USTRY ENT IND
TAINM E ENTER IV L E H E FOR T ESOURC
E N I Z A G A IP-M ATION R
INFORM THE NO1
13 EDITION # 013 MARCH 2
FISH DISCUSSES MID-LEVEL TOURING READ MORE ON PAGE 18
tertain Mehr! En oncerts r A.S.S. C taken ove on page 14
isping Michael Bment has
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E N I Z A G A M P I TO THE V r for the VIP team has already been a busy yea It’s only March, but 2013 oy it! it’s what we do and we enj – It’s been hard work – but
successful edition ned out to be an extremely tur at wh for gen nin Gro nes We all went to Our sales team went to Can (see report in this issue). do to ier of Eurosonic/Noorderslag eas it bers, many found e another decrease in num pit des ere wh e. , com em out Mid for isfied with the tplace, and came away sat rke ma ed wd cro less the businessin st to keep ws and VIP-Magazine exi opportunity arises VIP Ne you to for ly As we say whenever the just as important ng on in the business, and goi at’s wh of ed orm inf erv you r views and obs ations, fessional readers know you pro ry ust ind ny ma our let us and sent articles from two iness. In this issue we pre bus UR YO h wit on ng editorial and what’s goi similar contributions for ve Reilly, and we welcome itate. hes ’t guestwriters, Fish and Da don re with us, e anything you’d like to sha hav you if so , n tio era sid con ges and grasping the that taking on the challen We at VIP-Booking hope sperous year for you all! enjoyable, healthy and pro opportunities produces an e!
Please enjoy VIP-Magazin
THE VIP TEAM
#3 VIP-MAGAZINE 13/2013 www.vip-booking.com
VIP-MAGAZINE 13 #2013 05
UK Government Proposes Amendments to Live Music Act
New Acts – New Management
Record International Attendance at Eurosonic-Noorderslag Conference 2013
A Surprising Deal
Mid Level Touring – What Does it Actually Cost?
Danish promoter Flemming Schmidt passes away
New Head Announced for Montreux Jazz Festival
MAMA Take Ownership of Lovebox
Madonna World Tour Tops 2012
Live Nation, AEG Square Up in London – and the OFT Moves in to Referee
VIP-BOOKING.COM The No 1 Information Resource For The Live Entertainment Industry Having the right tools for the job is often the key to success. Through our ongoing communication with key Live Entertainment Industry Professionals, we have developed a range of services to meet the demands of agents, promoters, talent buyers, venue bookers etc. It’s no coincidence that we are now considered to be the No. 1 information provider for this thriving industry.
PUBLISHING: Vip-booking | 145157 St John Street | London Ec1V 4PW | Phone +44 (0) 870 755 0092 | Fax +44 (0) 870 622 1953 | Email: email@example.com | www.vip-booking.com DIRECTOR: Ronni Didriksen | firstname.lastname@example.org GENERAL MANAGER: Peter Briggs | email@example.com AREA MANAGER (GAS): Stefan Gottwald | firstname.lastname@example.org WRITER AND EDITORIAL: Allan McGowan | email@example.com & Manfred Tari | firstname.lastname@example.org DISTRIBUTION: 3.000 copies of the magazine are distributed to professionals within the Live Entertainment Industry FREE OF CHARGE PRODUCTION: Grefta Tryk | Markedsgade 41 | DK-8500 Grenaa | Phone +45 8632 2922 | www.grefta.dk
To reserve your ad call +44 (0) 870 755 0092 or send an email to email@example.com. Read more online www.vip-booking.com
#4 VIP-MAGAZINE 13/2013 www.vip-booking.com
Allan McGowan firstname.lastname@example.org
UK GOVERNMENT PROPOSES AMENDMENTS TO LIVE MUSIC ACT The UK Government has issued a new proposal to raise the Live
Regulation will remain in place for all activities that exceed the
Music Act audience threshold from 200 to 500 in on-licensed
audiencelimits and timings listed above.
