VIP-News Premium Vol. 162 - November 2013

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PREMIUM > VOLUME 162 > NOVEMBER 2013

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NEVEMBER 2013

McGowan’s

Musings

As often happens I’ll be working on this

and that seems like yesterday – I must stop

are experiencing something of a boom (see

issue­of The News on at least two different

doing this, I’ll give myself a headache…

report on ADE in this issue). Many of you

occasions­, so this bit is being– or was written

may remember the name Bob Sillerman­, a

prior to setting off to Luxembourg for this

Anyway, here we are with information stack-

highly enterprising gentleman who, in the

year’s Sonic Visions, all being well I’ll report

ing up with the likes of Tallinn Musc Week

nineties­, set about buying up great swathes

back and that bit will be added on my return.

and Eurosonic looming on the horizon, and

of the international­live music industry­ ,

It’s as close as we get to time travel, although

with the Festival Season campfire embers still

at the time his voracious Company was

ILMC had a go at it, adopting it as the theme

warm, we’re already getting news about next

called SFX and the conglomeration of his

of the Conference earlier this year in March,

year’s bills – don’t these people ever take a

purchases­changed the face of the business­

break? T-in the – Park have announced that

introducing­corporatisation­to a business that

the Arctic Monkeys are confirmed for 2014’s

had previously­been based on the practices­

T In The Park, with tickets going on sale

of mainly independent entrepreneurs. This

tomorrow, that’s today, November 21- as I

extended­shopping spree and the sell-ons

write, it’ll be last week when you read this

that followed gave us that big friendly giant­,

(see what I mean?). Festival Director Geoff

Live Nation . Although I’m sure that a man

Ellis says: “We’re thrilled to announce Arctic

such as Bob would not be satisfied with

Monkeys as our first headliners for T In The

sitting­by the pool and counting his money

Park 2014. After this year’s fantastic 20th

(unlike­myself I have to say!), we have not

year celebrations, we asked our audience

heard too much about him in our corners of

who they’d like to see at next year’s festival

the live music world. Till this year when he set

and Arctic Monkeys came top of the poll, so

about buying up all the leading Companies­

we’re really pleased to be able to confirm

involved in that ‘clubbiest’, ‘partyest­ ’ and

them. Also Lily Allen has confirmed that she’s

now ‘fetivalest’ of genres, Dance, at a rate

definitely playing at Glastonbury next year.

which exceeded the BPM’s of an E-fuelled­

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

Ibetha Beach Party! Now as LN and AEG

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

Hi – I’m back from Luxembourg where a

start to notice and go about expanding their

good and informative time was had by all,

own EDM, EMC or whatever you want to

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

and I got to see the very impressive Sigur Ros,

call it, portfolios it will be interesting to see

see the Sonic Visions report in this issue.

if Bob will do what he did before and sell

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

his collection­on – the questions being, how One thing that I’ve been meaning to mention­ of EDM – Electronic Dance Music, or I see

Anyway, time travel, power games, enormous­

that certain transatlantic chaps have been

amounts of money – it’s all too much, I think

referring­to EMC – I’m not exactly sure what

I need a nap, so before I retire – Ladies and

that stands for. However, whatever you call

Gentlemen, The News!

it the genre and all things connected­to it

2

soon, and who to?

for a while is the seemingly inexorable rise

VIP NEWS >

NOVEMBER 2013 NEVEMBER

SONIC VISIONS 2013 - A Successful Edition Allan McGowan am@vip-booking.com

The year’s edition of the Conference and

topics including direct-to fan, the role of the

in Germany, enjoyed the intimacy of the event

Showcase­presented in The Rockhal venue in

artist manager, the importance of additional

which gave a chance to talk to pretty much

Esch, Luxembourg was the biggest yet. Sonic

revenue­streams, touring etc.

everyone. One even joked that it was good to

Visions 2013 sold out the conference and

The live music programme included small

attend an event at which the French delegates

sold more than 5.500 festival tickets for the

acoustic showcases in the delegates area with

had to speak English!

showcase/­ festival. More than 330 delegates­ bands like Seed to Tree, intimate concerts­ This edition included the first awards ceremony­ from Luxembourg, Germany, France, Belgium­, The

Netherlands,

at the Rockhalcafe where the audience­ for the VCAs – the Luxembourgish Video Clip

Switzerland­ , United­could discover­upcoming acts like Owlle and

Awards. More than 70 participating music

Kingdom­, Denmark, Czechoslovakia, Iceland,

Antimatter­People­ . The Club offered. the

videos­participated and the Jury made its

Sweden, The United States, Japan and Poland

Luxembourgis­ h Trio Aufgang (two grand

choice for the following awards:

came to discuss the latest trends and current

pianos­being played in a way that would shock

issues of the music industry over two days

the makers!), and the Belgian band, Girls in

Best Music Video: presented by (Logo Sacem

Hawaii. The Rockhalhas three in-house venues

Luxembourg) and (Logo CNA):

The theme of Sonic Visions is, ‘It’s All About the

and a tented stage was added outside in the

“Get It” by Say Yes Dog: Directors: Stephen­

Artist’ and the panels and the two keynotes­,

shadows of the huge and impressively rusting­

Korytko and Raoul Henri

by Keith Harris, former General Manager of

steel works, to present Porn Queen, OK Kid

Best Upcoming Young Director: presented

Motown and nowadays manager­of Stevie

and Charity Children. The Mainhall staged

by (Logo stART-up): Eric Schockmel (Studio M)

Wonder and Director of Performer Affairs at

international acts Hurts and Sigur Ros. All in

for “Shemale Obsession”

PPL in London, and Tim Renner­, former­CEO

all 25 bands formed a line-up full with a mix

Jury Award: “Radar “ by Hauschka: Director:

of Universal Germany and today­CEO of Motor­

of well known top acts and new music from

Jeff Desom

Entertainment, centred on this direction­ . Luxembourg and abroad.

Audience Award: presented by (Logos, RTL,

The intense agenda of the conference­saw

The international delegates that I spoke to,

Eldoradio, Post): “Up” by Vintage Gigolos:

delegate­ s involved in two days discussing

including­Michael Bisping from A.S.S Concerts

Director­: Georges Waringo.

