VIP-News Premium, Vol. 130 - November 2010 by VIP-Booking.com

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McGowan’s Musings: Last night, (for me – by the time you read this it’ll be a few days ago – wonderful thing time travel!) I attended the Brighton Music Awards at the invitation of PRS, Strange this event was happening in my hometown, and I didn’t know it was in the planning! Nobody tells me anything, but then again, I travel a lot. I found myself sitting close to a table occupied by not one, not two, but three gods! Waiting their turn to get up and present awards were the original god of hellfire, Arthur Brown, with two slightly younger chaps, but certainly rock gods in their own right, Jimmy Page and Roger Daltrey – not a bad line up I’m sure you’ll agree. The event was in support of The Teenage Cancer Trust, a cause to which Daltrey devotes a lot of time and energy. There were a couple of really good new bands, Rubylux, and a star in the making, who looked like a cross between Joan Armatrading and Jimi Hendrix, and had a hell of a voice, called Z-Star – you heard it here first! At the after show party I had the chance to meet Page briefly, and recalled that I had first seen him playing bass for The Yardbirds with Jeff Beck on guitar, which he remembered as being… difficult. It’s time again for the UK Festival Awards, so tomorrow (for me – It’ll be… don’t start all

ITB said that his company does most of its business, probably 65%, in a ten-week period from the end of May to August. That is quite something, and when you look at the growth of the sector in Eastern Europe, where I think we will see more activity in 2011, including possibly a new Live Nation event, there is more to come.

Allan McGowan

that again! – Ed), I’m off to London to chair a panel dedicated to tales and anecdotes about the festival world, with John Giddings (Isle of Wight), John Probyn (Live Nation) and James Barton (Cream), all of whom are decidedly aware of the need of humour in this business, so it should be fun – I’ll let you know about it next month. These Awards, and the European Festival Awards, which will take place at Eurosonic/ Noorderslag in Groningen next January are now taken very seriously as befits an industry that has seen remarkable growth in the last 25 years. In Britain alone it is estimated that more than 670 events took place in 2010, with the top 200 contributing £450m to the economy in ticket sales, travel, accommodation and food. Earlier this year Barry Dickins, of leading Agency,

Some while ago we told you that we would turn over occasional issues of The News to particular markets, the last was Switzerland, and with the help of Christian Storbeck of Striker Entertainment we will look at Italy next month. So if any of our Italian readers have anything to tell our thousands of readers about their business and the Italian market in general, please let us know at am@ VIP-booking.com, or mt@VIP-booking.com Meanwhile this issue has turned out to be pretty much a spotlight on The Netherlands, which continues to define its position as ‘gateway to Europe’ by producing very fine conference and showcase events, with Noorderslag/Eurosonic attaining its quarter century, Amsterdam Dance Event again breaking records, and a new urban event kicking off in Rotterdam, they seem to be doing something right. Ladies and Gentlemen, read about it here:

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New Urban Showcase and Conference for Rotterdam Allan McGowan am@vip-booking.com

Buma Rotterdam Beats is a brand new event whose aim is to be a central meeting point for the whole range of urban genres. The event takes place in the city of Rotterdam and features two-days of music conferences, workshops and open-mic sessions, plus a night time music festival across five of the city’s most exciting venues. The event is also dedicated to the discovery and promotion of upcoming local and national talent, acting as a focal point for Rotterdam and The Netherlands’ best new artists. Festival director Roger Brouwn says, “With Buma Rotterdam Beats, a new festival is born that in terms of styles, talents and music perfectly matches the diversity of the city of Rotterdam. I am delighted that this city is playing host to he event and look forward to seeing it develop over the coming years. We hope Buma Rotterdam Beats will prove to be the definitive music festival for all urban genres, as well as a platform for the launch of international careers’.

Colophon ››

AmbitionBuma, initiator of the Amsterdam Dance Event, EuroSonic Noorderslag Conference, Buma NL, Toonzetters and Jazzdag, intends to grow Buma Rotterdam Beats into an international conference where knowhow is shared, business deals are done and

where the best new talent is presented to an international audience. Conference and FestivalDuring the conference representatives of venues and festivals, record labels, music publishers, producers and artist managers, plus touring and brand relationship agencies will be in Rotterdam to network, share their know-how, and do business. The daytime programme includes matchmaking initiatives aimed at teaming up individuals with complimentary skill-sets, lectures and debates focused on the current and future music industry featuring the people who live it every day, as well as interactive and online technology workshops. In addition, the event also aims to create links with representatives from creative industries such as video games, TV commercials and filmmakers. 26 & 27 November 2010During the two evenings of November 26th & 27th, the festival will offer a selection of acts in four choice locations around the centre of Rotterdam. Buma Rotterdam Beats will also present some of the very best current artists, ranging from internationally known acts through to the latest breakout national artists, and the very best new local talent.

VIP-News is published by: VIP-Booking 26 York Street London W1U 6pZ 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 pls. contact Peter Briggs pb@vip-booking.com or +44 870 755 0092 Lay-out: Pekaye Graphics, Phuket – Thailand info@pekayegraphics.com Rotterdam Beats

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by:Larm to Host Nordic Music Prize

Amsterdam Dance Event 2010 Manfred Tari mt@vip-booking.com

Allan McGowan am@vip-booking.com

Once again the ADE celebrates a highly successful edition: It’s not only the figures that illustrate the success of the 15th edition of the ADE. It was also obvious in the vibe that surrounds this convention.

by:Larm

The 2011 edition of by:Larm to take place in Oslo between February 1719 will host the inaugural Nordic Music Prize which will select the worthiest winner from a shortlist of 12 records. Alongside five of the top Nordic music journalists, the jury consists of Laurence Bell (Domino Records), Victoria Segal (The Times), Jeannette Lee (Rough Trade Records, PiL), Rob Young (author or Electric Eden, former editor of The Wire), Mike Pickering (ex-Factory, now Columbia Records), Matthew Schnipper (The Fader) and Andres Lockko (arguably Scandinavia’s most influential music writer). The annual StatoilHydro Award – whose former winners include Ida Maria, Ingrid Olava and Mathias Eik – will also offer a grant of approximately €100,000 to what is considered the most exciting up and coming Norwegian act.

