VIP-News Premium - June 2020

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VIP NEWS

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VOLUME 235

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JUNE 2020

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JUNE 2020

McGowan’s

Musings

Well, we’ve just gone past the longest day of

distance! There doesn’t seem to be a lot

Company, along with other promoters, want

the year – did you notice? Or, like me are you

of good news on the live business front,

artists to share more of the risk when the live

finding that all the days are going past, pretty

although Live Nation Finland expanded its

industry returns to action. But today, June

fast – in many cases they’re ‘zooming’ past

summer concert series, which kicked off

24, Live Nation has backtracked somewhat.

as we retain contact with family, friends, and

on June 11, “due to high demand and sold

“Live Nation will always be the artist-friendly

of course the business by virtual means. I’m

out shows.” On the other side of the world

company”, insists Charles Attal, co-President

still finding things be-musing, and hoping

Australia will host 1,000 concerts over 20

of the US-based Live Nation subsidiary C3

that more elements become a-musing as

nights in November to boost the sector.

Presents, adding that the memo is “really

lockdown eases.

However, much as it’s good to hear a few

work for the artists, to branch into new

Anyway, here we are half way through a

reports like this, bad news still dominates.

territories, bring new business development

momentous year, most of which we could

For instance, the UK’s National Outdoor

to up-and-coming acts, and showcases for

have done without, with much no doubt

Events Association, an organisation that

headliners to perform for huge, diverse

still to come, so we still need to keep our

represents businesses that work on a whole

audiences and develop new fans. These

range of outdoor events - including outdoor

[festivals] take years to develop, and that’s

concerts and festivals - says that its sector

our job. We are here to work for the artist.

is “on the brink of permanent demise” as

That’s it. We’ve been doing this for years,

a result of the COVID-19 shutdown. Half of

and it would be impossible without our great

the companies surveyed by the UK’s National

relationships with the artists”

COLOPHON > VIP-News is published by: VIP-Booking.com Enghaven 19 Attrup 8444 Balle Denmark Managing Director: Ronni Didriksen rd@vip-booking.com General Manager: Peter Briggs pb@vip-booking.com Writer and editorial: Allan McGowan am@vip-booking.com Writer: Manfred Tari mt@vip-booking.com For advertising enquiries please contact: Peter Briggs pb@vip-booking.com +46 70 77 60 480 Charlie Presburg cp@vip-booking.com +44 (0) 7980 817496

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irrelevant. First and foremost, our job is to

Outdoor Events Association say they won’t survive to the end of the year without

But as the situations change agreements

additional government support.

with artists, which will of course require negotiations

with

agents

and

artist

The on going challenge, of course, is how

managements will doubtless open up further

important the summer months are for the

strenuous discussions! The fans will also be

business. Some live events, such as the EXIT

involved of course as ticket prices go up, or

Festival, is planned to take place in August,

perhaps, down?

and a few others are scheduled to return later this year as restrictions are relaxed, but most

And what about the venues? Certain

companies will still struggle having missed out

Governments in Europe have come up with

on the most lucrative half of the year.

support plans, but in most cases more needs to be done. In the UK the Music Venues Trust

Besides what takes to the stage and what

has said that £50 million cash is needed to

doesn’t, we will all I think, have to accept

save UK venues calling on the government

that the structure of the business as we

to provide this cash injection urgently to

‘thought’ we knew it will change, drastically;

prevent the closure of a large number venue

the relationships between the sectors of the

businesses over the next three months.

live industry will be reconfigured with the balance of finances being renegotiated. A

So, watch this space – from a distance of

recent Live Nation memo indicated that the

course! A vaccine would be handy, but even

VIP NEWS >

JUNE 2020

that would not guarantee the salvaging of

travel, for Reeperbahn, which is, we’re told,

so we can celebrate US Independence Day

the live industry and all who work in it, for

going to take place in September, and then

Mr Trump? What about the pubs! Also it

some time at least; so, not very am-musing

MaMA in Paris in October. Perhaps I’ll see

seems that social distancing will be cut

I’m afraid, but we may be surprised, there

you in one, or both actual places, or there’s

down from two metres to one – how long

are a lot of remarkably enterprising people

always Zoom of course!

is your arm?

or possibly you? – might pull of! As for me

Hah! What’s this - a newsflash, apparently

In the meantime Ladies and Gentlemen, stay

I may well head to Hamburg, if allowed to

UK Hotels will be open from July 4 – is that

well and safe, and here’s the News!....

in this business and who knows what they -

Rod MacSween on why artists need agents From VIP-Daily News

ITB’s Rod MacSween responds to industry

Promoter. There are often difficult decisions

We

to be made on logistics, local compliance

vanishingly few promoters are dishonest, as

also

check

the

books

(although

rules, movement of equipment, local tax

you suggest). The point I’m making is that

issues, currency fluctuations, insurance for

we agents have always provided good ‘old

pandemics and much more to make a tour

fashioned’, time-honoured service. Here are

run smoothly.

some of the reasons I say this:

Rod MacSween

commentator Bob Lefsetz question “Do artists still need agents in times with worldwide promoter like AEG and Live Nation?