Panel at Sonic Visions Jean-Francois Michel passed away in 2011

3

3

VIP NEWS >

NEVEMBER 2013

European Music Office Files for Insolvency MaMA takes place in NEVEMBER 2013

Manfred Tari mt@vip-booking.com

Jean-Francois Michel passed away in 2011

At the beginning of November The

in the European Commission, the Europea­n

No - Brussels and the European Union is no

European­Music Office (EMO) went

Borders Breaker Award, so far the only

paradise for the live music community. No,

into administration. Shortly after the

project­for popular music instigated by the

EMO also weren’t really advocates for this

former long time secretary general

European Commission. EMO also was one

sector of the music industry, but nevertheless­

Jean-Francois Michel passed away in

of the main partners in ETEP, taking care of

this office was the one and only source that

July 2011, the organisation­encountered­

administrativ­e matters, and was probably an

at least occasionally with E.T.E.P. and the

financia­problems with one projec­ t.

essential force behind the applications for

European­Tour Support Program caused a

Before­Michel resigned, he appointed­ ETEP in terms of the financial grants by the

little­bit of awareness among the staff of the

Dieter­Gorny,

European Commission or politicians within

the

head

of

the

Bundesverband­Musikindustrie,

the

German­IFPI branch, as his successor.

EU for this project.

the European Parliament. These peopl­e often­ For those who remember the very few

behave like modern administrative aristocrat­s,

obituarie­ s ­­ for Jean-Francois Michel, the

highly un-democratic autocrats who became

In the beginning the EMO was funded by

news of the demise of the EMO is almost

experts in downsizing democracy­ , purely

variou­ s copyright collection societies and

as sad as the ones for the forst secretary

devoted­to installing a new system of ‘lobby-

was, alongside the IFPI branch in Brussels,

genera­l. The relevance of EMO has often

crac­y­’ in order to replace democracy.

one of the very few lobby organisations

been underestimated, the need for such

looking­after the interests of the music

an office being widely ignored at almost

So, the spirit of Europeans devoted to

industry­in the European capitol. Founded in

every level of the live music sector and even

music­loses a valuable voice in Brussels and

1998, EMO also quickly took other national­

within­the record industry, though they at

it is more than sad that the majority of the

music organisations on board when the

least have, with I.F.P.I. or Impala, their own

concer­t community or its corporate cowboys

particular­copyright­collection

lobbying bodies in Brussels.

is not able to realize that with the insolvency

societies

started­to strengthen their own lobbying

of EMO something has passed away that

effort­ s. Lately EMO active members had

Yes - EMO staff members Jean-Marc Leclerc,

was a bit more important than most of them

mainly been various­music export offices.

Fabien Miclet or Eric Sasson, just to name a

could imagine....

few, worked very hard but unfortunately did Apart from the financial failure of a project

not gain the recognition or the applause for

Previous EMO-members said that attempts

named Diversidat, EMO-founder Michel,

what they have achieved or at least aimed

will be undertaken at Eurosonic Noorderslag

among others, founded, together with

to obtain.

2014 to set up a new organisation to fill the

Nikolaus van der Pas, a high ranked official

4

gap caused by the departure of EMO.

ARY S R E V I N N A 10 TH

www.en.bis2014.com

THE LARGEST MEETING PLACE FOR ALL PROFESSIONALS IN PERFORMING ARTS

22-23 JANUARY 2014 NANTES - FRANCE

DISCUSSIONS EXHIBITORS SHOWS WORKSHOPS...

VIP NEWS >

NEVEMBER 2013

Creative Europe Will Replace Former EU-Culture Program In 2014 Manfred Tari mt@vip-booking.com The previously suggested 1.8 billion Euro,

that the term “film” is mentioned 220 times.

is reduced to 1.4 as the recently­European

The word “music­” appears 41 times and the

Well, as far as the chances of the live mu-

Union approved budget for the new cul-

word “concert” gets mentioned six times.

sic community benefiting from Creative

program will run on from January­2014 to

And for all those who still think that the

EU-Commission­and the European Parlia-

December 2020 and is intended to support

departure of EMO is meaningless­for their

ment have documented their preferences

European culture and its creative sectors.

business within this 1.4 billion Euro expen-

accordingly­and it can be taken for granted,

ture program­entitled Creative Europe. The

Europe it’s not hard to imagine that the

sive master plan, the following example is a

popular music and the live music sector is not

Once again it will be the film and audio vis-

good one: In a position pape­r regarding the

as high on the agenda as their beloved film

ual sector that benefits most from this pro-

“establishing (of) the Creative Europe Pro-

and audiovisual sector...

gram as 56 percent of the planned budget

gramme”, EMO concluded: “In this context,

However, it can be also taken for granted

is allocated­for those parts of the creative

the European Music Office does not under-

that with the EMO is gone, there will be no

industries. Unlike the music sector, the film

stand why several amendments of the Report

organisation from the live music business

industry lobbied decision takers and opinion

tend to highlight­some sectors at the expense

community­or even meaningful live perform-

leaders very effectively­and working closely

of others. Indeed, while no justification­for

ing artists to eventually express their con-

together with the European Commission­ differentiation between specific sectors is

cerns concerning this political ignorance. This

for Education, Culture, Multilingualism and

to be found in the European­Commission’s

unfortunately enhance­ s the likelihood that

Youth developed tailor made support meas-

impact assessment or recent studies on the

disenchanted young European citizens may

ures for the film business. Specific sub-pro-

cultural and creative sectors’ needs, the au-

be inclined to vote for anti-European com-

grams such as “Support for Distribution”,

diovisual sector is mentioned as an individual

munity parties rather than those who back

“Development Funding” or “Support for

sector in amendments”

the European idea...for Britain to have strong

Markets, Festivals and Training” will perfectly

Nevertheless, within Creative Europe for the

live music, making our mark as performers

feed the film sector, while the music sector

first time small and midsized­enterprises are

across the world.

might have to seek support within those

apparently intended to receive funding by

“I see international visitors at my gigs all

parts of Creative Europe they are able to

debt guarantees for micro loans. The micro

the time waving their flags. Fans that have

squeeze in to.

loan scheme should help the smaller players

dedicated their time and money so I try to

within the creative industries to access up to

give them all that I have every performance. I

The music sector is barely being considered

750 million Euros in bank loans. Okay, this

love the thought of them going back to their

within “Creative Europe­”. For instance, one

reads like another tricky elemen­t to keep the

home towns across the world with that last-

of the most important documents “The

music industry busy, while the film sector

ing memory of me performing on stage.”

Commission­Staff Working Paper for the

just hands in their order forms concerning

Creative Europe Framework Programme­ ”,

the amount f funding they would like to be

The new UK Music and VisitBritain study

only considers market figures for recording

granted.

follows a recent and sustained­spike in in-

music but not at all for the live music sector.