premises-. Although this is good news for many, there is still a worry amongst The proposal comes in a response from the Department for Culture,
many venues that rely on ticket sales that more pub venues could
Media and Sport to its consultation on entertainment deregulation.
presentlive music for free, or for very low ticket prices, hoping to make
Also among the conclusions of the response is the decision to
their profits from increases wet sales, leading to more competitionfor
treat recorded music in the same way as live music in on-licensed
venues that are struggling in the present economic climate.
premisesbetween 08:00 to 23:00 (i.e. with an audience limit of 500 and the prospect of a Review if noise nuisance is caused).
The Live Music Forum’s Phil Little said:
Live and recorded music held on premises owned by the above
“The Live Music Forum campaigned for almost twenty years to
organisations- will be exempt from licensing requirements for
bring about these changes and they are more than we hoped
audiencesup to 500 people. Community premises such as church
for. However, it is plain that much of the damage to the scene
and village halls and community centres will be exempt from
has alreadybeen done. Without an improvement in audience
licensingrequirements for live and recorded music for audiences
attendanceacross the board we have an awful long way to go to
of up to 500 people.
match the vibrancy of live music performance in previous decades.”
Circuses, however, will be exempt from regulation for live and recordedmusic, plays, dance and indoor sport between 08:00 to
Since this report appeared in the on- line version of VIP News
23:00 with no audience restrictions.
these proposals regarding raising the capacity levels have been accepted and authorised.
The Live Music Forum Downing Street Petition Party (Photo by Anderson Photography) Left to right - Lord Clement-Jones, John Whittingdale MP, John Otway, Phil Little, Hamish Birchall, Tom Kiehl, Lord Colwyn
#5 VIP-MAGAZINE 13/2013 www.vip-booking.com
”There will always be an appetite amongst fans for new music, somethingexcitingand original that no-one else has heard before.“
Guestwriter Dave Reilly
Allan McGowan email@example.com
NEW ACTS – NEW MANAGEMENT As you’re all probably aware at VIP we think it’s as important to keep an eye on what’s going on at ‘entry’ level to the business as events in the more established areas. After all if the business is to continue to thrive it’s important to look out for and to encourage new talent – both artists and those beginning careers in the business. To help us out with this we sometimes invite guest writers to contribute to VIP-News. In this case newly active Manager, Dave Reilly, who we met and talked with at this year’s edition of Go North in Inverness last June, tells us what’s happeningwith him and his acts. Hi, I’m Dave Reilly, and I’m new to the industry! I started by moving
becomefamiliar with, and known within, the local scene. Once you
to London for an internship at Warner Music Entertainment about
have earned a reputationlocally, however, you need to gig much
3 years ago, filling in spreadsheets and sending emails until I tricked
less frequently there, while branchingout to neighbouringareas.
them into giving me a job as an Asset Library Assistant (like an
This helps createmore buzz and excitement about your hometown
archivist) at WM HQ. Where I fill in databases and send emails.
shows, where you can negotiateplaying anywhereand it selling
Actuallyit’s more interesting than that, but that’s for another piece…
out, and gives you time to expand the fanbase further afield. Once you have a buzz at home, and in neighbouringareas, that’s when I
Once settled into my role at Warner, I was itching to get more
think you can look to gain help from further afield.
creatively involved in the industry, and before long I realised
With Transformer, they have built a strong fanbase at home in
managementwas where I wanted to be. So I found a couple of
Brighton, and are bookingbusy shows in London as well. They’re
artists (after a draining combination of seeing lots of crap, and lots
at the point where they need help to make the next steps in their
of great already-managed-bands!), and at the start of 2011 started
careers, to play further afield and expand their fanbase, and so it’s
The Management:MK. 18 months on, I’m still learning a lot (and
my job to find that help. In my mind, regarding the live show, this
making plenty of mistakes), but I’ve got 3 very exciting artists who
means looking to booking agents.