Rod MacSween: Hey Bob. Let me respond to your email with WHY artists need an agent.

The focus of my work as an agent is on territories outside of the USA, especially in Europe, Latin America, Australasia, Japan/ Asia etc. Many large acts do sell the ‘Whole World Tour’ to LN or AEG. However all tours still have to be routed and there are places where the ‘big’ promoters do not have companies or local relationships.

Often, with tour routes that we have helped to create (many times with those ‘big’ promoters), we include additional and useful ‘sell off’ shows. We also act as a buffer between the Manager/Artist and the

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VIP NEWS >

JUNE 2020

We have geographical understanding gained

We help break talent by assisting younger

The holistic nature of the agent’s relationship

from years of experience. Local ‘on the

acts to get a leg up. We foster record label,

with an artist/manager means we’re always

ground’ issues are informed and resolved

radio, tv and social media liaisons. We also

there for them, supporting, protecting,

by a wealth of knowledge about locality,

have excellent relationships with all the

nurturing through thick and thin. Our agency

culture, company, client, that we have

top managers. Those guys appreciate the

representation list and enduring artist bonds

accumulated over time.

added value and hard work that an agent

speaks for itself.

invests in their artists’ success. The strength We store fundamental information such as

and depth of the relationships that we have

The pendulum of live music swings between

how long it takes to overnight from A-B

forged with a number of strong headliners

the power of a) the artists and promoters

(drive times), the network of ferry links,

has also been influential when it comes to

and b) the public who pay good money to

transport restrictions, crew swaps, air-freight

negotiating with promoters, festivals and

see the music performed. In the present

of equipment, charter flights and the many

other venues. The presence of an agent

climate of uncertainty, the law of the jungle

behind-the-scenes activities that collectively

will be significantly more consequential to

applies so let`s allow the market to determine

make a tour work (we do all this in

an artist, adding value and helping to build

“who agrees what”. You can’t blame Rapino

association with artist production managers

or sustain their career in such an uncertain

for trying to close the gaps. He is a caring

and transport companies)

world we now face. The desired end result

and intuitive man who has given up his own

of an agent’s presence is to allow the artist

salary for the cause.

Sure you can leave much to promoters but an

to concentrate on their performance and

AGENT fighting for the artist in their corner

give of their best to their audience, free

Rod MacSween

provides a crucial and significant service.

from any external concerns which may

(International Talent Booking)

We’re a vital cog in the overall process. As

have arisen.

ITB AGENCY London

well as handling regular fee negotiations, much else of what is done by the agent maximises earnings for the artist. At a basic level, your premise that the manager just calls Michael Rapino and makes the global deal (thereby cutting out the agent) could be perceived as short term saving. But believe me, in the longer term, this ‘by-passing’ of our role and function would be more costly because of the reservoir of accumulated knowledge and pivotal insight an agent is able to bring to the party.

The artist relationship with a bigger promoter is partly founded on big bucks advances and guarantees. Undoubtedly this alliance has a role to play as financial certainty helps to keep the world running.

Nevertheless, and for reasons I have indicated above, the contribution of the agent remains critical to the success of the enterprise. I would also add that territories outside of the USA represent about half the touring world and an agent ‘on the ground’ with local knowledge is an indispensable element in the equation.

The concept of ‘agent’ is not antiquated and the function is much more than paperwork.

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HOW TO USE

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Search our Artist data base to find Agent and Manager details:

VIP-Booking.com for Venues/Promoters

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Fan Use VIP Analytics to measure the interest for the Artist:

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Check o ur T where th ourdates sectio n to see e Artist is booke d near y ou:

ÂŽ

The No. 1 information resource for the European Live Entertainment Industry vip-booking.com

VIP NEWS >

JUNE 2020

Live Nation shift show risks to Artists From VIP-Daily News

across the board. Live Nation also says that if a concert is cancelled due to poor ticket sales, it will give artists 25% of the guarantee (as opposed to the 100% that promoters are currently expected to pay).

Moreover, if an artist cancels a performance in breach of the agreement, the artist will pay the promoter two times the artist’s fee — a type of penalty that, as Billboard notes, is unheard of in the live music industry.

“We are fully aware of the significance of these changes, Live Nation is planning huge changes in reaction to the

and we did not make these changes without serious

uncertainty due to the pandemic. In a recent memo

consideration,” Live Nation wrote.

obtained by Rolling Stone, the company told its talent partners that it plans to make an array of alterations for

A source close to the matter tells Rolling Stone that some

concerts and festivals held in 2021.

of the terms detailed in the memo are standard in existing concert contracts prior to the pandemic, and that the new

Most of the new policies shift financial burdens to artists:

aspects are part of broader negotiations with the music

For example, the company wants to decrease the monetary

industry to navigate the post-COVID future when shows

guarantees promised to artists before an event by 20%

get back up and running.