6

terest around music tourism. Over the sum-

Economic data for the Film and TV sector is

The launch of Creative Europe due to the

mer many senior politicians, including Prime

described very differently and in a much bet-

long lasting financial consultations­for the

Minister David Cameron, creative­ministe­r Ed

ter way.

entire 2014-2020 EU budget will be delayed

Vaizey and shadow minister for culture Dan

anyway. Guidelines for applications will not

Jarvis, referred to the music industry’s poten-

However, this is only one example that indi-

be published before the beginning of 2014.

tial for attracting overseas visitor­s to events

cates why the music sector­isn’t being con-

Furthermore, according to a spokesman of

such as Glastonbury and Bestival.

sidered appropriately or on a par with the

the European Commission, there is no con-

film sector­. Carrying out a word count check

crete information available as to when appli-

In one of the one of the most exciting and

within this document of 170 pages­reveals,

cants may be able to file their applications.

unique alliances in its six decade history, NME

VIP NEWS >

NEVEMBER 2013

AUSTIN, TEXAS To Sponsor NME AWARDS 2014 Jo Dipple - CEO UK Music

Allan McGowan am@vip-booking.com

announced that the city of Austin, Texas – Live Music Capital of the World® – will be the official headline sponsor of the NME Awards 2014, a first for any music platform.

Mike Williams, NME editor says: “No city in the world does more to support live music than Austin, Texas. They pack in a mindboggling­amount of amazing festivals­ into a year, each of which seems to get better­every time. Like everything else that the city does, they do it all their own way, embracing­vibrancy, diversity and passion.

There couldn’t be a more perfect partner for the NME Awards 2014.”

Home to many of the world’s greatest music­festivals – from Austin City Limits to SXSW – the city boasts over 2,000 recording­ artists­and more than 250 thriving live music­

the regional­NME Awards Tour, the London

Biffy Clyro and a show-stopping finale­

venues­ . Austin has become a mecca of

NME Awards Shows - which features the

from 2013 Godlike Genius Johnny Marr

vibrant­musical­diversity and talent.

best in new and current music at the hottest

who closed the night to a standing ovation

venues­in the capital - and the NME Awards

performing­a five-song set joined by Rolling

Bob Lander, president & CEO of the Austin

night. Austin­ , Texas will also sponsor the

Stones legend Ronnie Wood on guitar and

Convention and Visitors Bureau adds: “We

prestigious Best International Band category­

vocals from The Vaccines frontman Justin

are thrilled to be the title sponsor for the 2014

at the NME Awards.

Young.

NME Awards. This partnership represent­ s an incredible opportunity to expose­our Live

The NME Awards with Austin, Texas will take

Music Capital of the World® brand and

place on Wednesday 26 February at London’s

outstanding­Austin talent to their fan base.

O2 Academy Brixton.

“Additionally, visitors from the UK represent­

Graham Walters, COO, Academy Music­

our number one overseas market, and we

Group, says: “We’re delighted­to once

know that the March launch of the nonstop­

again be chosen as the host venue for the

British Airways flight from London Heathrow­

2014 NME Awards. With our reputation

will

really

boost

this

number.

Austin­ and musica­l heritage, O2 Academy Brixton

represent­ s a long established and world

is the perfect choice to present one of the

renowned­musical legacy and we’re looking

biggest events in the music industry­Awards

forward to globalising that image.”

calendar­.”

This unique partnership will run through-

Highlights from last year’s event include live

out the NME Awards season­ . It includes

performances by Miles Kane and Paul Weller,

7

VIP NEWS >

NEVEMBER 2013

Cologne Club Award With just under three weeks to go until the first ever cologne club

most deserving small, medium and large live music clubs, and a special­

award ceremony on December 12th, preparations for the event are

prize for outstanding work in the field of young talent support. The

in full swing. All the clubs nominated for the audience prize are now

winner of the audience prize, donated this year by KölnTicket, and of

mobilising their truest clients and fans and inviting them to take part

the special award will each receive 3000.

in the online vote The award is hosted by PopkulturKöln e.V. in cooperation with The cologne club award (cca) has been brought into being to honour­

KLUBKOMM­– Verband Kölner Clubs und Veranstalter e.V., with the

the best live music clubs in Cologne. As well as the audience prize,

kind support of the Landschaftsverband Rheinland and the City of

there is a ‘Best Club’ award of 6000 which will be presented to the

Cologne’s Office of Cultural Affairs.

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

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

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Register from a595

(Special rates for artists, students and young companies)

More information on midem.com

8

MIDEM_Xx_163x115.indd 1

18/11/13 14:55

VIP NEWS >

NOVEMBER 2013 NEVEMBER

SPOT FESTIVAL Announces 20 Edition th

Allan McGowan am@vip-booking.com

SPOT Festival will celebrate its 20th edition,

record­40% of these coming from Europe’s

Mew, Kashmir, Figurines, Saybia, Choir Of

as ever, in Aarhus, Denmark, during the first

biggest music market Germany.

Young Believers, MØ and many more, before

weekend of May (2-3 May) in 2014.

they were known by the international music Danish music has experience significant

industry.

The showcase event will present over a

international­success over the last few years,

100 bands from the Danish and Nordic

and it’s fair to say that SPOT Festival has had

More information:

music scene, and offer the opportunity to

a big hand in this, showcasing acts such as

www.spotfestival.dk… and go to

network with around 1000 music industry

Efterklang, The Raveonettes, Reptile Youth,

www.spotfestival.dk/vip for accreditation.

professional­s. In 2013, 600 Danish delegates

When Saints Go Machine, Sigur Rós, Tina

and 350 internationals attended, with a

Dico, Teitur, Aura, Alphabeat, Junior Senior,

9

15 - 18 januarY 2014 groningen, nl

Eurosonic Noorderslag is the key exchange and networking platform for European music, with a proven track record for helping new acts break into the international music scene. Selling out each year Eurosonic Noorderslag attracts over 3,200 delegates, including 400 international festivals. It presents showcases by more than 300 artists and a conference programme featuring 150 panels, keynote speakers, interviews, workshops, dinners, pitches, parties and meetings on the latest developments in the international music, media and interactive industry.