I think have great careers ahead of them. Now, good booking agents are hard to get hold of, and are There’s Danny Pape, an EMI Publishing Most Promising Artist
constantlybombarded by approaches from all manner of bands, so
Award-winner; a young indie-rock-pop troubadour with a swagger
to get yours noticed by one is very tough. While I am still hunting
reminiscent of Paul Weller. Then there’s Beanoir, an ethereal
them down for Transformer at the minute, I think there’s some logic
soundscape-making multi-instrumentalist, pushing his solo career
in thinking that to make your band stand out above the others,
for the first time (having worked with artists including Gabriella
you need more reasons for them to sign you than just because you
Cilmi, Rudimental and Various Cruelties). And Transformer, an
sound brilliant.For example, Transformer signed a publishingdeal
indie-dancetrio Q Magazine called “dapper disco mavericks and
with District 6 in September. Having the backing of a publisher (or
the only British band capable of turning any venue they play into a
label) gives your band more clout, as it proves that other companies
dream version of The Danceteria in 1979.” Right now, the sole aim
are enthusiastic about your band, and are willing to show that with
of The Management:MK is to further the careers of these two acts,
their investmentof time, energy and money. Many publishers and
which, certainly at the early stages I feel, breaks down into three
labels will have relationships with booking agents as well through
categories; playing shows, making records, and getting people
their other artists, and so can open doors you can’t on your own.
talking about both. Most important though, is making sure the band is active. By this I Playing shows is essential to any artist’s career. At the very beginning
mean if an agent was to check out your band online, they’ll want
you need to play lots of shows in your local area, so that you
to see your social networks buzzing, that you’re playing good gigs
#6 VIP-MAGAZINE 13/2013 www.vip-booking.com
Beanoir already and that you’re putting out music. There’s a big difference
To other people new to the industry, or those wanting to get
between playing a big show because you’re about to put out a
started in it, be they artistsor those behind the scene, I would say
single, and playing a show because you fancy it. Transformer have
while you’ve got to work harder now than ever to find success,
3 singlesplanned for release between now and next summer, along
there is still successto be had. There will always be an appetite
with videos, remixes, and some free giveaways. The first single
amongst fans for new music, something excitingand original that
we’re putting out ourselves with the help of a PR company, which
no-one else has heard before. And through constant technological
will serve to raise the band’s profile, and get a buzz around them
breakthroughs, it’s getting increasingly easierfor fans to connect
and catch some agents’ attention.
to new artists and music.
Booking agents, like publishers and labels, prefer to find bands they
There’s never been more competition for bands trying to catch
want to work with themselves, rather than being deluged with
the eye of agents, publishers and labels. But there have never
emails from all and sundry, so find ways to get them excited and
been more opportunities for bands to be creative to stand out
eventually they’ll come to you.
amongst the masses. It’s tougher than ever to carve out a route to success today. But it’s also more exciting!
120806 ANZ MF pma 210x142 4c v3b_Layout 1 06.08.12 16:15 Seite 1
BÜHNEN SONDERKONSTRUKTIONEN EVENT BAU
MEGAFORCE V E R A N S TA LT U N G S T E C H N I K G M B H Jöhlinger Straße 118 D-76356 Weingarten E-Mail: firstname.lastname@example.org
Phone: +49 72 44 / 72 02-0 Fax: +49 72 44 / 72 02-22 Internet: www.megaforce.de
#7 VIP-MAGAZINE 13/2013 www.vip-booking.com
RECORD INTERNATIONAL ATTENDANCE AT EUROSONIC NOORDERSLAG CONFERENCE 2013
Over the four days of the 27th edition of Eurosonic Noorderslag which came to an end in the early hours of Sunday the 13th of January, 304 Europeanacts and bands and
and professionalscame together in Groningen , Holland. The
international delegates to
on last year to 1,500., combining delegates
a sell out figureof 3500 delegates.
conference programme concen tratedon music of course, but
#8 VIP-MAGAZINE 13/2013 www.vip-booking.com
Allan McGowan email@example.com
addressemore and more themes from other related businesses, such as creative policy and new technologies. A good number of panels packed out, including the Agents Panel – chaired by yours truly, many were surprised that they couldn’t get in.