The ADE reported another visitor record, sold out for 3 years in a row now, this year the organizers added 300 additional tickets, bringing the total up to 2.500. Visitors from 58 countries visited this hot spot for the dance music industry and even when the conference program featured topics such as ‘Club Crisis: What Crisis?’, ‘Genius Or Suicide? Doing Business in the digital Dance Environment’, or ‘Label Life (And Death)’ the overall mood of the majority of the visitors indicate that the dance music business currently seems to be in pretty good shape. There are a couple of components that make this convention so different from others. One is the participation of so many prominent artists as speakers and moderators of the conference program; these include Dave Clark, Ferry Corsten, Plastikman, Jeff Mills, Arthur Baker, Todd Terry, Don Diablo, Sasha, Roger Sanchez and many more. Another one is new formats for its panels as part of the conference program.

In particular to be mentioned on this occasion is the ‘Label Life (And Death)’ panel sessions covering Publishing, Live, Distribution and Marketing. All four sessions were moderated and hosted by the industry journalist and ADE-veteran Gary Smith from Billboard Magazine who did a very good job. Another highlight was the panel moderated by radio DJ and artist Dave Clarke who finished off the conference with the Demolition Panel and prior to this took part in the panel ‘Putting the A in Authenticity – Being Authentic.’ VIP-News found out more by speaking to organiser Richard Zijlma VIP-News: How do you think things went with this edition of ADE? Richard Zijlma: I was really surprised by the take up for the ‘extra’ day, Wednesday. 1.500 people turned up and there was a big queue outside, at eleven in the morning, with delegates from 60 countries arriving to set up their meetings because they want to do business, they want to make it happen over here. VIP-News: Is dance music currently in a good space in terms of its economy? I heard this when I attended the panels; from what people were saying, the industry actually looks quiet healthy and stable.

Blockparty at ADE

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Richard Zijlma: Yes, I think so. It is obvious that the Dance-business has became more international. It’s really a global scene of course because guys like Ferry Corsten perform in 87 different countries. Some of them perform 200 gigs a year, on a particular level it is still a healthy industry. In particular I think ADE has become the place for this scene to set up their meetings and to promote their products. I would also say that we now have more international agencies and promoters on board, this business is now more involved with the record labels, the publishers etc. and now we also have the high level players of the live dance industry here. The most important agencies from the States and the UK are on board, so it’s really interesting. Naturally it’s a scene that is really into new developments, sharing knowledge in music because the whole thing is triggered by the tracks, it is totally differently to the pop/rock industry. Normally an average rock bands goes into the studio for a certain time to create their record and when its finally finished, they will go out there and share it with the rest of the world. But electronic music is far more immediate, when the track is hot you can bring it out and share it, and it could happen that after 24 hours a DJ like David Guetta or Paul van Dijk will pick it up and there will be a new hit. VIP-News: The Dutch dance music scene has become pretty strong. All around the world you now hear the ‘Dutch Sound’. You have very strong international Dutch artists such as Tiesto, van Buuren, Fedde le Grand and others. Could you that say that there’s a strong connection back to ADE by the top Dutch artists or Dutch representatives of the music industry?

»I am definitely convinced that the Dutch industry has benefited from ADE because it gives fantastic opportunity to promote your artists globally » - Richard Zijlma

Richard Zijlma: I am definitely convinced that the Dutch industry has benefited from

ADE because it gives fantastic opportunity to promote your artists globally; over the years ADE has become strong in the whole dance community and this combination really works for everybody. In the past most famous DJs from Holland were connected to trance music but now all kind of genres come up on a worldwide scale. It is also really interesting for example that the Dutch record industry is doing so well, that people like Paul van Dijk or Paul Oakenfold sign to Dutch label Armada Music. It is actually a new development which I think also shows that the Dutch record industry behind the artists is really doing well. VIP-News: As far as I can see ADE benefits much more than any other conference in terms of its conference program from the fact that artists take part in it, that they participate as speakers, moderators and so on. Why is this? Richard Zijlma: It is really fantastic that the artists are also really involved in a conference like the ADE, that they show up and share their knowledge and hang out. People like Chucky or Ferry Corsten came back from the states to be here for a few days and somebody like Richard Hawtin is around for five days at ADE. They are doing shows, doing master classes, setting up a lot of interviews and also taking care of their own business as well. They are really dedicated to ADE, I think, because it more and more has a kind of a family feeling and that is very important. We are able to reach out personally and are related with all the artists in the scene. It is really different when compared to some other conferences where the visitors are more focused only on the industry and not so related to the artists directly. VIP-News: What can you tell us about the ADE-Festival? Richard Zijlma: The conference now starts on Wednesday and a lot of labels and companies are doing their showcases and of course there is a lot of competition. Some locations are probably not the best suited for some shows, and it is very important to see these as showcases. That is one of the issues you have to deal with here. But nevertheless, most of the shows are really packed anyway, for instance the Melkweg

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Richard Zijlma

is now 35 years old and during ADE last year they broke their visitor record with 17, 000 people, that’s just the Melkweg! VIP-News: Taking about the audience size, have you now reached the maximum capacity of the Felix Meritis and the Dylan Hotel? Richard Zijlma: Yes, we have definitely reached the maximum capacity, although I think it worked out fantastically well. I was a bit afraid it was too busy but it sorted out pretty well. We have sold out for three years in a row now, and this year we sold about 300 extra conference tickets due to a lot of demand by the people who really want to visit. But I guess this is more or less quite a good amount of people for a conference. I think 4000 or 5000 people is really too much even so, but ask me again in 10 years! VIP-News: The future is what I wanted to ask you about, what is on the agenda for 2011 and 2012? Richard Zijlma: On the Wednesday programme during the day we included ‘music & bytes’ with really good speakers from EcoNest for example, I really want to develop this more. In term of the internal value of ADE I really focused on making this stronger, and I’d like to continue that, because it is more important than just making ADE bigger or stuff like that.