AGENDA WED 15 JAN European Border Breakers Awards & European Festival Awards & Eurosonic festival THU 16 JAN Conference & Eurosonic festival FR I 17 JAN Conference & Eurosonic festival SAT 18 JAN Conference, Innovative Production Fair & Conference, Music Media Conference, Noorderslag festival

Buy your conference registration now

www.eurosonic-noorderslag.nl

VIP NEWS >

NEVEMBER 2013

London Based Agency Value Added Talent Celebrates Thirty Years in Business Allan McGowan am@vip-booking.com

VIP-News talks to Dan Silver, Founder and MD of Value Added

university­to finish my degree. Graduating in 1975, when ‘graduate­

Talent:

unemploymen­t ’ was first talked about as a serious issue, I worked some jobs I hated a lot, whilst still looking into music options. I stumbled­ into a second opportunity of working with an independen­t Agency (well almost all Agencies were independent in those days, corporate­s hadn’t really invaded) in the Autumn of 1977 and I grabbed it with both hands. I have worked full time as an Agent ever since. I got some great experience at Albion, the Agency that invented pub rock and was so influential with the growth of punk, and later worked at MAM and then TBA alongside a young John Giddings, (MD of Solo, and Organiser of The Isle of Wight Festival.) before creating Value Added Talent in 1983.

You appear to have maintained successful long term relationships­with particular acts and managements, how important­has that been to the way you operate?

– As my saying goes, “If you want loyalty, get a dog” – this must be true because it has been borrowed and repeated by John Giddings ever since! I have had my share of upsets over 30 years of trading so I do value very highly continuing to work with the acts that I have grown over many years. Most acts I work with I have grown on a long term basis and from the start of their careers, I am thinking of Depeche­Mode, and Vince Clarke’s’ two other bands Yazoo and Erasure­, although I no longer work with those acts today. Orbital has always been a pleasure to represent and I am now booking their 25th

Dan Silver

anniversary tour since their first release in 1989, in 2014. Steve Hillage too is a long-term client that I have helped with other projects as diverse­as Gong’s 40th anniversary tour and currently in 2014 his new

Thirty years is quite a substantial time to have maintained and

and exciting fusion project with Rovo from Japan.

developed an independently operated booking agency, but your personal experience in the industry goes back even longer

In a music business that has seen so many changes over the

than that, to the time when people like you and I would refer

years Agency still appears to be the sector that has remained

to ourselves as ‘bookers’. How and when did you get involved­

consistent in the way that it operates - although the numbers

in the business, and what did you do pre VAT?

are different as acts have become more reliant on live income,

– My career path was to go to university - UEA (University of East

the Agent is still the middle man between the Act and the

Anglia) in 1972, to read ‘Sociology’ or rather to promote the groups

promoter­, and quite often that relationship is based on trust

as Entertainments Officer, to get experience, and to get into the music­

as agency contracts still seem to be very rare documents.

industry. I worked for my first Agency in the summer vacation­of

What are the main changes that you have seen in the Agency

1973 but decided that then it held limited prospects and returned­to

business­?

11

VIP NEWS >

NEVEMBER 2013

– There is a fragile and tenuous hold of influence by the Agent over

was a huge signpost that this process will continue and I don’t believe

any Artist and this can go badly wrong or be frustrated for many

this to be in the best interests of either the music fans or the Artists

reasons­beyond the control of the Agent. Personally I still prefer to

themselves. LN now buying into successful Management companies

agree contract­s with new acts as it recognises the huge investment

is further evidence of the continuing process. Without shareholders

this represent­s from me, and it also provides the incentive for me

subsidy this process would not be taking place, the role of capitalism in

to go further than otherwise is customary or usual in this business­.

this industry has skewed the market and concentrated a lot of market

I think of myself as a ‘managing’ Agent. A huge amount of the

power which I don’t believe to be in the industry’s best interest.

work I do represents­unpaid work, in the sense that we coordinate marketing­campaigns, advise Artists on their strategies and partners

Do you think that the growth of the festival market has

and make big efforts to secure data for the Artist, secure favourable

impacted­on the traditional touring periods, and has this

deals wherever­possible and generally act as an expert consultant in

affected­the way you plan your tour schedules?

strategy­, marketing­, international promotion and so on.

– The live industry has swung heavily towards the Summer Festival­ circuit­and this has certainly changed planning and schedules.

12

When I started in this industry the record companies were Kings and

Appearing­at Festivals uses up the rarity value of an Artist and has also

Agents were very reliant on the record labels marketing and promotion­

changed the pattern of touring. The Summer is now usually our busies­t

to establish an act. Nowadays the Agent has far more influence as the

work period, and it used to be Autumn, Spring and then Summer, in

growth of the Internet represents the chance for Artists to assume

that order. I liken Festivals today to the 5-screen cinema concept­, as

control of their own careers. The expert input, timing and strategy

the diversity of acts across a number of different stages is now the

an Agent can bring to any plan, and the connections we can make

norm. Whilst there are now what seems like ‘six million live bands’

today internationally bring added value and represent a big asset to

only a very small number of these command enough of an audience

any Artist. The Agent is the key coordinator between the act and its

to drive ticket sales and the other consequence of this is an increase in

public, and I try to represent the audience viewpoint to the Artist as

bids for exclusivity and longer lock out periods to other events. At the

much as the Artist’s to the audience. The key skill is in making the best

same time, some events are capable of generating customer loyalty

decision about when and where an Act should play. Associated with

by having high standards of infrastructure and a good diversity, so in

that is experience and knowledge about best choice of partners and

that sense the event then becomes a destination in itself and the acts

buildings, campaigns and marketing, as well as logistics, tax and work

become less important.

permits, and making sure a tour is achievable in the first place. There

has been an enormous amount of consolidation and a great deal of

Are you still on the look out for new additions to the roster

money buying up sectors of the industry, which to me undermines

and how do you source new acts? Are you at all worried about

the entrepreneurial spirit. The merger of Live Nation with Ticketmaster

a possible lack of new talent as record companies are not

VIP NEWS >

NOVEMBER 2013 NEVEMBER

developing­acts as they once did, and the smaller venue circuit

presuming­there’s still a business will you hand on the baton to

seems to be having problems?

an up and coming agent - or booker?

