplus from five up to eight hours with an extra 25 percent charge
amendmentsto
Currently 290.000 people have signed an unofficial OnlinePetitionagainst the new tariffs
for each additionaltwo hours. Amongst other amendments, the proposal furthermore foresees a revised rate scheme for events with an entrancefee between 10.01 to 20.00 Euros, plus an additional 7.50 Euros per 100 square meters from April 2013 until April 2014,
18
the
current
copyright
law in order change the settings of GEMA policiesas the society is an independentorganisation.
Until
now GEMA has benefited from a strong lobby among certain politicians and previous political attempts have not lead to any substantial changes by opposition politicians to intervene on the internal settings and procedures at GEMA. Nevertheless, until now those responsible
for the decision at GEMA have never had to cope with such an unforeseeable coalition of opponentsfrom every political party questioning the current policies of the German copyright society.see, what will happen next’.
VIP NEWS >
OCTOBER 2012
> INDEPTH STORY > GEMA
The GEMA Point of View In the spring of his year Ursula Goebel
parliamentariandocuments through the
becamethe new spokesperson of the
Senate of Berlin, approaching the federal
copyrightcollection society in Germany. VIP
government or the arbitration court
News approached her for comments on the
at the DPMA to consider changing the
latest developments regarding the GEMA
new rates proposed by GEMA to make
intentionto increase its tariffs.
them more appropriate and fair. Aren’t the responsibledecision takers at GEMA
The latest attempt by GEMA to raise
concerned by such political activities?
its rates for Clubs and Discotheques
–
has receiveda lot of attention in the
administrationsociety is already under state
media. Often the media coverage is very
supervision.
negativeas the rates foresee significant
supervisedby the federal government: As part
increases for the usage of music at public
of its commission as a copyright administration
events and locations. What are the
society GEMA’s work is supervisedby the
reasonsfor this?
GermanPatent and Trademark Office (DPMA),
– The rates we have presented are in reaction
which is under the supervisionof the German
to criticism from politicians, the general
Federal Ministry of Justice. DPMA is granted
public , customers, and associations who
this supervision based on the Law on the
have demanded since 2007 that GEMA
Administration of Copyright and Neighbouring
weed out the ‘rate jungle’ in the event area.
Rights. Currently, twelve Germancopyright
authoritiesto intervene, when it comes
Eleven rates were consolidated into two, and
administration societies have permission to
to internal GEMA affairs?
the new calculationis based on event area
conduct business activities. This permission is
– As a copyright administration society,
and admissionfee. As compensation for
granted after consultation with the Federal
GEMA is obligated to adhere to the Law
our authors(composers, lyricists and their
Cartel Authority and is continuouslyaudited. A
on the Administration of Copyright and
publishers) for the use of their music, we have
direct intervention on the part of politicians in
NeighbouringRights. This law regulates
set a maximum of 10 percent of the income
the ongoing rate negotiations, or to examine
all of the activities and processes for the
from the admission fees. We consider this
whether the published rates are appropriate, is
administrationof copyrights for members.
more appropriate and fairer means as we
not provided for.
The distribution plan of GEMA is subject to a
want the authors to have a larger share from
In fact, the current protests suggest that
permanent transformationprocess, which is
the use of their music, as their creative efforts
politiciansare
to
actively carried out by its members. Changes
make the variety of music possible in the
be take n in by the opposition and are
in the details are discussed democratically
first place. Also this variety of music makes it
disseminatingfalse as well as misleading and voted on during the annual general
possibleto organize a variety of events.
sample calculations, and are using the
meeting. In addition, the distribution plan is
We currently license approximately 1.5 million
polemicdebate as election campaign tactics.
constantly audited by judicial institutions and
In
general,
every
German
Accordingly,
allowing
GEMA
copyright is
themselves
also
music events per year, of which approximately
Ursula Goebel
judged to be fair.