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Jagger Joins Fight to Save London Venue Allan McGowan am@vip-booking.com

Mick Jagger has said that it is important for the future of live music that the 100 Club in Oxford Street, threatened with closure should survive. The venue is faced with paying rent which has soared to £4,000 a month plus overheads. A Save the 100 Club campaign has been backed by stars including Bobby Gillespie of Primal Scream, Johnny Borrell of Razorlight, Glen Matlock of the Sex Pistols and Radio 2 DJ Janice Long plead for its survival. The venue has presented performers such as Muddy Waters The Clash, Oasis and Humphrey Lyttelton. Adding his name to the bid to save the club Sir Mick told London’s Evening Standard, “This is really bad news if another great venue is threatened with closure. There’s a real need for these places - they have a connection with the past. And what

is important is that you have places where bands can cut their teeth and places of a certain intimacy and size, that new bands can experiment in. There aren’t that many great places in London, or indeed any city, that you can say that about.” He added: “We never played the 100 Club when we first started. We couldn’t get a gig.” They did make it in the Eighties though, to perform a 1986 benefit for their late keyboard player Ian Stewart.

Jagger will be away. Other names are being lined up to play a fundraiser on November 25.

Supporters are now trying to raise £500,000 towards making it possible for Jeff Horton to pay off debts, and to provide working capital to keep the club open. The plan is, if successful, for the campaign to take over the lease and run the venue as a charitable or non-profit-making venture. Stones Ronnie Wood and Mick Taylor are to play a benefit gig on December , though 100 Club

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T In The Park Boss Geoff Ellis to Receive Lifetime Achievement Award Allan McGowan am@vip-booking.com

Geoff Ellis received the lifetime achievement award at this year’s UK Festival Awards at IndigO2, last Thursday, following the Festival Conference at the O2 Dome the same day. James Drury, MDof the UK Festival Awards announced: “Under Geoff’s leadership, T In The Park has grown into Scotland’s largest and most successful festival winning numerous accolades, including two UK Festival Awards for Best Major Festival”. Many artists, including Caleb Followill of Kings Of Leon and Brandon Flowers of The Killers say it is their favourite festival. Fans flock back to the Scottish event every year, testament to the innovation and concerns for the enjoyment, and the safety, which Ellis and his team take so seriously. Drury continues, “It is Geoff’s charismatic leadership, dogged attention to detail and inspirational good humour which makes him such a worthy recipient of the UK Festival Awards’ Lifetime Achievement Award”.

The UK Festival Awards were presented at London’s O2 on Thurday November 18. MD James Drury said, “This year’s awards were the most hotly-contested we’ve had, with over half a million votes, demonstrating just how important festivals are to the UK public. Despite the continued challenges of the economy it’s been an incredible year for festivals and our awards are all about celebrating that. The winners should be rightly proud of their achievements, as should the rest of the industry”. Ben Turner, co-founder of AIF states: “It was an incredible night for the independent festival sector, and a victory for the great British festival. It’s rewarding to see events like Green Man and Kendal Calling finally getting the respect they deserve and to see Bestival beat the biggest and most established festivals in the world – never mind the UK – is a testament to the passion festivalgoers have for the efforts, energy and love put in by independent festival promoters to make their events unique. As for Creamfields, it is without doubt the

Geoff Ellis

world leader in global dance music. The original and still by far the best.” Fiona Stewart, Managing Director of Green Man Festival states: “We are delighted to win. There are a lot of clever and creative people who work very hard to make Green Man happen and this award is a testament to them. But most importantly, its thanks to the amazing people who come to Green Man every year and who voted for us.”

Awards

UKFA - Colin Rodger T in the Park

UKFA 2010 - Fiona Stewart of Green Man wins Best Medium Festival

UKFA 2010 - Jim King (Rockness)

UKFA 2010 - Kendal Calling win Best Small Festival

UKFA 2010 - Rob da Bank accepts Best Major Festival Award

UKFA2010 - Geoff Ellis accepts Lifetime Achievement Award

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The full list of winners from the seventh annual UK Festival Awards is as follows.

- Virtual Festivals’ Critics Choice*

- Best Toilets T In The Park

- Overseas Festival

- Best Metropolitan Festival Gaymers Camden Crawl

- Anthem of the Summer in association

- Best Family Festival in association with Showsec Camp Bestival - Best Breakthrough Artist in association with Rizla Mumford & Sons

Biffy Clyro at Glastonbury

Snowbombing

- Feel Good Act of the Summer in associa tion with Be-at TV Paolo Nutini - Best New Festival in association with Ac cess All Areas Vintage At Goodwood - Headline Performance of the Year in as sociation with Jagermeister AC/DC at Download Festival

* Chosen by a jury of journalists and in dustry experts

with HMV Florence & The Machine ‘You Got The Love’ - Line-Up of the Year* in association with

In addition to this, a further four award categories were presented during the day at the UK Festival Conference.