– I am very choosy about any new acts, but at the same time I remain­

– I am very thankful that my children are pursuing their own career

open to that possibility. In general, someone whose judgement

choices and not wanting to emulate mine. My eldest son is now a

I respect­will tell me about an act and I will then look into it. I do

professiona­l poker player, he does this using maths and with panache

evaluat­e a lot of situations and often pass. I don’t think I am aggressive

and has had some very tidy wins. As he has been fully independent

in the way I look for opportunity – for example I have never knowingl­y

for the past three years it is a great reward to see him making his own

poached an Act, although I have learned about an unhappy band

way. My younger son is now completing his schooling and has a huge

and then looked into it. Yes it is harder to break an act these days as

interest in becoming a film director which I am encouraging. There

the conventional indicators mean a great deal less. Plus the audience

certainly are some family dynasties in this industry and I am happy

themselves seem to be less ‘tribal’ in their dedication, meaning that

not to be amongst them. I expect that VAT will remain a personal

bands can have a great media success and then mean nothing very

operation­and very likely come to an end when I decide I have had

quickly. There is a divorce between ‘fans’– which I remind myself is an

enough excitement. But I expect to be around for another decade,

abbreviation of fanatic - and bands. Decreased audience loyalty and

and would not be surprised to stay involved for even longer than that.

increased turnover of artists makes the traditional building of an act

As I have said for many years, it’s “still not a real job”. It provides me

much harder today.

with the opportunity to make my own destiny, so it is unlikely I will let go willingly and of my own volition. I suppose I can now actually

Do you have particular plans for the future, or is it all business­

claim 40 years of service rather than the 30 years in the headline of

as usual? Do you think you’ll make another 30 years :) or,

Value Added­Talent’s trading – so 50 years would be a good target to achieve.

ThE hALL DUO IN NEckArpArk

UNIQUE AND DOUBLY GOOD

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AZ_in_stutt_VIPmag_2013_RZ.indd 1

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

13.11.12 18:32

13

VIP NEWS >

NOVEMBER 2013 NEVEMBER

MU welcomes NATIONAL INSURANCE RULING The UK Musicians’ Union (MU) welcomes the

John Smith, MU General Secretary says:

investmen_t into the UK’s creative economy­

Government’s decision to repeal the current­

“The MU has lobbied hard over the past year

by way of recording soundtracks for films,

National Insurance regulations in respect

to get the Government and HMRC to change

have

of entertainers, which was announced this

the regulations that state that self-employed

engaging­­ UK musicians as a result of the

morning (see www.gov.uk/government).

musicians now fall under Class 1 National

extra­expens­ e, and some orchestras were

This means that from 6 April 2014, those

Insuranc­e (NI) contributions.

also under threat.

individuals­engaged as an actor, singer,

or musician, or in any similar perform-

“The current situation has been hugely

“The Government’s decision to repeal these

ing capacit­ y will pay Class 2 and Class 4

problematic­for musicians and for those

regulations is fantastic news for musicians

Nationa­l Insurance as self employed earners.

who engage musicians as a result of them

and for the wider music industry and we are

The curren_t regulations meant that these

havin­ g to pay employees’/employers’ NI.

grateful that HMRC acted so swiftly on this

individuals­fell under Class 1.

Film producers­, who bring lucrative inward

important issue.”

been

expressing

concern

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14

vip-booking.com

about

VIP NEWS >

NEVEMBER 2013

The Roots of The Reeperbahn Festival Allan McGowan am@vip-booking.com

This year’s edition of Reeperbahn Campus, and Reeperbahn Festival,

visitors - 25.000 in 2013 - and the growing, and enthusiastic media

in Hamburg in October was highly successful, in many ways. VIP-

coverage.

News spoke with founders and organisers, Alex Schulz and Detlef Schwarte of Inferno Events:

The City of Hamburg has been very supportive, would it be correc­t to describe the City as partners in the venture, and do

You have worked with Inferno Events for some time now.

you expect this to continue?

How would you explain your role within the organisation of

– Alex: The City (which is at the same time the county) of Hamburg

Reeperbahn­Campus and Festival? Who first came up with the

has been supporting us from the very beginning. We would not have

idea for the event?

had the possibility to start Reeperbahn Festival without their support.

– Alex: Actually, I have been working with Inferno from the very

Two ministries with two different aims are supporting Reeperbahn

beginning­, for I founded the company back in 1993. Inspired by SXSW

Festival: The Ministry for Culture and the Ministry for Tourism And

in the year 2000, I was trying to find founders for the idea to install a

Marketing. Events like Reeperbahn Festival will always depend on

similar festival and conference on the Reeperbahn in Hamburg­. After

public support. From what we hear, The City Of Hamburg will stick

having received the first commitment through the City Of Hamburg­

to the annual amount. Their support will only be lowered relatively,

in the year 2004, I convinced Karsten Jahnke to organize the public­

as the total budget of Reeperbahn Festival is growing annually at the

-part­of Reeperbahn Festival as a joint venture between Inferno

same time.

Events and the KarstenJahnke Konzertdirektion. The business-part of Reeperbahn­Festival is fixed by Inferno Events exclusively, since it was

Alex Schulz

added to the event in the year 2009.

The event appears to have grown very quickly, this year’s figures­were I think up yet again on the previous year. It would seem that you are now the leading music conference and festiva­l event in Germany, do you feel confident in making that claim?

– Det: What makes us confident in saying that Reeperbahn Festival is the leading platform for the music industry in Germany and one of the three or four leading events in Europe is that it’s not us that firstly pointed this out, but other industry and media representatives, e.g. the editors in chief of the two most important German music industry magazines, who stated in their reviews that “..after Popkomm has finally been cancelled - Reeperbahn Festival is now the leading B2B platform in our country.”

An additional important indicator might be the undoubtedly international­character of Reeperbahn Festival. No other event in Germany has a comparable number of international delegates and partners. Also that with more than 350 performing acts Reeperbahn Festival is not only the largest but also the best Festival regarding the quality of its programme, as proven by the growing number of

15

VIP NEWS >

NOVEMBER 2013 NEVEMBER

Detlef Schwarte You seem to have learned very quickly what the music industry

important to maintain and sharpen your event’s profile. Many of the

wants from this sort of event, although I think Inferno Events

European festivals and conferences are focused on the national talent

is not exclusively a music company as such - is there a lot of

and industry. Reeperbahn Festival is different with its international­

music business experience within the staff?

horizon and impact and also its newly expanded view of the digital­

– Det: Don’t underestimate the music background of the company­.

economy. So visiting other events is part of developing your own

Alex and me were organizing concerts and a non-profit open-

event. If it’s good you bring back new ideas. If it’s bad you know how

air­festival­from the early nineties. Alex then founded a publish-

not to do it!

ing company­and a label and started to work with bands. Other colleague­s have masters in music or cultural science. Our conference

The ‘Wunderkind’ shows featuring German acts at this year’s

team includes experts who are working in very diverse fields of the

Festival were very well attended, do you see yourselves as

music and digital economy. And the head of production in winter

supporters­of homegrown talent?

and spring time manages the tours of acts like Biffy Clyro or right

– Alex: Yes, definitely. Now that Reeperbahn Festival has grown into

now Agnes Obel. Not to forget that our partner Karsten Jahnke even

one of the leading marketplaces for the international music business­,

brings in two generations of experience in the music business. So, a

we should take the chance to present new music from German­y

reason for the success of Reeperbahn Festival surely lies in the wide

and at the same time offer special options for international buyers­.

skills and knowledge of our team. Another can be found in the fact

The Federa­l Government has supported us as well for the last three

that Reeperbahn Festival is an independent venture that can be very

years now and they fixed a steady budget annually startin­g in 2014.

flexible in reacting to the industry’s needs and expectations.