Read the full memo below.

Payment Terms: Artists will receive a deposit of 10% one month before the

Live Nation Memo to Talent Agencies.

festival, contingent on an executed agreement and fulfillment of marketing responsibilities. The balance, minus standard deductions

The global pandemic has changed the world in recent months and

for taxes and production costs, will be paid after the performance.

with it the dynamics of the music industry. We are in unprecedented times and must adequately account for the shift in market demand,

Minimum Marketing Requirements:

the exponential rise of certain costs and the overall increase of

All artists will be required to assist in marketing of the festival through

uncertainty that materially affects our mission. In order for us to move

minimum social media posting requirements outlined in artist offer.

forward, we must make certain changes to our agreements with the artists. The principle changes for 2021 are outlined below.

Streaming requirements: All artists will be required to allow their performance to be filmed by

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Artist Guarantees:

the festival for use in a live television broadcast, a live webcast, on-

Artist guarantees will be adjusted downward 20% from 2020 levels.

demand streaming, and/or live satellite radio broadcast.

Ticket Prices:

Billing:

Ticket prices are set by the promoter, at the promoter’s sole discretion,

All decisions regarding “festival billing” are at the sole discretion of

and are subject to change.

the promoter.

VIP NEWS >

JUNE 2020

Merchandise:

Cancellation Due to Poor Sales:

Purchaser will retain 30% of Artist merchandise sales and send 70%

If a show is cancelled due to poor ticket sales, the artist will receive

to the artist within two weeks following the Festival.

25% of the guarantee.

Airfare and Accommodations:

Force Majeure:

These expenses will be the responsibility of the artist.

If the artist’s performance is canceled due to an event of force majeure – including a pandemic similar to Covid-19 – the promoter

Sponsorship:

will not pay the artist it`s fee. The artist is responsible for obtaining

The promoter controls all sponsorship at the festival without any

any cancellation insurance for its performance.

restrictions, and artists may not promote brands onstage or in its productions.

Inability to Use Full Capacity of the Venue: If the promoter – either because of orders of the venue or any

Radius Clause:

governmental entity – is not permitted to use the full capacity of the

Violation of a radius clause without the festival’s prior authorization in

venue, then the promoter may terminate the agreement, and artist

writing will, at the festival’s sole discretion, result in either a reduction

will refund any money previously paid.

of the artist fee or the removal of the artist from the event, with any pre-event deposits returned to the festival immediately.

Insurance:

We are fully aware of the significance of these

The artist is required to maintain its own cancellation insurance as

changes, and we did not make these changes without

the promoter is not responsible for the artist fee in the event of a

serious consideration. We appreciate you – and all

cancellation of the festival due to weather or a force majeure.

artists – understanding the need for us to make these changes in order to allow the festival business to

Cancellation by Artist:

continue not only for the artists and the producers,

If an artist cancels its performance in breach of the agreement, the

but also for the fans.

artist will pay the promoter two times the artist’s fee.

Michael Rapino - CEO Live Nation

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VIP NEWS > INDEPTH STORY >

JUNE 2020

COVID-19 and the Live Industry: How Are we Coping?

It goes without saying that these are challenging times with the Live Music & Events Industry being one of the worst hit by the current coronavirus crisis and with the lockdowns and restrictions on events imposed by governments all over the world.

Although there is some hope on the horizon with many tours already being rescheduled for the autumn there is still a lot of uncertainty remaining.

We asked 3 professionals from different countries about their current situation and how they are dealing with the problems facing their businesses.

Irina Shcherbakova Owner & Founder, Caviar Lounge (RU) How is your company coping with the

in the form of 140 euros per month per

current crisis and is there any update

employee. We don’t know how long the

on when you will be able to get things

state can continue to provide this support.

Irina Shcherbakova

rolling again?

Have you managed to reschedule all the Despite the initial difficulties, we have been

shows you had booked for this period?

able to save the whole team and continue working (albeit remotely) on rescheduling

We

our shows and on new plans for 2021.

approximately 80% of shows. Regarding the

have

managed

to

reschedule

We have also been developing new formats

other 20% of shows we have lost these due

in the form of streaming/online performances

to the album release schedules changing and

and drive-in shows. We expect to resume

other variations in the artists’ plans.

to our normal volume of activity in Q1/2 of 2021. I feel a slight relaxation in restrictions

Are you already booking new shows for

before the end of 2020 is possible, until that

later in the year and next year?

advances in the future or do you see

time we continue to monitor the situation.

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Will promoters continue to pay huge

Yes, we have managed to add dates to

artists/ managers/agents taking more of

Have you received any financial support

tours with artists who were already booked

the risk?

from your government and if so what

as well as several bookings with new artists.

kind of support is being offered?