Official Figures: Total number of visitors Eurosonic Noorderslag: 35,000 (sold out) Visitors Conference:
The conference and showcasefestivalwas
3,250 (sold out)
broadcast internationally on radio, television and internet. Radio and television channels
broadcasting from Eurosonic were among othersBBC (UK), DR Musik (Denmark ), YLE (Finland ), RTBF Pure FM (Belgium), Le Mouv’(France), RUV (Iceland ) , RTE (Ireland), RadioBelgrade(Serbia) and WDR
Acts: 304 Media and journalists: 404 EBU radio stations: 31
(Germany). In the NetherlandsNOS, NTR, 3FM, Radio6, 3voor12 and de Volkskrant presented comprehensive reporting on radio, televisionand the Internet. The EBBA Awards presentedby Jools Holland were
ETEP festivals: 78 International festivals: 417 Number of stages Eurosonic: 36
broadcast live on YouTubeand recorded for TV.
Number of stages Noorderslag: 12
Winners at EBBA, Photo René Keijzer
#9 VIP-MAGAZINE 13/2013 www.vip-booking.com
COMMENTS ON EUROSONIC NOORDERSLAG 2013
of the panel-list during the panel by using this gadget. They reversed the method,
– The settings. The way that they’ve
which is brilliant.
Do you know any figures off the top
festival, the way
of your head about the usage of your
that they’ve set
the stage in the
– I can tell you that an average of about
1500 delegates received the “where was
I last night”-email and I can tell you that
is really a fantastic venue, it’s a real chameleon , you have bars and stages, people performing in all sorts of
from the panel-level it’s an even higher amount of people that interacted with the service. It could not be better. Which convention will be the next one you attend?
places , they change every day,
The next convention for me will be
they’re taking al lot of attention for
the ILMC, the international live music
all sorts of details. Then you go in town,
conferencein London. We’ll be there
everything is in walking distance, you have
for the third year and I’ve been there
Intelitix acts as service provider
26 venues in walking distance, which is
personallyfor the last 15 years.
for EurosonicNoorderslag and
impossible to imagine in another place in
supplies the event with an RFID-
the world. All these surroundings, it’s a
system. Serge Grimaux himself is the founder and CEO of the
charming city, it’s a place where you learn to meet people, to discover things, you know, it’s a breath of fresh air.
The International Music Manager Forumis just one of many music industry
companythat runs offices in
Canada, the UK and the US.
How did business go for you?
regularly attend the Eurosonic
– I’m very happy about what we’ve done
here, I think people have appreciatedwhat
Nesbittis the Executive Director
we’ve done. The “where was I last night”-
and furthermoremanages the
email, that the delegates received, that
Dutch band Go Back To The Zoo...
compan y serve
such as Coachella, Bonnarooor Lolapaloozwith its service, ranging from cashless paymentfunctions,
saw and enjoyed, all these venues where a big plus. It went even better, the receptions
applications for festival visitors.
were in thousands every day. The panel-list,
that could link peoplewith each other, the
VIP News ask Serge Grimaux… What
people attendingthe panelsbecausethey
is your impression of Eurosonic this
could live click. The presentation of the
panel-listwent excessivelywell, on the
– I think it went amazingly well; it’s my
first day it doubledmy expectation, on the
third time here. Most impressive for me
secondday more than 1200 people used
is the energy that is in this whole event.
it. It was interesting, because they used it
You cannot start the year in a better way,
in a way I didn’t think about. We designed
if you’re in this business, that’s the way to
that, because we were thinking it would
start the year.