XL Video Decided by a panel of experts assembled by the associated partner organisation:

Rockness - Promoter of the Year in association with

- Best Dance Event in association with Peppermint Bars Creamfields

- Lifetime Achievement in association with Music Week Geoff Ellis, T in the Park

IQ* Team Glastonbury - Best Small Festival in association with Doodson Entertainment Kendal Calling - Best Medium Festival in association with Smirnoff Flavours Green Man - Best Major Festival in association with Tuborg Bestival

- Outstanding Contribution to Festival Production in association with TPi Neil McDonald - Best Sponsor Activation in association with Brand Republic Coca Cola - The Grass Roots Festival Award in asso ciation with Robertson Taylor 2000 Trees - A Greener Festival Award in association with agreenerfestival.com Croissant Neuf Summer Party

Conference

MW Panel - Chris Barrett_Andy Smith

UK Festival Conference - Colin Rodger (T in the Park)

UK Festival Conference - James Barton - John Giddings - John Probyn - Allan McGowan

UK Festival Conference - Jim Mawdsley

UK Festival Conference Crime panel

UK Festival Conference

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Awarded by a panel of judges assembled by the UK’s leading brand platform Brand Republic, Coca Cola were awarded the ‘Best Sponsor Activation’ award for their Recycle Garden and Swap For Swag schemes at festivals across the UK. Brand Republic Editor and chief judge for the award category commented: “Having used multiple platforms, including amplifying the message via digital channels pre and post the event, plus a range of touch points at the festivals they sponsored, the brand visibly changed customer behaviour, delivered a positive impact on the consumer, the participants and the festivals.” Platinum tickets for the UK Festival Awards sold out a record three weeks in advance of the event. More informationon the Festival Awards: UK Conference & Awards 2010 including the full list of winners and photos / video content from the gala evening can be found at www.festivalawards.com and www.festivalconference.com UKFA 2010

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Twenty Five Years of Eurosonic/Noorderslag Allan McGowan am@vip-booking.com

Interview with Peter Smidt – Creative Director of Eurosonic Noorderslag:

Peter Smidt

Eurosonic/Noorderslag celebrates its quarter century anniversary next January 2011. Slightly more than twenty-five years ago, so Peter Smidt tells me, he was working hard – that’s not to say that he doesn’t work hard these days as Creative Director of Eurosonic Noorderslag, Manager at Buma-Cultuur and also Vice President of The European Music Office – but at that specific time all those years ago the work was physically hard – he was digging. To be precise he was levelling a sloping floor, some of you may well have benefited from his work by being able to keep yourselves, and your drinks, upright when watching a band play in Groningen’s Grand Theatre, which was previously a cinema – hence the slope.

The Beginning As a student of Arts and Art Management in the University City of Groningen Peter was one of the squatters of The Grand Theatre, which was to be replaced with a shopping mall. Squatting has a fine tradition in Holland; there would for instance be no Paradiso in Amsterdam if students and others had not taken direct action. Peter recalls, “I was using the downstairs area as a rehearsal room for my band, and it seemed a natural move to start promoting in the venue.” He also promoted shows at

The Oosterport venue, booked the acts for the Stars in the Park summer festival and in 1986 started Noorderslag, a festival event presenting Dutch and Belgian acts. “In those days,” Peter recalls, “Both audience and the business considered local repertoire as merely a niche market, but the festival showed the quality and the potential available. At the time we figured that other European territories must be proud of their own acts and to have similar international potential but we didn’t really have a clue.” Things began to move when Dutch artists like Urban Dance Squad and the Nits began to attract the attention of professionals from other markets, including Bernard Batzen from France, Tapio Korjus from Finland and Marc Ridet from Switzerland and they and others came to Noorderslag to check out the bands.

The Mission When Patrice Hourbette from the French Export Office asked if he could bring some French acts, then Polygram (now Universal for those under a certain age!) inquired about presenting some of their European bands, Peter realised that Noorderslag was in a position to realise the fast developing potential within European repertoire which audiences and professionals alike were largely unaware of. The Dutch based promoters and agents Association Network Europe became involved, inviting agents and promoters to bring in their acts. This became the mission and the aim, as Peter says, “To present European repertoire within the whole European sector, and to create a platform for European music and European music professionals.” The Noorderslag Seminar was created in 1993 to encourage the exchange of ideas within the sector and work began on building what was to become Eurosonic Noorderslag.

The Partners However Peter was aware of limitations, “One show in Groningen was not enough, the important thing was to create and maximise exposure and radio was one

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way of achieving this.” The European Broadcasting Union was approached and with the help of Jan Sneum of Danish National Radio, EBU collaboration, involving Holland’s Radio 3 FM, German stations and the BBC, with John Peel broadcasting live from Groningen, was initiated, with the aim of distributing to all main stations. In 1999 the event took on the Eurosonic name. Peter continues, “Because we were able to present the most promising acts more promoters and agents came, finding it easy to check all the upcoming talent in one place. The infrastructure of Groningen works so well for this, with so many good venues all within walking distance of each other. There are not many Cities with that facility.” Apparently Groningen owes this happy situation not just to the fact that it is home to a large University with lots of young people therefore lots of demand, but to a local law passed in the 1950’s; this permitted bars and clubs to stay open late if they staged live music. Very forward thinking! This situation allowed musicians like Herman Brood to develop their art in Groningen; he could play seven nights a week in different venues and had a big influence, encouraging bands to start up. This inspiration led to there being a lot of active bands in the 70’s and just as importantly an active audience!

ETEP & The Festivals The fast growing festival market was the next sector to be involved within this history and this infrastructure, which provided the perfect setting for buyers, artists and radio to exchange talent, information and advice. The aim was to continue to encourage all these sectors to work together to help create careers and spread European repertoire. A tool was needed to make this idea work and Peter formulated the concept of ETEP, the European Talent Programme, to achieve this in an objective and measurable way. He went to the Festivals Association Yourope with the idea, and, as he says, “They listened and said let’s try, and we were all surprised by the results.” ETEP offered radio support from

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the EBU and a small amount of money to participating festivals to offset the costs of putting on an act from another territory, which they may not have considered otherwise.”