Therefore­we also feel a certain responsibility to offer Reeperbahn­ Festival­as a platform for German Music Talent that aim for

The international delegate attendance was up again this year,

international­ markets.

and I know that you attend, and are very active at a lot of other events such as SXSW. Is it your aim to pick up ideas and

Are there any new initiatives planned for next year that we

information from these other shows to continue to expand

should know about?

this international element? Do you see yourself in competition

– Det: It´s quite early in the year to talk about what will definitely be

with similar events or do you think you can work alongside

new at Reeperbahn Festival 2014. But we will surely work on the

Eurosonic, MaMA etc?

content­and services of the conference to make the event an even

– Det: I don’t think that any of the events you mentioned feel that

better experience for the delegates.

they are in a competition with Reeperbahn Festival, so nether do we.

16

It seems that there is a growing demand for meeting points. Nobod­

– Alex: There are some new items in the pipeline for 2014, that we

knows better than you that one can spend the whole year now

cannot talk about at this stage of development. But you will be the

attending­one convention after the other... But of course it is very

first to be informed as soon as we make decision to publish them!

VIP NEWS >

NEVEMBER 2013

> CONFERENCE REPORTS

Better, Bigger, ADE! Manfred Tari mt@vip-booking.com

At the top of this movement is ADE. For its eighteenth edition in October 16 to 20 the event reported a record attendance of 300,000 festival goers, 5,000 conference delegates and 2,156 artists.

ADE is quite innovative in many ways, but probably one of the most passionate recent initiatives is the ADE DJ Cook Off. Over the last few years this has become the official kick off event for this convention.

It is delicious and different as chefs don’t cook this dinner, but rather prominent DJs. VIP-News spoke with Richard Zijlma, managing director of ADE...

Who won this year’s ADE DJ-Cook Off? – Oh, it’s become a tradition, Seth Troxler won again.

So, Seth Troxler is the ultimate chef of ADE? – Yes, I think so. The Jury changes every year, more or less except for It’s quite likely and almost taken for granted that, Amsterdam Dance

Dave Clarke, who is the head of the jury. The cooks also change every

Event (ADE) has becmme the biggest music conference in Europe.

year, but so far Seth Troxler has beaten them all. It’s amazing.

Times have changed over the years and former heavyweights such as Midem or Popkomm faced competition from music industry

VIP-News: So, how was ADE 2013?

conventions­that had previously been considered as niche-events.

– I think we had another great edition; on several levels we took another step up. If you don’t have assistance it is growing harder and

Well, Popkomm is now history, but Midem still is there and doubtless­

harder to see everything. I’ve tried to see a little bit of the program by

still a meaningful gathering for the top end of the international music

myself, but it was already impossible to do. On Saturday I realised that

business. But the success story of ADE is something special. In terms

probably a hundred thousand people were dancing at the same time

of numbers the event has grown over the years, reflecting the trend

in eighty locations in Amsterdam. That’s quite impressive. You also

that has taken dance music to such a level that it has become a stand

saw that reflected in the conferences, this edition confirms that this is

alone market segment within the music industry. It has its own live

a growing market. ADE reflects that entirely I think.

music circuit, its very own distribution channels and outlets for its music while occasionally still reaching out into mass media and mass

What have been the latest trends you’ve heard about from the

markets.

visitors to ADE and what have you found as you’ve listened to the panels?

Dance music unlike metal music paved the way for new sponsoring­

– Oh, I had no time to listen to any panel!

formats in the live sector, as in particular, all kinds of non music brands like to sponsor even small and midsized events.

But is there anything you’ve been told by visitors, what matters­ for them most these days?

The genre even developed its own festival formats gaining as many

– I’ve heard that SFX Entertainment bought a hundred percent of

visitors as typical rock festivals. The evolvement over the years from

ID&T. I think, that’s some interesting news. Yes, there is a lot of stuff

discotheques into dance clubs led to a unique global club circuit that

going on.

allowed many DJs and music producers to expand their business internationally­on a scale undreamed of ten years ago by those who

What have you’ve heard from the Americans as EDM seems to

are active players within this field.

be doing better than ever before on the US-Market?

17

VIP NEWS >

NEVEMBER 2013

– I think they really like to come over to see what the Europeans expect from EDM. ADE reflects all kind of sub-genres within its platform­. Of

Richard Zijlma

course, they are also interested in artists from the Netherlands as well.

Do you have more Americans this year than previously?

– I don’t have the figures right at the moment but there are definitely more Americans. At least there were more delegates. For example, Martin Kierszenbaum (Cherrytree Records) came over and said that it was fantastic, those people spread out the word and so you can predict, that more people will come in the next year.

What happened on ADE NEXT this year?(ADE Next is a subformat of ADE that is specially designed to meet the needs of newcomers in this business. However, this part of ADE is also of interest for established players as, besides entertainment, it provides interviews sessions with prominent players as well as a lot of essential information for the ground work of this business) – In general, this year we were able to serve the best program ever, I think. ADE NEXT is the program for upcoming DJs and producers and it is funny to see, that some of the visitors are very young, they are fourteen years old and they even come with their parents,. They come to check out their heroes, like Hardwell, who was doing a Q&A and the room was fully packed and hundreds of people were standing outside the room, waiting to get in. That was a challenge, because before Hardwell we had an Q&A with Nile Rodgers and there were also older people enjoying the Q&A. And when Nile Rodgers was finished I was able to introduce them to each other backstage. So,

because we wanted to provide the opportunity for fans to get to put

it’s funny to see the new number one of this generation, DJ Hardwell,

questions directly to the artists. So we created our own new kind of

together with the generation of Nile Rodgers.

platform, I think.