be a great reminder for the delegates of the panel they were at. But some people
Eurosoni c Noorderslag
pick it up quickly and they walked into the
panel, live-click, get the presentation on
conventions– what is particular and
their iPadand following the presentation
#10 VIP-MAGAZINE 13/2013 www.vip-booking.com
gave them a summary of all the bands they
entrance controland social media
VIP News ask Jake Beaumont-Nesbitt… What
EurosonicNoorderslag 2013? – There are very exciting people here, excitingto discover new music and a lot of interchanges to cross borders. A lot of borderbreaker acts here and Eurosonic’s aim of bringing the Europeans together and sharing their music is really coming true. Did you get any business out of this year’s edition already? – Yes, I think so. I got business in the contactsand connections and I’m just refreshingexisting connections. It used to be that you’ve come to a conference a year
ago and you meet someone for the first time
of the music convention that
radio station, they’re our partners. These
and you got a new contact, then you get
meanwhile has probably become
people are also making suggestions to me,
home and you’ve lost the business-
to one of the most important
more than one. All these suggestions are
cardor you are too busy to make a call. So, sometime s you need to meet them
industryevents in Europe.
interested to play at Eurosonic, not every band is interested to play at Eurosoni c.
a secondtime and then you can build it
VIP News ask Robert Meijerink… 5000
So, for me as a booker it’s not only
up. And that is what happens here, you
applications, how do you manage to
consideringthese bands, I have to find
can couple up with people for a stronger
get through all this?
out if these bands would love to play at
relationshipon the lighter side.
– Work hard, take a good listen and start
Eurosonic. In other words, are they open
for them to make an assessment in their
How do you use Eurosonic Noorderslag
career, becauseafter all these years it’s still
When do you start on it?
– We have a good quotient of Eastern-
– We open the applications every year
Europeanmanagers, it is very difficult, for
from the 1st of May and from then on
From the ETEP Programme, how have
example, to form a music-managers forum
I’m listeningto all the applications. Not
those chosen progressed?
in Poland. But here you can find Bratisla-
only once, more times, because I think it
– Yes, you know, I’m always surprised, in a
va, Poland, Estonia and we start to help
changesa lot in your listening-process.
good way, about the first vote. But it’s only
them to share information with the rest of
Sometimes I’m listening to a band and I
a first vote.
us. We’re now beginning to find a critical
don’t like it, but maybe one week later I
mass in the industry of the countries in the
think, oh, maybe it’s not as bad as I thought
Did you expect C2C to get so many… ?
east, that’s just got to build up. That’s a
by my first impression. That process lasts
– Yes I think so. They won an award,
thing that really worked here for us; we’ve
till the deadline on November 1st.
but it all went very fast for them. They
found eastern Europeans and connected
had a summerhit in France and now it’s
them to our network.
Do most of the bands get in from of
spreadingall over Europe. And for all
the other mentioned etep-bands, I will
say, they have a good story in their home
Robert Meijerink looks after the
country . At the time where we selected
booking of the Eurosonic-Festival
these bands they were not as big as they
in Groningen and as ever VIP News
recordlabels, managements or agents,
are now. These bands were booked maybe
are they considered separately?
four or five month ago, so in this time
– No, of course there are people who offer
frame somethinghappens. ???...it builds
advice, we’re connected with the EBU-
up very slowly or hard. For example, Palma
asks Meijerink at the end of each festival about the current edition
Panel discussion at ESNS 2013 - photo by Mike Breeuwer
#11 VIP-MAGAZINE 13/2013 www.vip-booking.com
Violets, I like this band very much, it’s a
new radio-stations. That has nothing to do
you still have to explain what Eurosonic
very good band, but on the other hand
with quantity, more with quality.
is about, what kind of opportunities we
it could have been me who say on this
offer. If there are people who love to play
eveningthat it is still a great band with the
Will there be any changes in terms
Eurosonic I always say something like: “It’s
backing of the BBC and stuff like that. So,
of your collaborations with Yourope,
great if you want to play Eurosonic, but
it’s always out of the hands of a booker,
do you reinvent anything, perhaps
are you ready for it?”