Funding The start up money came from the Culture Department of the Dutch national Government, there was some reticence about Dutch Culture funds subsidising other countries, but it was considered a very interesting programme, so Peter was told he could have the money to start up, but to look to the EU for the future! But there was assistance from other areas, the European Music Office (EMO) came on board as a main partner, along with assistance from Italy, Norway, Luxembourg and Belgium amongst others, allowing the Programme to kick off in 2003. Peter has had mixed success in obtaining funds from the EU, receiving support in some years and not in others, he has spent a lot of his time in Brussels. He says, “There is still no set policy for the music sector in Europe which will serve it best. If we can secure the policy first, the programmes will follow. Although ETEP has without doubt shown that it is works and is effective, so far within the current programmes of the European Commission it has not been rewarded.” EMO is still lobbying and has had some success with ETEP and the European Tour Support Programme. Peter continues, “There have been good pilots but nothing as yet has led to a solid follow up within the framework of European subsidies. Currently I am keeping a close eye on the development of the Cultural Industry Policy to see what can be learnt from it, but at the moment the framework is not suitable for the music sector.”

EBBA Awards However, the doors are not closed, the Commission’s instigation of and support for the European Border Breakers Awards – the EBBAs, are evidence that it has listened and does want to find a way of working with the music sector. The fact that the Awards are now presented at Eurosonic Noorderslag is very positive. As Peter says, “The EBBA aims are the same as those of

ETEP – crossing borders. If an act does well as a result of ETEP, then progresses to EBBA, this builds a framework for crossing border success. Eurosonic makes new talent discoveries, then EBBA awards those who have become established, the stars. The attendance of Commission representatives at Eurosonic Noorderslag introduces a platform for debate between them and the music sector. There must be a constant dialogue to exchange views and change and create policies.” Certainly this upcoming 25th Anniversary Conference can provide an ideal platform to signal the continuation and expansion of debate, but we cannot just wait for things to happen, as Peter continues, “The music sector has to acquaint itself with the Commission’s views and goals within the general Cultural Industry policy, and the industry players who attend Eurosonic Noorderslag should be willing and able to become involved in this, in order to progress the development of European repertoire.”

New Developments There is no doubt that whilst growing and evolving over the last 25 years Eurosonic Noorderslag has achieved and maintained its original stated purpose of creating a platform for European music and European music professionals. Over the past few years many other conference and showcase events have appeared on the international industry calendar, many of which seem to have adopted formats not dissimilar from those developed by the Groningen event, this does not worry Peter, in fact he has an opposite view, “If others copy the Eurosonic Noorderslag model it indicates that the European market is growing. It is vital that this market has as many available stages as possible, it indicates growth and vindicates all our original plans and ideas.”

interactive possibilities has resulted in the introduction of the Interactive Awards, in cooperation with Dutch Collection Society, Buma Stemra, and Factor E, to recognise the creative use of interactive media by artists and companies. The 25th edition will also feature a Media Lounge within the Conference to service the use of Eurosonic Noorderslag content, (the 2010 EBBA’s were broadcast in 12 countries.) and to accommodate more requests from digital media, along with the growing numbers of radio and TV stations. Also a new Artist Village will be introduced to create more possibilities for artists to connect with attendant media and, just as importantly within the ethos of the event - each other. Fittingly, Eurosonic Noorderslag will also celebrate its 25th anniversary by making its home country, The Netherlands, focus country for the 2011 edition.

Noorderslag Eurosonic is not an event that stands still, as the European industry develops new elements are introduced to the Agenda. The 2010 edition saw the introduction of The European Festival Awards in partnership with Yourope and Virtual Festivals. Also continuing conference discussion of digital distribution and

So, Peter Smidt may no longer be wielding a shovel to level theatre floors but 25 years on he and all at Eurosonic Noorderslag continue to work to create a level playing field for all involved in the development and the distribution of European repertoire. See you in Groningen on the 12th January 2011!

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Business News Manfred Tari mt@vip-booking.com

Music In Shares Live Nation – Improvement Rescheduled to 2011: Significantly lower key figures slow down Live Nation earnings results. What at first view seems to indicate a turnover growth actually isn’t the case. In the third quarter (Q3) 2010 Live Nation gained a revenue of $1.836 billion compare to $1.794 billion in the same period one year ago. In the first nine months of the ongoing business year the revenue grew from $3.326 in 2009 to $3.825 billion. But since the merger at the beginning of 2010 the current figure reflects the combined turnover of Live Nation and Ticketmaster.

vious year to $2.648 billion; the Ticketing unit dropped from $856.4 to $734.7 million. The subsidiary Artist Nation had to face a turnover decline of 19 %, as results dropped from $332.3 to $269.2 million. The Sponsorship department sustained a moderate loss of 2.8 %, with turnover down from $133.3 to $129.6 million. Only the eCommerce department been increased revenue from $61.2 to $62.8 million.

Live Nation reported net income of $51.4 million for Q3, compare to $69.2 in Q32009. But in particular it’s the nine months overview that describes the development of the company since entering into the merger. The net loss climbed from $60.6 to 89 million while the net long term debts rose from $699.0 million to $1.671 billion.

The number of concerts promoted went up from 14,933 to 15,049 but the total number of visitors fell from 39,711 to 35,667 million. Bearing the figures in mind it is no surprise that Michael Rapino, CEO of Live Nation states, “We continued to drive results in our higher margin businesses, including our eCommerce and sponsorship assets. Given our direct access to over 200 million fans through our online storefront, we’re focused on improving our digital offerings and participating in multiple revenue streams linked to the online ticket purchase.”

In detail Live Nation reported a decline for almost all of its various business units. The revenue for the Concerts division shrunk 10.3 % within the last nine ninth months, from $2.951 in the same period in the pre-

Michael Rapino

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Rapino furthermore announced: “We are also taking additional steps to reduce our operating costs and further improve efficiencies across our operations as we move toward 2011. As we execute our strategy, we remain confident in our ability to maximize the value of our end-to-end platform and improve the performance of our business.”