3,000 are dance floor events. Music use is
The GEMA Petition filed in 2009 by
much higher in clubs and discothequesthan,
the concert promoter Monika Bestle
What kind of activities has GEMA
for example, at a sports event or street festival,
complainsabout the lack of transparency
consideredundertaking to remedy its
a corporate event or a cabaret. In fact, music is
and democracy and the unfairdistribution
current public image?
the economic foundation of a club. In the end
of royalties. Almost the same critique has
– As of June this year, I have been the director
without composers there would be no music,
been documented in the findings by the
of the communications and public relations
and without music there would be no clubs,
2008federal inquiry commission ‘Culture
department at GEMA. One of the main
and not vice versa.
in Germany’. Taking the current political
tasks is a long-term campaign to improve
mindset in consideration, how likely is
our corporate image. The strategic planning
Various
all
it that there is a danger for GEMA that
for GEMA’s communication activities will be
partiesof the district governments in
Members
of
almost
parliamentarianactivities may lead to
discussed with the Board of Supervisors and
Bavaria , Mecklenbur-Pommeriana filed
legal
voted on by the Board of Supervisors.
amendments,
enabling
official
19
VIP NEWS >
OCTOBER 2012
> INDEPTH STORY > GEMA
No Results from Livekomm Negotiations with GEMA Debate at Reeperbahn between Livekommand GEMA. Lothar Scholz (Musikmarkt) Olaf Möller (Clubcommission Berlin), Lorenz Schmid (GEMA) Terry Krug (Clubkombinat Hamburg), Karsten Schölermann (LiveKomm) Klaus Bossert (Clubs am Main) (Foto: Musikmarkt/Ivana Dragila) A relatively new organisation has appeared
events and met with GEMA shortly before
The ten percent demand is only the tip of
on the landscape of trade associations for live
Reeperbahn Festival in orderto negotiateits
the iceberg. GEMA also requests a surcharge
music in Germany; ‘Livekomm’ was founded
proposal. At a panel discussionat Reeperbahn
for music that is played on a laptop with
in May 2012 in order to undertake joint
Campus, the music industry convention
audiofiles. This plus the other surcharges for
measures against GEMA and its new tariff
part of the Reeperbahn Festival, Livekomm-
the duration of events lasting longer than
rates.
membersand one GEMA representative eight hours, and the request to participate
Livekomm can actually be seen as the
reported on the outcome of the these talks
in sponsorfees indicate that the copyright
between both parties.
collection society is following a policy of
umbrellaorganisation for many until now ad hoc local or regional music club associations.
Schölermann
The new association can also be seen as a
Livekommdelivered good explanations of
files surcharge is a very strong indicator
pool of club promoters that didn’t feel that
the economic conditions for music clubs; also
that the GEMA decision takers still have
their interests were covered by the two
raising the point that most promoters were of
a mind set that shows that this copyright
otherlive music trade organisations BDV and
the opinion that GEMA should considerpar-
collection societyis removed from a true
VDKD.
ticipating in the risk and often the financial
comprehensionof how this part of today’s
and
others
members
of
for its members. Nevertheless, the audio
loss that promoters bear when they do
music industry actually works.
Karsten Schölermann, the president of
shows with newcomer acts or talents. Lorenz
Livekommoften emphasized that the new
Schmid responded as slickly as expected in
On the panel it was furthermore declared
organisation foresees the possibility that
the panel, ignoring the promoters arguments
that the first negotiations between GEMA
musicclubs and discotheques will manageto
and concerns, and continually repeated the
and
obtain its own agreement with GEMA about
mantra that ten percent is considered an
an agreement . The negotiations will be
appropriate tariffs. Livekomm has therefore
appropriatefee for authors and composers.
continuedin January 2013.
developed a tariff proposal for live music
20
demandsaimed at achieving the best results
Livekomm
have
not
yet
reached
VIP NEWS > BUSINESS > OCTOBER 2012
Music in Shares AEG for Sale Philip Anschutz, owner and founder of the Anschutz Entertainment Group intends to sell his company. This news certainly weighs heavily for the live music industry as it could lead to significant amendments for this industry sector. AEG owns and operates around 100 arenas and 25 sport teams worldwide, and is likely to achieve a purchase price of between $6 and $8billion According to media reports Anschutz’s aim is to sell the company as a unit and therewith to keep the company structure as none of his three children are thought to have an interest in running AEG in the future. Anschutz himself is 72 years old and founded AEG 34 years ago. Companies such as Colony Capital LLC, Guggenheim Partners LLC and Liberty Media Corp have been mentioned as potential buyers. Liberty Media Corp already holds a 21 percent stake in Live Nation. The sale will be handled through Blackstone Advisory Partners, the investment banker for AEG.