improv e the
As a booker I always have to explain that it is
in terms of more internal talks and
even better to wait another year instead of
Did anything change on the level of
playing this year. So, there’s much more going
the applications? Has that become
– Well, we’re working on that Ceetep
on than just listening and slating the acts.
differentin the recent years?
program, as you know. For my point of
– Actually not, the booking process is very
view, the Ceetep is very important for the
Can you already say that there’s a shift
much the same as in the last years. Since
future of European music in general. After
towards bigger and better awareness
I’m a booker it’s the same process.
one year I can say, we have many years to
for central European artists, not only
go, there’s many work to do, there are no
US- or UK-Artists?
5000 applications, has that set a new
problems to be solved but we really need
– I don’t think that we can say that. We are
to stay connected with each other. I follow
aware of the fact that we need to build on
– No, it’s the same as last year, just a little
it, I’m a part of it, but for me, as a booker
this, that we try to build it together with
bit more. Last year it was about 4700,
of Eurosonic I think there is something
all these countries. Because even these
something like that. This year it’s a little bit
goingon over there. We have to focus and
countriesare not naturally connected with
more than 5000.
invest in central Europe in terms of talents,
each other, they speak different languages,
generate talents and make them visible
they got their own culture, some countries
More venues, more slots?
over there. For me as a booker it’s great to
were at war and it’s not a long time ago.
– Yes, on Wednesday evening we used
have such a project involved, I think that
So, there is much to talk about, much to
two more venues, we had the Rockpalast-
the future is in these kinds of projects. In
co-hosting-night, Rockpalast presentingin
order to have a great balance in Europe,
the Huize Maas, and we used the Minerva
it’s not only just the Nordic or the western
So, it is still not the case that we got
again. We used it for a very long time when
part of Europe, we have to move a little bit
something like a change in terms of
we had a focus on Germany, but then they
more to the east and try to locate and spot
the acceptance of European talents
were reconstructing the building , so we
new talents, book them in the right time
decidedto add the museum for the very
and in the right venue.
– Well, not versus – okay, if you want to
first time. That was great, because the
compare to the UK or US, of course. But,
museumwas on the top of our list, we
How do you do this? Do you travel
for example, we always have a couple of
wanted to collaborate with the museum
more often to Romania, Bulgaria or
bands from the Eastern part that really got
but the former director was not open for
other countries in Eastern Europe or to
a high quality. You know, they can match
that, the new director just said “okay, let’s
other conventions and festivals there?
with bands from the US and the UK. They
– During the last couple of years I’ve
have their own cultureand their own style
visiteda lot of festivals over there but
of music. Of course, Bands from the US and
Is this now the maximum capacity you
I’m not in Eastern Europe in every week,
UK are very important, very influential on
can run here?
that is not possible. But we are connected
the Europeanmusic. But if you really dive
– No, I don’t think so, but we are not
with each other, my colleague Douwe is
into the music and the culture, you will find
lookingfor a maximum capacity. Eurosonic
connectedwith people, who are in the
out, that there is such a thing like European
is still a festival where so many bands
Ceetep festival- pooland there are also
culture or a national culture from a country
with diverse music-styles are playing. Our
journalistswho are part of it. For me as
which influencesthe pop artist nowadays.