The Executive Chairman of Live Nation Irving Azoff also hopes for external , saying: “While our roster of superstar clients and tour schedules for 2011 remains strong, we need some improvement in the overall economic environment in order to optimize profits going forward.” Since the beginning of November the share of Live Nation moved up at the New York Stock Exchange (NYSE) from $9.50 up to $10.01. Live Nation acquires Ticketnet in France In order to strengthen its ticketing business in Europe, Live Nation took over Ticketnet. The company is active in the ticketing markets in France, Belgium and Luxembourg and sells around 6.6 million tickets per year via its internet platform and 750 retail outlets. Managing director Francois Thominet will remain with the company and com-

Alan Ridgeway

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mented on the deal in a press release: “We are excited about the opportunity to see Ticketnet continue to grow in the French marketplace while taking full advantage of all the resources and experience that Live Nation has to offer.” Alan Ridgeway, CEO of Live Nation International welcomes Thominet’s continuation with Ticketnet saying: “I’m delighted that François Thominet is staying with the company and will be continuing the great work that he has already done to establish Ticketnet as a market-leading full service ticket retailer and distributor in France. Through Ticketnet, Live Nation intends to further develop its commercial relationships with all the constituents of the French entertainment market: venues, producers and local promoters.” No information was made on the purchase price.

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CTS Eventim Improve Results Again: Preliminary company results for the first nine months underline growth The German concert industry market leader continues to maintain its growth rate. As usual in recent years CTS Eventim reported positive earnings and revenue figures. Revenue rose within the first nine months of 2010 from 329.5 in the first nine months of 2009 to 372.4 million Euro, an increase of 13 percent. The Earnings before Interests, Taxes, Depreciation and Amortisation (EBITDA) grew 10 % from 50.5 to 55.6 million Euro while the EBIT at 44.2 million Euro remains at almost the same level as in 2009 where the EBIT was at 44.1 million Euro. Nevertheless the company reported that the earnings results are weighted due to the acquisition costs for Ticketcorner and See Tickets Germany and legal consultancy for the ongoing arbitration case with Live Nation. Without these additional costings the EBITDA would have been 60 million Euro and the EBIT 53 million. The Ticketing unit of the company archived a revenue growth of 29.5 percent from 95.7 up to 123.9 million Euros before consolidation. CTS Eventim declared that revenue growth is driven by the organic growth of its European subsidiaries and their highly profitable online

sales. Furthermore recent acquisitions have started to contribute positively to the results. Online sales rose by about 30 %, due to the company selling 10.7 million tickets instead of 8.2 million via its portals. But due to the mentioned acquisitions the EBITDA remains at 34.7 million Euro instead of 30.7 in 2009 and EBIT of 24.9 compared to 25.9 million Euro. The Live Entertainment business division even was even able to increase its revenue results. This is almost surprising due to the limited number of touring top artists this year and the overall economic climate in Germany. Revenue went up from 236.4 to 253.8 million Euro while the EBITDA for this part of CTS Eventim increased from 19.8 to 20.8 million Euro The EBIT results grew from 18.1 to 19.4 million Euro. While the results for Q3 haven’t been reported yet, CTS Eventim declared that Q3 results are affected by investments of 1 million Euros in the exhibition Tutankhamun. The complete business report will be released on November 25. The CTS Eventim share price went up since the beginning of September from 35 to 42.90 Euro.

artist avails ›› Bauchklang Territory: Worldwide Period: 2011 Agency: Georg Leitner Productions Agent: Nina Pernica Phone: +43 1 914 8615 E-mail: npernica@glp.at Homepage: www.glp.at Within Temptation Territory: Worldwide Period: March 2011 and onwards Agency: X-Ray Touring Agent: Paul Bolton Phone: +44 (0) 20 7749 3500 E-mail: paul@xraytouring.com Homepage: www.xraytouring.com Adler’s Appetite Territory: Germany, Czech Republic, Austria, Slovakia, Hungary, Turkey, Greece Period: 15/3/2011 - 26/3/2011 Agency: ARM Entertainment Agent: Dana Strutz Phone: +1 651 483 8754 E-mail: ds@armentertainment.com Homepage: www.adlersappetite.com Groove Armada Territory: Europe / Worldwide Period: Europe Winter 2010 Worldwide 2011 Agency: WME - William Morris Endeavor Ent. Agent: Steve Hogan E-mail: shogan@wmeentertainment.com Homepage: www.groovearmada.com Alannah Myles - Acoustic/Unplugged Tour Territory: Europe Period: 1/3/2011 - 30/4/2011 Agency: ARM Entertainment Phone: +1 651 483 8754 E-mail: ds@armentertainment.com Homepage: www.alannahmyles.com Sass Jordan Territory: Period: Agency: Agent: Phone: E-mail: Homepage:

Europe February / March Paperclip Agency Hilde Spille +31 24 323 9322 hilde@paperclip-agency.com www.paperclip-agency.com

More Artist avails on: www.vip-booking.com Post your Artist avails on: www.vip-booking.com 15 VIP-BOOKING.COM

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notice board ›› Another new service in the improved and redesigned VIP-News is the Notice-board, which is available for all readers. Reader’s messages will be posted on the Notice-board as a free service, passing on announcements, job postings, buying and selling notices, inquiries or alike. Announcements should be emailed to noticeboard@vip-booking.com

WOMEX 10 COPENHAGEN: Full of Life and Music The 16th edition of WOMEX closed on Sunday, 31 October, after five full days of intense networking, inspiration and music. Held in Copenhagen, Denmark, for the second year, WOMEX has proven, once again, to be the hub of world music professionals from all over the globe. 2440 delegates from 94 countries attended the event, that began with 200 delegates in Berlin in 1994.

yond”. Along with a special session on sub-publishing, the new curated Matchmaking service for (sub-)publishers, supported by the UK and German music publisher associations MPA and DMV, enjoyed considerable popularity among the music rights’ dealers at WOMEX. The second newly introduced – and also fully booked – format at this year’s Conference was Country Speed-Dating offering the opportunity to meet festival promoters, agents, managers, labels etc. from Brazil and Canada. Delegates looking for individual advice were served by the Mentoring Sessions: private 15-minute consultations with any of seven industry experts from various fields and occupations.