Despite the activity of negotiations there

We now ask agents for a gentler payment

are not that many new shows booked so

schedule

The music industry itself did not receive

far, as not all acts are willing to commit for

prepayment

any special support, but we have received

2021 due to the risk of a second wave and

Agents willingly cooperate, everyone is

Government support for small businesses

the general uncertainty.

willing to meet each other half way.

that

features

until

the

a

minimum

announcement.

VIP NEWS > INDEPTH STORY >

JUNE 2020

Have you managed to monetise any live

Perhaps, but at the moment the audience

companies do not offer the same range of

streamed gigs and if so how?

is very small in our market. It may only be

policies as they do in some other countries.

interesting to those who live in remote

Some

We have worked long and hard on the

regions or to a dedicated fan audience. I

booking companies will withdraw from the

concept, but it has become clear that at the

feel the concept may be interesting in terms

market. There’s a high probability to loose

moment this is only an option for local artists

of developing a stronger artist-audience

some professionals in the industry who are

and as such the audience only have so much

relationship (the artist’s proximity to fans,

searching for other job opportunities at the

depth to their interest in the format.

interactive experience, etc).

moment, now that there are dramatically

of

the

smaller/newer

promoter/

reduced incomes and a wave of layoffs.

Local and even foreign artists performed

What long term effects do you think the

with their fees covered by brand sponsorship

current crisis will have on the future of

How do you see new technology being

money. There are only a couple of platforms

the Live Music Industry?

introduced to monitor audience safety at future events?

that have managed to monetise this, it’s a drop in the ocean compared to real concerts.

It will depend on how soon the restrictions (social distancing, etc) are lifted. In our

Besides regular safety measures such as

This only works with Russian artists with a

market, the audience will definitely be less

metal detectors, etc (the security levels are

dedicated fan base as all online performances

solvent. I think if the limitations are lifted

already high in Russia), evidently there will

of International artists focused on the

this year, the sales will likely decrease by

be additional measures added (sanitisers,

Russian audience have so far been free for

20-30%. The fans are still ready to pay to

temperature checks, etc). I don’t believe

the local viewers. Globally as a commercial

see their favourite acts and not that many

these additional measures will be long

project, this concept seems to us to be non-

people have returned their tickets for the re-

term, probably within a year of lockdown

viable for our market.

scheduled shows so far. Promoters will try to

easing they will be gradually phased out.

be overcautious with contracting conditions

However I do hope that the sense of

Do you see live streamed gigs being a

adding pandemic-related force majeure

personal responsibility within the audience

revenue stream in the future even when

clauses. At the same time it may be difficult

will also increase and third-party limitations

artists get back to touring again?

to achieve in our market, as our insurance

won’t be necessary.

Jana Mudrikova - General Director at Agency Vivien (SK) Jana Mudrikova

We started quarantine on March 6th and

Have you managed to reschedule all the

set up our entire office to work from home.

shows you had booked for this period?

According to official information, we will

be allowed to gather up to 1000 people

We are still managing the rescheduling of

(standing) or 50% capacity if seated, from

shows planned for this year. Some of them

July 1st. So we’ve put some shows on

we’ve already announced with postponed

sale around Slovakia with local artists we

dates. The others are in the process of re-

represent. We are trying to reschedule all the

routing so we are working on venue avails etc.

other foreign shows for next year.

Are you already booking new shows for

Have you received any financial support

later in the year and next year?

from your government and if so what kind of support is being offered?

At the moment we are mainly dealing with

show postponements and planning shows for

Unfortunately there is no governmental

the artists we represent. For this year we are

How is your company coping with the

support for the music business. We’ve

not planning any shows with foreign artists,

current crisis and is there any update

asked for employee contributions, which is

since the situation is very uncertain with

on when you will be able to get things

measured as a percentage of the amount of

regards to epidemiological developments

rolling again?

revenue lost.

and the associated regulations. Of course

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VIP NEWS > INDEPTH STORY >

JUNE 2020

we are trying to plan some “new” shows for

Do you see live streamed gigs being a

This will be reflected in the live business as

next year.

revenue stream in the future even when

well. Everyone will have to think twice about

things get back to normal?

what to invest in or offer.

advances in the future or do you see

We don’t believe in the concert streaming

On the other hand, it is possible that people

artists/managers/agents taking more of

business very much.

will be “hungry” for concerts, the only

the risk?

question is whether they will be able to

Will promoters continue to pay huge

What long term effects do you think the

finance it. On the other side I think artists

We hope this crisis will lead to a more

current crisis will have on the future of

will tour again as in the past.

fairly shared risk between promoters and

the Live Music Industry?

How do you see new technology being

managers/agents.

This business is built on human nature - to

introduced to monitor audience safety

Have you managed to monetise any live

have fun and meet. That hasn’t changed.

at future events?

But many companies have had to change

Any technology which helps to increase

Live concerts with the bands we represent

their focus, limit their expenses, lay off

safety at events is welcome. But it is still

were live streamed via sponsor/partner

many employees or close their businesses

unclear if any existing technologies can help

channels.

completely.

with what we are facing right now.

streamed gigs and if so how?

