VIP-News Premium - Vol 150 October 2012

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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

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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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Thanks To all our parTners and everyone aTTending Waves vienna!

We love you!

www.wavesvienna.com

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

Train TRAIN is a privately owned live venue and nightclub placed in the

TRAIN presents a broad program of music, covering many different

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.

Dogg, Iggy Pop, Suede, Bryan Ferry, Motörhead, The National, The The, N*E*R*D, Patti Smith, Kaiser Chiefs, Babyshambles, Black Rebel­

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