This year’s Trade Fair figures confirm the high importance that WOMEX delegates invariably attach to the exhibition part of WOMEX: 650 companies and organisations from 57 countries presented themselves at 260 stands in the new daytime venue Forum Copenhagen placing WOMEX right in the heart of Denmark’s capital. More acts than ever before – 59 – from 38 countries performed at the WOMEX Showcase Festival featuring five nighttime stages at the spectacular DR Koncerthuset and one Daycase Stage at Forum Copenhagen. In honour of WOMEX’s current home region, one stage was entirely dedicated to artists from the Nordic countries. Each of the three nights at the offWOMEX Stage highlighted a particular country/region: Spain, Québec and Wales. A special, exclusive event was organised for the WOMEX 10 Opening: Three of the finest bands on the contemporary Korean music scene presented “The Chaosmos of Korean Music: Heaven, Earth and Human” revealing innovative renditions of traditional Korean music. The project was supported by the Ministry of Culture, Sport and Tourism of the Republic of Korea; Korea Arts Management Service; and the Embassy of South Korea in Denmark. Corresponding to the broad range of music industry branches represented at WOMEX, the Conference covered four major topics focusing on the value of the “experience”: More than 60 speakers from 21 countries shared their professional know-how with WOMEX delegates in 20 Conference Sessions centring the The Live, The Recorded, and The Digital Experience, as well as the “Vision Be-

WOMEX also featured an international platform for world music in audio-visual media: 14 Film Screenings, mainly music documentaries, and a dedicated Conference Session were programmed by WOMEX’s long-term partner IMZ International Music + Media Centre, Austria. Numerous world music networks from all around the globe held meetings at WOMEX: European Broadcasting Union’s World Music Workshop; ACP Music Festivals; European Forum of Worldwide Music Festivals; Global Music Education; Nordic World and Roots Music; North American; Asia Pacific; and African Music Export Office network members all gathered in Copenhagen to discuss current issues. Four Awards were presented at the Award Ceremony on Sunday marking the end of a successful WOMEX edition. The WOMEX 10 Award for Artists went to Danyèl Waro, the uncompromising maloya hero from Réunion Island. Philippe Conrath, whose Cobalt label has released Danyèl Waro’s music for the past years, states: “It is [...] with emotion that Danyèl Waro receives this award as a form of reward for a course without compromise, the path of an artist tirelessly committed to the celebration of a superb language, the Creole that sings the words so well.” fRoots Chief Editor Ian Anderson, UK, received the WOMEX 10 Award for Professional Excellence on behalf of the independent press. WOMEX Founding Director Ben Mandelson notes: “Since 1999 we have given the WOMEX Award to extraordinary artists and professionals from its community deserving of special praise but we have never ever awarded the media. And yet the independent media play such a crucial role for our kind of music business, part of us, supporting us and providing a vital forum for

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topics that otherwise would fall through the grid or answer only to big-media-corp interests. With the Internet bringing change to all traditional business models, offering the media world its own urgent challenges, now, more than ever is the time to show our support for an independent media.” The winner of the WOMEX 10 Top Label Award, a joint project of World Music Charts Europe and WOMEX, is world village / harmonia mundi with branches in France, USA, UK and Spain. The selection was made using the charts of 50 radio broadcasters from 24 countries collected over 12 months.

WOMEX thanks all production staff, volunteers, enthusiasts, professionals and fans; along with our production partners at World Music Fair Copenhagen and all our financial supporters; plus Forum Copenhagen and DR Koncerthuset. WOMEX 10 was a production of WOMEX – the World Music Expo, in cooperation with World Music Fair Copenhagen. The next edition of WOMEX will be held in Copenhagen from Wednesday, 26 to Sunday, 30 October 2011.

For the second year, WOMEX hosted the presentation of the Roskilde Festival World Music Award honouring the Dhow Countries Music Academy, Tanzania. The project receives the Award for its work on maintaining and developing the musical traditions in an area where cultural development is relegated to the background in many cases because of more basic challenges. “It’s often with good intentions that cultural projects are launched in third world countries. But it’s harder running the projects over a longer period so that they can make that difference that was the aim to begin with. The Dhow Countries Music Academy draws attention not only because of its purpose and level of ambition. It’s also a professionally working organisation that has proven its worth and managed to make a difference in its area,” says Peter Hvalkof, booker of world music at Roskilde Festival, about the background for the choice of the Award winner. The prize included 30,000 euro. (For more information contact Peter Hvalkof at PeterH@roskilde-festival.dk) WOMEX has a three-year partnership with World Music Fair Copenhagen, an organisation created by several key cultural players from Denmark to host WOMEX in Copenhagen from 2009-2011: First and foremost Roskilde Festival, Copenhagen Jazz Festival and Wonderful Copenhagen. The other principal members comprise the Danish Center for Culture and Development (CKU/DCCD), Global Copenhagen and World Music Denmark in cooperation with Welcome Meeting Management. WOMEX 10 was supported by the City of Copenhagen, the Capital Region of Denmark, Oticon, the Danish Arts Council and Wonderful Copenhagen. Peter Hvalkof

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Monthly featured Artist ››

ABBA The Show Origin: Style: Tour period: Territory:

Sweden Pop Call for availability Worldwide

ABBA THE SHOW has had its world premiere back in September 2001. It was in Ibsenhuset in a city called Skien in Norway. From day one it was a HUGE success. The Norwegian newspapers wrote spectacular reviews in the following days. Headliners as: 1. Mama Mia, ABBA is still alive! 2. Brilliant ABBA Show! 3. ABBA Clones! 4. ABBA-Fans never denies! 5. Going by the time machine back to the seventies! Since 2001 the show has toured USA, CANADA, FINLAND, ESTONIA, NORWAY, SWEDEN, DENMARK, HOLLAND, GERMANY, AUSTRIA, LUXEMBURGH, SWITZERLAND, ENGLAND, SCOTLAND, WALES, IRELAND, NORTHERN IRELAND, SPAIN, ITALY, INDIA, JAPAN, THE PHILIPPINES, KAZAKHSTAN, MALTA, CYPRUS, MOROCCO, FAROE ISLANDS, CZECH REPUBLIC, SLOVAKIA, POLAND & CROATIA. Whereever the show has been it ALWAYS come back and play the same venues again!!! Germany and Holland was introduced to the show in the autumn 2003 and it was such a great succes that a new tour was immediately booked for spring 2004. In USA & Canada the show toured every year since 2002.