Peter Basler - CEO at Basitours (CH) How is your company coping with the

Will promoters continue to pay huge

current crisis and is there any update

advances in the future or do you see

on when you will be able to get things

artists/managers/agents taking more of

How do you see new technology being

rolling again?

the risk?

introduced to monitor audience safety

We are among the survivors in our industry,

You will only find out when you negotiate,

there will be very few activities this year but

it will be an interesting essential experience.

will be victims but the market will live on.

at future events?

business will return to normal by Spring 2021.

stricter general control via webcam and local Have you managed to monetise any live

Have you received any financial support

Today’s technology allows us to have a physical controls on site.

streamed gigs and if so how?

from your government and if so what kind of support is being offered?

No nothing has happened and nothing is planned yet.

Yes for 3-4 months, we receive up to 80% of our income

Do you see live streamed gigs being a revenue stream in the future even when

Have you managed to reschedule all the

they get back to touring again?

shows you had booked for this period?

That could become an additional option Let’s say we could only re-schedule 50% at

besides the normal live concert experience.

the moment...

What long term effects do you think the

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Are you already booking new shows for

current crisis will have on the future of

later in the year and next year?

the Live Music Industry?

For this year very few shows but we hope for

Many organizers and agencies will have to

a full program for 2021.

give up and this has already happened, there

Peter Basler

VIP NEWS >

JUNE 2020

UK grassroots venues back call for cash injection From VIP-Daily News Hundreds of independent venue businesses

other than music. Grassroots music venues sit

“These measures are simple, quick, effective

from across the UK have signed an open letter

at the very heart of our creative nation”.

and would prevent the closure of hundreds

to the government backing the Music Venue

of grassroots music venues”, the letter

Trust’s call for a £50 million cash injection to

The letter then notes the ongoing challenges

concludes. “They are the right thing to

be made into their sector, arguing that such

faced by venues as a result of the COVID-19

do. We are a dynamic, innovative, and

support is now urgently required to ensure

pandemic. While high street retail is returning

inventive sector. We do not need permanent

the country’s network of grassroots venues

to normal in the UK and an announcement

government intervention to exist. We are not

can survive the next three months.

is expected later today on whether social

asking to become a permanently subsidised

distancing rules will be sufficiently relaxed to

drain on the public purse. We do not need

The Music Venue Trust proposed the £50

allow pubs and restaurants to re-open next

the government to step in and tell us how

million

month, there remains uncertainty about

to run our venues. We need government to

when live music will return.

take two simple steps and leave us to work

in

sector-specific

government

support last week, stating that the ongoing COVID-19 shutdown – and continued

out how to do the rest. We need you to do

uncertainty as to when music venues will be

The letter says: “Public health advice is clear.

able to re-open – meant that hundreds of

Singing is a high-risk activity. Dancing is a

the right thing”.

venues are now facing permanent closure.

high-risk activity. Standing close to other

Elsewhere,

And while industry-led fundraising activity

people is a high-risk activity. Being in a

Neil Tennant and the bosses of music

that has generated over £2 million to date

confined space for a long period is a high-

companies

has bought those venues a little time, more

risk activity. These are the four pillars of

Ninja Tune and the Hipgnosis Songs

significant financial support is now required.

the live music experience we offer in our

Fund have backed a separate open letter

venues. Coming together with friends and

calling on government to ensure that any

The new open letter to ministers signed by

communities to dance and sing with your

programmes that seek to help the cultural

560 venues says that the grassroots venue

favourite artists in any of the 800 grassroots

industries weather the COVID-19 storm

network is the “fundamental foundation”

music venues across the UK is the very core

are environmentally sustainable.

of the UK’s “world-beating £5.2 billion per

and purpose of why we exist”.

Nile like

Rodgers, Domino

Brian

Eno,

Recordings,

year music industry”, supporting each new

This letter has been organised by Julie’s

generation of music-makers by providing

Bicycle, the charity that encourages the

“training,

cultural sector to lead on climate change and

rehearsal

spaces,

recording

opportunities and career development”.

sustainability issues.

Without this network of venues, “there

It

would be no Beatles, no Stones, no Led

organisations from across the creative

Zeppelin, no Duran Duran, no Sade, no

spectrum have been championing climate

Oasis, no Skunk Anansie, no Adele, no Ed Sheeran, no Dua Lipa”.

states:

“Thousands

of

artists

and

action for many years … having already Given the ongoing challenges, the venues

shown our commitment to environmental

say that the MVT’s proposals – which include

action we want the cultural recovery to be a

“We do not just support the next generation

a VAT holiday for the wider live sector as well

fair, just and green recovery”.

of world-beating artists”, the letter goes

as the £50 million fund for grassroots venues

on. “Grassroots music venues are where

– are the only way to ensure that they can

Although the UK government is yet to

people come together, where they celebrate,

survive the next three months. That will buy

provide sector-specific financial support

where they socialise. Thousands of cultural

the extra time now required to help the

to the creative and cultural industries

professionals get their first taste of working in

venues work with government and public

which have been majorly impacted by

the creative industries in our venues, including

health officials in bringing live music back in

the COVID-19 shutdown, it has formed a

many of those who go on to work in areas

a safe and commercially viable way.