You also had Giorgio Moroder there this year.

The involvement of brands and non-music-companies, how did

– Yes, that was really great to have him. At this Q&A we gave the

that go this year?

audience moustaches to put under their noses. So, as he came in,

– Yes, they were also heavily involved in ADE Playground, the investor­s

he saw all the audience wearing moustaches, it was great fun. You

tried to make a day-program for clubbers and a lot of them invest in

know, we like to have some fun and it was really great to meet him, it

music, so we had a lot of brands involved creating their own spot

is really great to present these founders of the whole scene, including

as part of ADE Playground, like Sonos or Pioneer and Waves Audio.

Dave Smith from Cabaret Voltaire, who invented MIDI, for example.

These are the people who started it all, setting it up for guys like

I spotted Lee, which I guess is the jeans-brand.

Hardwell to come in...

– Yes, there are brands here who really tried hard for the last couple of years to be seen on the ADE communication platform, we invest

What happened at ADE Playground this year? (ADE Playground

quite a lot on our website and on communication, so we now can

is the latest extension of ADE that addresses consumers and

connect and engage with so many people, so it’s getting more and

allows non music brands such as Red Bull or Smirnoff, and also

more interesting for brands.

music technology companies to present themselves and to participate­in an extra smart format)?

Have you already been approached by brands for future activities­for next year?

18

– I think we really took a step up, because last year we still had to

– Most of the brands now in ADE, want to stay or want to participate.

explain what ADE Playground is and about the opportunity it gives.

They are gathering more and some brands are reaching out to set up

This year we did ADE Musictalks, which is a part of ADE Playground,

partnerships. The best brands for us are those who can sponsor us

VIP NEWS >

NOVEMBER 2013

Amsterdam Dance Event

and bring content and marketing reach. These are the three points

And was there any reaction to the success of ADE by the Dutch

I’m looking for.

government or the government of the city of Amsterdam?

– Yes, I even received an award this year.

Do they require any sort of basic settings from you? Do they like to know, how many media contacts ADE is able to provide,

Which one?

or is it at a more comfortable stage, were they tell you what

– Oh, I have to look what the name is, okay? I don’t know the name in

they want and you can tell them what you think about it or

English. But they now recognize ADE and we are very proud to have a

what might be even better for them to do?

mayor, who stands up and tells them how important this is for his city

– Oh, it’s all about the conversation between the brands and us. We

and for Holland. That is great to see.

have more and more brands who try to put in their own content and build experiences with their potential customers. If we can somehow

You are supported by the brands, what about support from

facilitate that, and make that happen, it is really important. I think, a

the politicians?

lot of things have changed, especially in the sponsor market. This year

– Yes, a group from the parliament also invited us; it was really great

I’ve started for the first time to work with some brands to see how

to meet them, because they really can see what we are trying to

we can mingle our Logo and brand with another brand and then put

achieve, to create a platform for the scene, from both an economic,

that into the market.

but also a cultural way, to explain our problems, our challenges and our opportunities to the government. That was a very interesting

How did you celebrate the 25 Years of dance in the

meeting. We sat up also with Duncan Stutterheim (??) from ID&T,

Netherlands­?

who explained a little bit more, with some journalist, who stayed at

– Yes, that was great to do, because that gave the Dutch scene the

the party till about 4:30, so it was really great.

fantastic opportunity to show to the rest of the world, in a positive way, how strong the scene is in Holland and where it all came from.

Are there any Export-Offices attending ADE this year?

I think all the worldwide media centred on this subject. Also Buma

– Yes…there was one from Norway. (Laughing)

Cultuur­expects a great achievement, there was a presentation of a book called ‘Mary Go Wild’ and it was received very well, also in

(To put this laugh in the right context, Zijlma is not laughing

the Dutch media and Television, Radio. In the Melkweg, where the

about the Export Office from Norway. He rather laughs about

opening­evening was held, there was really something happening

the fact, that this export office is one of the very few export

with the presentation of the book, you saw the older generation

offices that actually ever came to ADE. In fact, many Export

together­with the youngsters and they were joining together for a

offices go to various music conferences, but ADE probably the

great evening. That was really, really nice to see.

most important market place for the export of Dance music­, obviously seems to be not so much of importance for the export­policies in these offices)

19

VIP NEWS > BUSINESS > NEVEMBER 2013

MUSIC IN SHARES Manfred Tari mt@vip-booking.com

CTS Eventim

Strong Growth in Q3 And The Acquisition Of A Ticketing Platform For Cinemas A significant turnover increase cheers up CTS Eventim shareholders.

In the first nine months of the ongoing business year the revenue of CTS Eventim moved up 20 percent from 362.7 to 444,1 million Euros.

In line with this profit results moved up. The Earnings Before Interests, Taxes, Depreciation and Amortization (EBITDA) rose 21.2 percent from 70.9 to 86 million Euros.

In both Ticketing and Live-Entertainment company segments CTS Eventim has been able to improve its previous results. The Ticketingrevenues went up by 20.4 percent, from 140.1 to 168.6 million Euro, the revenue in the Live-Entertainment division climbed 23.9 percent, from 226.4 up to 280.5 million Euro. And with the overall figures looking so beautiful, CTS Eventim reported that via its Italian subsidiary TicketOne S.P.A it had acquired a 60 percent stake in the Crea

DEAG

Expands Management Board While CTS is increasing its results, DEAG announced an increase in its revenue results, reporting the appointment of Detlef Kornett as a new board member for marketing and international business. Kornett will join DEAG on January 1st and will become Chief Marketing Officer.

He previously worked for Anschutz Entertainment Group. Additionally Moritz Schwenkow has been appointed as Vice President local business within the board.

In the mid-term perspective DEAG declared a revenue target of 250 million Euro per year. DEAG shares currently stand at 4.32 Euro.

SFX Entertainment The Pro Forma Q3

Informtica, a ticketing company for cinemas.

There he is again. Robert F.X. Sillerman, the pioneer who once paved The CTS Eventim share started this week with a price of 37.45 Euro

the way for the corporatisation of live music business when bringing the forerunner of Live Nation to Wall Street, instigated his come

Live Nation

A Historical Moment Of Profitability Unbelievable: Live Nation managed to obtain profit results. After many, many years of losses, Live Nation is on target for a turn around.

The company turnover in the third quarter grew 15 percent (Q32013) from $1.96 to $2.26 billion.