22
MUSIC IN SHARES
Manfred Tari mt@vip-booking.com
Music Festivals PLC Shares Suspended The shares of Music Festivals PLC have been suspended from trade at the AIM (Alternative Investment Market) on the London Stock Exchange. Therewith after its IPO so recently in June 2011, one of the shortest appearances of a live music company at a stock market came to an end. The company board has requested the suspension of trade due to “pending clarification of the Company’s financial position”. Music Festivals PLC is expected to suffer a substantial financial loss. At the beginning of August the company was already seeking further investments in order to retain the liquidity of the company.
Irish Tenor International Superstar Sang lead in first Riverdance tour of North America 1998 as well as Riverdance on Broadway 2000 and 2001. His version of "Danny Boy" has been viewed by almost 6 million people on Youtube. Co-produced his own PBS special, Michael Londra's Beyond Celtic in March 2011 which aired nationally over 300 times. Nominated for 2 Irish Music Awards for Best Solo Performance and Best Irish Tenor and recently won Best Irish Tenor in 2012's Irish Music Awards. "This show is spectacular. If you are not in the spirit of the holidays, you will be after seeing this show" CBS 5 - Celtic Yuletide "I just listened to your version of DANNY BOY and sat here crying my eyes out. Just beautiful. Your voice is a diamond." Julie Gold - songwriter - From A Distance by Bette Midler "Asoaring voice that is both deeply emotional and tremendously expressive, transporting you into an amazingly beautiful world" - Irish Edition
For More Visit: www.michaellondra.com Management: WBA Entertainment|PO Box 291802 Nashville, TN 37229|www.wba-ent.com For live performance contact Glenn Blackman glenn@wbaentertainment.com +44-20-8133-0152 or +1-615-278-9654
VIP NEWS >
NOTICE BOARD
OCTOBER 2012
Waves Vienna
– Music Festival & Conference Facts & Figures Date: October 4th to 7th 2012 Venues: Badeschiff — Clubschiff — Caf. Dogenhof — Flex — Fluc — Fluc Wanne — Heineken Music Train — Hotel City Central — HotelStefanie— MS Schl.gen — Odeon — Pratersauna — Red Bull Brandwagen. Artists: The Soundtrack of Our Lives (se) — The Wedding Present(uk) — Dillon (de) — Ghostpoet (uk) — Scout Niblett (us) — 12 Stages – 4 Days – 90 Acts
Gravenhurst (uk)— Tu Fawning (us) — Gold Panda (uk) — Rustie (uk)
From October 4th to 7th 2012, Vienna’s club and showcase festival
— Kavinsky (fr) — Mario & Vidis (lt) — Paula & Karol (pl) — Housse de
Waves Vienna will take place for the second time. New talents
Racket (fr) — Kamp! (pl) — Vinnie Who (dk) — B. Fleischmann (at) —
and already established acts will be performing on twelve stages
... and many more!
along the Danube Canal and Praterstraße in Vienna’s 2
nd
district.
This year, Waves Vienna will welcome two guest countries. True to
Capacity: 15,000 (Thursday to Sunday) Web: www.wavesvienna.com
the motto “East Meets West”, the live programme will have a special focus on acts from Poland and France. The Waves Music Conference
Tickets: Available at www.wavesvienna.com
moreover will devote a part of its programme to the music markets and scenes of these two countries.