“cultural renewal taskforce”.

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VIP NEWS >

JUNE 2020

That committee is advising government on

Climate Change Act obligations extended to

the specific needs of the various creative

the cultural renewal strategy. We urge that

industries as they continue to navigate the

action to protect nature and biodiversity is

COVID-19 crisis, including the music industry,

given the attention it so urgently deserves”.

even though there is no representation from the music community on the government’s

It remains to be seen how the government

team of advisors. That taskforce reports into

responds to both letters. Will ministers

culture minister Oliver Dowden.

employ pretty much the same strategy that has been used throughout the COVID-19

Addressing Dowden, the Julie’s Bicycle letter

pandemic whenever the creative industries

says: “We urge government to commit to

have raised their concerns? That being:

a rapid, just and green cultural recovery

“we want to support you in every way

combining

possible that we can other than by actually

targeted

public

investment,

clear policy signals, and implementation of

Oliver Dowden

supporting you”. We’ll see.

Tapio Korjus: Music business is an endurance sport From VIP-Daily News Over the decades, Finnish acts from Wigwam

“When demand starts to build for an artist, I

Korjus works with a small number of

to Wimme have worked with the tireless

try to ensure that we make the most of these

artists on a 360-degree model, including

Tapio Korjus. He has played many roles, from

events. This business doesn’t work by just

concert booking, album releases and music

manager and booking agent to record label

making up your own schedules and expecting

publishing. Since the 1990s his main focus

boss and publisher through his Rockadillo

the world to wait for you,” he says.

has been on more ‘marginal’ music. In

group of firms. As he turns 70 this June, Korjus plans to slow his pace a bit – but not

most cases, the initiative has come from

Happy accidents

too much.

taken him a while before agreeing to launch Over the years, chance has played a role in

a partnership, as pianist Iiro Rantala found

The music sector is no place to make a

Korjus’s career. As he puts it, he’s not good

out when he talked Korjus into managing

quick buck, says Korjus. Instead it requires

at saying no.

his jazz group Trio Töykeät. Eventually he

persistent, long-term work, he says, as well

12

the artists themselves – and sometimes it’s

won him over, leading to a nearly 20-year

as momentum: you have to be ready to

An idea tossed into the air and a promise

partnership. Korjus values such long-term

strike when the iron is hot.

to “make a couple of calls” may lead to

relationships with artists. For example, he has

a massive four-and-a-half-year labour of

worked with Piirpauke and Jukka Gustavson

For instance, the international career of

love, such as bringing the leading world-

over five decades, and with both RinneRadio

accordionist Antti Paalanen, one of the

music event, the WOMEX fair, to Finland

and Wimme Saari for more than 25 years.

artists he represents, is now being boosted

in late 2019. As a co-founder of Music

by Music Finland’s Fast Track music export

& Media event, held annually in Tampere

In his early decades as an entrepreneur,

programme. Before the break imposed by

for 30 years, Korjus was an old hand at

Korjus did not necessarily have the freedom

the coronavirus, Paalanen performed in

arranging music-industry events, but he

to choose which jobs to take on. He gained

early 2020 at key showcase events such as

did not originally expect Rockadillo to be

experience as a journalist and as a DJ – a

Eurosonic and Folk Alliance New Orleans.

responsible for making WOMEX a reality.

hat that he still occasionally dons under the

Wimme & Rinne, meanwhile, performed

That’s what happened though, leading to a

name Dr. Riddim.

at the end of last year at the AfriCourage

great success in partnership with Tampere

festival in Gambia, and had summer festival

Hall, the city of Tampere, Music Finland

“As far as concerts, at first I brought all kinds

gigs lined up in Europe.

and others.

of bands to Finland, so that I could convince

VIP NEWS >

JUNE 2020

the international agents that it was worth

the back catalogue on Korjus` labels, scroll

hopes that more women will join these

offering me good artists,” he recalls.

down for a playlist!)

organisations, too.

And they certainly did: Korjus brought in

Looking into the future, Korjus aims to

“The music business used to be run by

acts such as Patti Smith, Ramones, the Clash,

increasingly seek income streams for artists

enthusiastic young guys,” he says.

New Order, the Smiths and countless stars

through music usage fees, noting that his

from Africa, Jamaica, Cuba and Brazil.

stable includes talented composers whose

“For instance, out of more than 50 firms

music is well suited to films or dance pieces,

that started (Finnish independent record

Learning by doing

for example.

companies association) Indieco, only a

Korjus has expanded his operations a couple

Fresh blood

couple were founded by women. It’s a of times, but faced the limited size of the

structural problem, but the situation is getting better all the time, especially among

domestic concert market in the late 1970s

Besides his business operations, Korjus has

and the deep recession of the early 1990s.

found time for many organisations in the

Since then he has aimed for agility instead,

music sector. After many fulfilling years,

Although Korjus plans to slow his pace, he

focusing on music exports.

though, he says it’s time to make way for

says he admires label bosses such as Atte

younger people.