On second look the current business report still doesn’t say anything about loss per share or net loss despite solid revenue results. In fact the net income for Q3 this time is declared as $43.7 million and even the nine month results is -believe it or not- positive, with $38.6 million.

A remarkable moment for a remarkable market leader whose share price peculiarly dropped from $19.40 until now down to $17.67 on November 5 when the results became public. It is not known if this may have to do with that current liabilities raised from $ 1.76 billion on December 31, 2012 up to $2.23 billion on September 30...

back as CEO for SXF Entertainment and a newly meaningful IPO on October 9 at NASDAQ, hungry for growth by acquisitions. The company concept on the first view reveals that Sillerman and his company mates have dug into one area of the live entertainment sector which other meaningful players such as CTS Eventim or Live Nation until now widely neglected.

The IPO-prospect is spiked with information about potential risks regarding its investment strategy but also informs that SFX would like to become the market-master-leader for electronic music events. And now the company reported its first business results for the third quarter.

The Dutch dance champion ID & T has already been swallowed, as has the German rave event fabric I-Motion and Totem Onelove Group Pty Ltd, Totem Industries Pty Ltd, Made Event, LLC and EZ Festivals, LLC) delivering for the first nine months a combined pro forma revenue of $211.6 million.

In terms of risks the first sad incident unfortunately occurred, at the US-festival Electric Zoo promoted by Made Event two visitors died after drug abuse, four others became seriously ill with the last day of the festival being cancelled.

At the end of first trading day the share went down from $13.00 to $11.98, on November 25 the share stood at $9.24.

20

VIP NEWS > MISC > NEVEMBER 2013

MEMBER PRESENTATION

Barley Arts Promotion

ARTIST AVAILS ORBITAL ñ 25th year anniversary tour in 2014 Territory: The World excluding USA / Period: May onwards Agency: Value Added Talent / Agent: Dan Silver Phone: +44 207 704 97 20 E-mail: dan@vathq.co.uk Homepage: www.vathq.co.uk

MUSICAL YOUTH Territory: THE WORLD Period: SEPTEMBER 2013 - MARCH 2014 Agency: STRATOSPHERE MUSIC Agent: STEVE HUGHES Phone: +447779257295 E-mail: musicmgmt@hotmail.com

The story of Barley Arts Promotion, leader for the organisation and production of entertainment and music shows, revolves around the figure of Claudio Trotta (b.1957 in Milan) Following his college years passion for the link between “high” and pop culture, he starts his career with Radio Montestella, then in 1975 he’s at Canale 96, the very first news radio, organising the first live shows of his life. In 1979 he graduates at the Civica Scuola di Arte Drammatica as music operator, spending a training period at the Teatro­alla Scala.

The same year he founds BARLEY ARTS PROMOTION­(first tour: JOHN MARTYN) whose name is a homage Trotta pays to one of his early passions, Anglo-Saxon country and folk.

Going through some TV experience (TeleRadioMilano 2), he’s involved by Lucio Salvini (chairman at Ricordi by that time) in his Country e Folk Label project and becomes the

Pacifico Blues Territory: Europe Period 2014 Agency: Specific Music Agent: Chantelle Duncan Phone: +442074834440 E-mail: chantelle@specificmusic.com Homepage: www.pacificoblues.com

Mattanza Territory: worldwide Period: generally available Agency: Maffucci Music Agent: Canio Rosario Maffucci Phone: +39.4858107 E-mail: info@italianworldmusic.com Homepage: www.italianworldmusic.com

Italian promoter for the artists in the roster. Later on, Salvini will entrust him with Artistic and Marketing Direction of the Blues & Rock Project series at Carosello. As one of his latest­personal side projects, Trotta edited The Milan Music Dictionary (1995), together with Paolo Zenoni. He’s one of the Founders of the following Associations: · ASSOMUSICA: Italian Association of Producers and Organisers of Live Music Entertainmen­t

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

(founded 1996): Board Director from the beginning­. · YOUROPE: The European Festival Association (founded 1998): Board Director 19982001.

The company, which has been doing more than 3500 live shows, festivals­and special events since 1979, operates on many levels, e.g.: 1) Promotion of international artists in Italy. E.g. STING, PEARL JAM, BRUCE SPRINGSTEEN­, TOM WAITS, SHAGGY, AEROSMITH, THE CURE, LENNY KRAVITZ, AC-DC, PHIL COLLINS, SLIPKNOT, METALLIC­A, STEVIE­WONDER, RAY CHARLES, BARRY WHITE, EARTH, WIND & FIRE, VAN MORRISON, B.B. KING, PAGE & PLANT, KISS, IRON MAIDEN, YES, CHEMICA­L

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

MORE ARTIST AVAILS ON: WWW.VIP-BOOKING.COM POST YOUR ARTIST AVAILS ON: WWW.VIP-BOOKING.COM

BROTHERS, DREAM THEATER, PRODIGY, LOREENA MC KENNITT, RAGE AGAINST THE MACHINE, DEFTONES, PAUL WELLER, LIMP BIZKIT, DEEP PURPLE, DAVID SYLVIAN, HOOVERPHONIC­ , DAVID BOWIE, SANTANA, FRANK ZAPPA, LORD OF THE DANCE, SHAOLIN MONKS and more.

2) Promotion and production of Italian artists in Italy (NEFFA, SOTTOTONO­, LITFIBA...)

Orbital

3) Production and co-production and Promotion of Festivals: MONSTERS­OF ROCK, SONORIA­, MILANO BLUES FESTIVAL, IRLANDA­IN FESTA, LAGHI LOMBARDI IN FESTIVAL, FLEADH, BALKANIKA, MONZA ROCK FESTIVAL, PISTOIA BLUES FESTIVAL, COCA COLA DANCE FESTIVAL… 4) Organisation, production and promotion of Italian artist’s concerts and tours abroad (e.g. first international shows of Vasco Rossi, Eros Ramazzotti, Sabrina Salerno...)

21

VIP NEWS > MISC > NEVEMBER 2013

About Our Company VIP-Booking’s core product is the Internet’s oldest and Today VIP-Booking offers a range of tools for the MyMusicMailer.com enables artists to MAIL their music largest database for the European Live Entertainment industry­– including VIP-News, VIP-Booking, VIP-Book to more than 6.000 venues and agencies worldwide…

Industry www.vip-booking.com developed as a tool for and VIP-Contract. industry professionals. Since it’s launch in the year 2000, we have consistently offered our subscribers the very

Please visit vip-booking.com for further information.

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