Advance sale: Festival Pass: € 52 Day Pass: € 26 Evening box office: Festival Pass: € 56 Day Pass: € 28 Pro Pass (festival + conference): € 125 Music Conference (conference only): € 80 Music Conference Day Pass (conference only, Thursday or Friday): € 50 Contact: Head of press department: Manuel Fronhofer +43 1 907 67 66 – 25 (fax 99), press@wavesvienna.com www.wavesvienna.com/en/press
24
MONTHLY FEATURED ARTIST POWERED BY
ARTIST AVAILS Howie D (Backstreet Boys) Territory: Europe Period: October 2012 Agency: Insanity Artists Agent: Matt Wynter E-mail: matt@insanitygroup.com
Dee Nyoni
THE DOORS ALIVE - BEST DOORS TRIBUTE ACT IN WORLD Territory: WORLD Period: JANUARY 2012 ONWARDS Agency: VALUE ADDED TALENT Agent: DAN SILVER Phone: +44 207 704 9720 E-mail: dan@vathq.co.uk Homepage: www.vathq.co.uk
REVERENCE Style: Power Metal Territory: Europe Period: November 2012 Agency: Real Media Music Agent: Real Media Music Phone: +44(0)7526171555 E-mail: info@realmediamusic.co.uk Homepage: www.reverencemetal.com
Dalma LIVEXPERIENCE Territory: World Period: 27.03.2012 - 1.09.2012 Agency: Artist Mall Agent: Adrian Voinescu Phone: 0040743160293 E-mail: office@artist-mall.ro Homepage: youtu.be/rtdhkqbwwjy
Dee Nyoni strikes the drum for soul served with grit. Her songs pay tribute to retro grooves with modern funky urban breaks mixed down with sassy background
Pratola Folk Territory: Worldwide Period: Penerally available Agency: Maffucci Music Agent: Canio Rosario Maffucci Phone: +39.339.485807 E-mail: info@italianworldmusic.com Homepage: www.italianworldmusic.com
vocals. Her live delivery is fearless and has wowed audiences from NYC’s Apollo Theatre, 5 Spot Soul Food and Sounds Of Brazil to London’s Ronnie Scott’s The Jazz Café, Spice of Life , Hootananny, Charlie Wrights and Troy’s. With a tight band support, Dee Nyoni shows why her name is being whispered as one of the UK’s freshest live performers. She has opened for Acid Jazz giants James Taylor Quartet and toured with Afrobeat band, Thabani, during their UK Kulturalfusion
Doina Sulac Territory: Europe, US, Asia Period: Please call Agency: Liveartist Music Management Agent: Florin Nedelcu Phone: 0040721929622 E-mail: booking@liveartist.ro Homepage: www.liveartist.ro
University tour as well as special dates in the US and Japan. 2011 unveiled her long awaited debut album Beautiful Day, which was an independent release on her own label (UrbanZulu), with the title track being plucked to promote the new season of US TV hit “Californication” on the Channel 5 network. This year Dee sets her sights on writing and recording her second album as well
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as collaborationswith QuartierFrancais and underground House crew House of Praise on a single for a summer time release. Read more about Dee Nyoni: http://www.click-a-gig.dk/epk/200/bio
THE DOORS ALIVE
25
VIP NEWS > MISC > OCTOBER 2012
MEMBER PRESENTATION
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centralof Aarhus, the second largest city in Denmark. TRAIN is
genres and styles. Throughout the years a lot of international and
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national artists have been perfoming on the stage. Artists like Snoop
The Danish Agency for Culture.
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TRAIN is a fully professional venue and has been running succesfully
Motorcycle Club and many many others. The clubscene has been
since 1. april 1998. TRAIN is one of Denmarks largest regional venues
honouredby perfomances by artists like Major Lazer, DJ Shadow,
and nightclubs. The concert capacity is 850 guests for live concerts
2ManyDJs, Modeselektor, Benga & Skream, Andy Fletcher, Simian
and 1700 guest for nightclubbing. There’s no agelimit for live concerts
Mobile Disco, Peaches, Kele Okereke, Moderat, Cassius, Zombie
at Train.
Nationand many many more.
About Our Company MyMusicMailer.com enables artists to MAIL their music VIP-Booking’s core product is the Internet’s oldest and Today VIP-Booking offers a range of tools for the to more venues agencies worldwide… industry– including VIP-News, VIP-Booking, VIP-Book largest database forthan the 6.000 European Liveand Entertainment
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26