Blom, Seymour Stein and Clive Davis and

Korjus didn’t plan to set up a record label, but

managers and agents.”

artists like M.A. Numminen, who have never

did so after bassist Pekka Pohjola suggested

“The top young people usually have such

decided to retire.

it in 1982. He’s been at it ever since, having

a drive for their own companies that

released nearly 200 albums even though the

they don’t necessarily have time to join

“I have however promised myself to cut back

pace of releases has slowed to 3–5 albums

these organisations. That’s how it was for

on jobs for which there are plenty of other

a year.

me, too. But when you’ve experienced

skilled people, such as basic gig booking in

not just upswings but also a few major

Finland. Instead I’ll concentrate on special

“For the first 10–15 years, I had to subsidise

setbacks, you understand why it’s worth

projects,” he says.

the record releases with other business.

cooperating with others in the field,”

It’s surprisingly difficult to run a record

observes Korjus.

Credits: Music Finland

company if you don’t have a back catalogue – and nowadays it’s challenging even if you

It’s a structural problem, but the situation

Words by Tove Djupsjöbacka

do,” he says. (note: for further proof on

is getting better all the time. Korjus

Photography by Eija Savolainen

Tapio Korjus

13

STICHTING EUROSONIC NOORDERSLAG

VIP NEWS >

NAMES & JOBS

JUNE 2020

Lucy Dickins named Co-Head as Geiger exits WME

Ole Hertel is new GM for MercedesBenz Arena

From VIP-Daily News

From VIP-Daily News

WME confirmed reports that had been

Geiger, who co-founded the Lolllapalooza

Michael

circulating this week that Marc Geiger, WME

festival

retailer

Managing Director of the Mercedes-Benz

Partner and Worldwide Head of Music, is

ARTISTdirect, joined WME’s predecessor

Arena will leave the Anschutz Entertainment

exiting the company after 17 years. At the

William Morris in 2003 as a Senior Vice

Group (AEG), operator and owner of the

same time Lucy Dickens has been named Co-

President in the music division.

arena, immediately after more than 8 years

and

online

music

Head of Music Division.

Hapka,

Vice

President

and

in the role.

In addition to the announcement of Geiger’s

“Under Marc’s leadership, WME’s Music

exit from the agency, WME’s Co-Head of

The current challenges being faced by the

division has become a global powerhouse,”

Music Sara Newkirk Simon is also transiting

live events industry have forced the company

Lloyd

Endeavor’s

out of a leadership role at WME and will

to undergo an operational restructuring,

Representation businesses said in a press

Braun,

President

of

become a consultant for WME’s parent

which has resulted in his departure.

statement. “During his tenure, Marc led

company Endeavor.

countless agency initiatives and ‘firsts’ for

His successor as General Manager will be

the music industry, including the creation of

In Geiger’s place, Lucy Dickins has been

Ole Hertel (pictured), previously Senior

Festivals and EDM divisions and building out

promoted to Co-Head of WME’s Music

Director

WME’s leading London and Sydney music

division, creating a triumvirate with Scott

Manager. Hertel has been in charge of the

teams. We thank Marc for his countless

Clayton and Kirk Sommer who will remain in

Events division for AEG in Berlin since 2008.

contributions to WME and wish him all the

their roles as Co-Heads.

best going forward.”

Events

and

Deputy

General

Michael Hapka first joined AEG in October “Scott, Lucy and Kirk have distinguished

2012 as Managing Director of the Mercedes

“The past 17 years have been an incredible ride,

themselves through the artists they have

Arena in Berlin.

and I’ve been fortunate to work with some of

championed, the reputations they’ve built,

the world’s best artists and colleagues,” added

and the leadership they’ve demonstrated

The Anschutz Entertainment Group thanks

Geiger. “I’m proud of all that we accomplished,

at WME,” said Braun. “Each brings unique

Michael Hapka for his long service with

most especially the team we built during my

experience, relationships and perspective

the company and outstanding leadership

time with the agency. I know they will achieve

that will help shape the future of our

at the Mercedes-Benz Arena and the Verti

great things in the future.”

Music division.”

Music Hall.

Lucy Dickins

Ole Hertel

15

VIP NEWS > BUSINESS >

MUSIC IN SHARES

JUNE 2020

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

In the early days of the Corona-pandemic there was both an air of

DEAG - A Bit Better

uncertainty and a lack of knowledge as to how this crisis would affect the music industry. Meanwhile new findings are drawing a new

From the previously reported figure of 3.13 Euros, it has risen to

picture about the likely consequences that will redefine the music

3.40 Euro...

business as we know it.