Agency: Name: Email: Phone:

Everywhere the show has played it has been welcomed very much and it has created another ABBA fever. The audiences is going mad and are really truly enjoying themselves. One cannot help singing and dancing in the aisles when ABBA THE SHOW plays some of the greatest ABBA hits from 1969 and untill 1981. 3 fantastic and spectacular shows must be mentioned. First the show was performed in the new and fantastic Saku Arena in Tallinn Estonia (March 2001) in front of a nearly sold out crowd of 6,500 people - it was just one month prior to the Eurovision Song Competition in 2002 unfortunately ABBA THE SHOW could NOT participate in the competition......

CSB Island Entertainment ApS Kenneth Svoldgaard kenneth@csb.dk +45 75 16 67 22

glad we did as it was a very nice experience! We sure recommend this show to everyone else in the future!” A few weeks after the show in Holland, the producer Kenneth Svoldgaard, received an email from the chairman of the Fanclub saying “Here is our thoughts and feelings about ABBA THE SHOW written down in short quotes”: Absolutely the best ABBA since ABBA It truly feels like ABBA is still Alive It truly feels like ABBA lives on It truly feels like you are looking at ABBA It truly feels like you are hearing ABBA The true ABBA experience The one and only ABBA since ABBA

The second show to be mentioned was when The Official International ABBA Fanclub saw the show 3 october 2003 in Maastricht Holland together with more than 5,000 other “crazy” spectators. The chairman of the Fanclub, Helga van de Kar, was extremely (over) excited after the show and said afterwards to the producer Kenneth Svoldgaard: “For sure the best coverband/show we saw so far ! Some moments really would make you think you are looking at ABBA. What really made me happy was to see all those 5000 people enjoying the show; dancing and singing along! This makes ABBA still alive! I myself sang along with all the lines, couldn’t help doing so.

Kind regards, Helga van de Kar

The people in Brighton were thinking about having Bj?Again but as soon as I heard that I said why not ABBA THE SHOW, this is so much better. And of course the ex-ABBA musicians is also an extra attraction. To be very honest that was for us the reason to come and see your show! ... I’m

This show has for sure surprised many many people worldwide - and it intend to keep doing so. Keep a close eye on the tourlist of this website and Do NOT miss the next ABBA THE SHOW opportunity looking forward seeing you at the next ABBA THE SHOW performance.

ABBA the Show

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Last but definitely not least the third show worth mentioning was at the World Famous Hollywood Bowl where 18,000 (nearly sold out) joined the ABBA fever July 5 2004. The complete crowd were waiting and screaming anxiously for Dancing Queen which of course was one of the very last songs performed. When the intro of the songs was played Hollywood Bowl was about to explode in joy - what a night, what an audience, what an experience. Hollywood Bowl was and still is the highlight of ABBA THE SHOW’s history!!!

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Member presentation ›› In In this this section section we we offer offer members members of of VIP-Booking.com VIP-Booking.com some some space space to to present present their their company company to to VIP-News VIP-News readers. readers. If you would also like to present your company please contact Peter Briggs at pb@vip-booking.com If you would also like to present your company please contact Peter Briggs at pb@vip-booking.com

Cult Concerts Agency GmbH Since 1993, we have booked more than 3000 shows for national and mainly international artists in Switzerland and Europe. Cult Concerts Agency and Black Lamb Productions have now become one of the main Swiss booking agencies for festivals and tours. Our clients include The Metropop Festival, Sound Arena, Baregg Festival, AVO Session, Open Air Gampel, Outside Zürich Festival, Bex Rock Festival, Balélec, Out-in-the-Green festival, Open Air St. Gallen, Paléo Festival, Gurtenfestival, X-Tra Limmathaus, Kaserne Basel, Fri-Son, Bierhübeli, AlpenRock House and many others. The Tours and off-dates: We act as local promoters for international acts performing in Switzerland, either on the promoters requests or on agent¹s request. Our job is to look for artists for the clubs/venues/promoters/special events/festivals or to look for places to play for the Artists on tour.

ganisation, Production Management, Artist Relations, Backstage management (dressing rooms & catering), Artist Transports, Press Office, Security, etc. Management & publishing: We are managing and taking care of the publishing of some artists Future developments: We intend to consolidate our position on the Swiss market in terms of festivals and corporate bookings as well as developping our booking activities for Swiss and International acts in Europe.

We also are exclusive booking agents for several Swiss and International acts. The Festivals, corporate and special events: We have exclusive deals with some of the most important festivals in Switzerland as well as with a growing number of corporate events. What we do for them varies from case to case: it goes from the making of the program to the coordination of the overall or-

About Our Company VIP-Booking’s core product is the Internet’s oldest and largest database for the European Live Entertainment Industry www.vip-booking.com developed as a tool for industry professionals. Since it’s launch in the year 2000, we have consistently offered our subscribers the very best in database services and now boast subscribers in over 30 countries.

Today VIP-Booking offers a range of tools for the industry – including VIP-News, VIP-Booking, VIP-Book and VIP-Contract. Please visit vip-booking.com for further information. Your comments and suggestions are always appreciated.

vip-booking.com

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