Eventbrite - Up and Down The recovery of the live music industry will apparently take longer than previously expected. The record industry has to cope with an ongoing

One month ago, it stood at $8.50, on June 9 it briefly rose to $12.52,

changing consumer climate for music which has not been affected as

but has in the meantime dropped again to $8.47...

harshly as the live music sector, but is nonetheless far from being able to compensate for the overall income losses for the entire sector.

Live Nation - Stability looks different

As previously mentioned in this section of the VIP News, the second

Well, even if Live Nation is considered to be the leading global player

quarter results will become a milestone in both trust and confidence

among the short list of corporate concert companies, the share price

by the financial sector in the business model for live music in the near

for this company remains highly volatile in these times. Four weeks

future. The latest news by Live Nation to pay lower artist fees is just

ago, it stood at $46.80, then rose to a closing price of $57.09 on

the tip of the Iceberg; the live music business will change rapidly as

June 8 and is currently down to $44.20...

long as there is no available cure for the Corona pandemic.

Spotify - Sky Rocketing The Corona virus has come along with a death rate and this new disease seems to be staying longer.

Within the last three months this has only increased, from $139 in April to $190.10 in May as reported in the May issue, it has since

In business terms, it is drastically changing the outlook of what were

risen to $243.61...

previously prosperous business models. Only very few business types will be able to benefit from it. It is taken for granted that the music

Tencent - Slightly Better

business for the time being at least will not benefit from it.

Better than nothing: Up from $11.94 to $13.36...

There are in addition, so many other components, ranging from the economical, environmental and political to social developments that

Warner Music - Celebrating a Come Back

will be added to the list of challenges the entire music industry needs to deal with over the next few years.

Delisted 15 years ago, since June 3 is now back on NASDAQ, happily progressing upwards $25 towards $31.02...

So a bit of everything that will keep this business and its players more than busy for the foreseeable future, let’s start working on it...

CTS Eventim - Pressure On May 25 the shares stood at 37.52 Euro; a new analyst report

by Baader Bank estimates a price target of 30 Euro and puts a sales recommendation of “sell�. On June 25 the share price instead stood at 36.72 Euro...

16

VIP NEWS > MISC >

JUNE 2020

MEMBER PRESENTATION

This space is dedicated to present some of our clients using VIP-Booking.com. Companies presented here have our best endorsement...

ARTIST AVAILS BEAUTIFUL BADNESS Territory: Worldwide Period: 2020 - 2021 Agency: A.A. Productions SPRL Agent: Nicolas Gamin Phone: +32 479 528 066 E-mail: nicolas@next-step.be Homepage: www.next-step.be/artist/11-beautiful-badness

KAREN MÉNDEZ Territory: Worldwide Period: 3 years Agency: Be Real Agency Agent: Paul Fourmy Phone: +32 485 365 696 E-mail: paul@bereal.agency Homepage: www.realkeymusic.com

GHETONIA Territory: worldwide Period: generally available Agency: Maffucci Music Agent: Canio Rosario Maffucci Phone: +39 339 4858107 E-mail: info@italianworldmusic.com Homepage: www.italianworldmusic.com

d’Coque Easily accessible from all parts of the country and from neighbouring countries, strategically located on the Kirchberg plateau, within a short distance of the centre of the capital, the banking and business centres, the European institutions and the international airport, the National Sports and Culture Centre of the Coque has

SAUDADE Territory: Worldwide Period: 2020-2021 Agency: A.A. Productions SPRL Agent: Nicolas Jaumain Phone: +32 479 528 066 E-mail: nicolas@next-step.be Homepage: www.next-step.be/artist/127-saudade

become an essential reference both in the Grand Duchy of Luxembourg and in the Greater Region, and on the international scene.

This success was built in stages, driven by the will of the Luxembourg authorities and by the dynamism of the Centre’s team. All these elements made it possible to begin writing a formidable saga whose first lines date back to 1969.

LUCA BASSANESE Territory: Worldwide Period: Whole year Agency: Music4You Agent: Eric E. van Monckhoven Phone: +39 331 2068969 E-mail: music4you.net@gmail.com Homepage: www.music4you.nu/luca-bassanese

THE GOLDEN YEARS OF MUSIC TOURS Territory: Worldwide Period: Generally available Agency: Cheyenne Productions Agent: Patrick rocher Phone: +1 928 852 0032 E-mail: cheyenprod@msn.com Homepage: www.thegoldenyearsofmusictours.com

About Our Company VIP-Booking’s core product is the largest­database­for the European Live Entertainment Industry www.vip-booking.com­developed 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 subscribers­in over 50 countries.

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

®

Luca Bassanese vip-booking.com

17

HOW TO USE

1

Use VIP Analytics to lo cate where your artist has the most in terest:

VIP-Booking.com for Agents/Managers

2

ues Use our Tour Builder to locate ven or agents within a given area:

3

Find the Talent B uyer and relevant other contact s:

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