festivalis there to serve the radio-stations,
a booker the informationfrom this pro-
They don’t copy a band from America;
it’s not for selling more tickets. We think,
ject is very interesting. Douwe is part of
they reinventtheir own culture or heritage
it is a festival for the professionals. Of
the booking team of Eurosonic and based
from thirty or forty years ago. They make
course, we welcome all the people who
here in Groningen. But it’s not only Eastern
somethingdifferent with it and use it as a
love music, they are very important for us
Europe, also Southern Europe, let’s focus
as well, but the main thing is to serve the
on Italy, there is so much going on. But
#12 VIP-MAGAZINE 13/2013 www.vip-booking.com
European and national politicians are
these cultural sectors. We are now in the
all needed. It’s a professional sector, there
considering the value of popular music
moment, where we show the people that
is a lot of money in it, and there are many
in terms of culture. Do you wish that
this is a new sector. I hope, that the people
people who earn money in the music-
there would be a stronger support
from the European commission consider
businessnowadays. Also there are people
for popular music by politicians and
pop-music officially as a sector in order
who don’t earn anything, they work very
of investments and improvements, show
hard because they love it, they love to play,
– Yes, I think it’s needed. The pop-culture
the people in Europe that they believe in it
they love to book, they love to promote or
is still a young culture and if you compare
and try to stimulate the local festival, the
to make records, whatever. So, I definitely
pop-culture with theatre, classical music
local clubs, even the artist. In the end it’s
think it is time; we need the backup of the
or jazz – there is so much money going to
like a circle with the clubs, the artist, it’s
The First ETEP-Selection (Name of the acts and number bookings): Palma Violets (11)
The Royal Concept (5)
Networking at ESNS 2013 - Photo by Mike Breeuwer
Jake Bugg (8)
Michael Bisping Maik Klokow
L A E D G N I S I R P R A SU The announcement that Mehr! Entertainment was to take over
company owned venues, creative exchange…especially because
A.S.S. Concerts was made in December 2012, and the deal has
we all come from different backgrounds.
been in place since early this year. It could be said that A.S S.was one of the very first companies in Germany to adopt the type of
Does the joint venture with Mehr!-Entertainment require a
company structures that have been in place in the UK or the US for
change in the A&R policy of A.S.S Concerts?
a long time. Now with Mehr! Entertainment on board, the set up
– No…the diversity of our roster holds artists that would fit the
has been taken to a new level.
venue structure of Mehr! Entertainment perfectly. Also we have a
young team with young artists and ideas, and this was one of the
On one hand the purchase had a surprising element. Mehr! Is Ger-
reasons for this joint venture.
many’s second biggest producer of musicals (Cats and Starlight Express) and also operates several music and event locations all over
Can A.S.S. keep its current staff structure?
Germany (Admiralspalast in Berlin, the Musical Dome in Cologne).
– Nothing else is planned!
The Company’s acquisition of a national promoter was an unexpected move.
After 26 years of A.S.S. Concert being a stand-alone compa-
ny, how much are you looking forward to providing reports
VIP News asked Michael Bisping of a.s.s. concerts and Maik
and forecasts to your new stake holder?
Klokow of Mehr! Entertainment about their motives and
– Will I enjoy it? I guess not, but how do they say…”With every
their plans for this new concert consortium...
wish, there comes a curse!”
What lead you to the deal with Mehr! Entertainment?
Do you already have an idea how this new construct will af-
– On one hand the changing market situation, which makes it
fect yours and Dieter’s (Schubert) daily business?
harder for an independent company to stand alone …on the other
– Since we will have a third M.D., purely for the commercial part
the fact that Mehr! Entertainment and A.S.S. share the same sort
of the company, I guess we will have more time to do what we
of business philosophy…very hands on, value oriented, artist re-
are good at…A&R, new ideas/strategies and development of live
VIP News: Where do you see the added value for being part
A.S.S. also recently entered a joint venture with the music
of the network of Mehr! Entertainment?
convention C/O Pop in Cologne. Can you please explain
– Stronger marketing and sponsorship possibilities, access to the
about that set up?
#14 VIP-MAGAZINE 13/2013 www.vip-booking.com
Manfred Tari firstname.lastname@example.org
InternatIonal talents, trends and trade â€“
more than 400 musIc-related events coverIng concerts, showcases, art, conference, networkIng In 70 unIque venues.
Organizer: Reeperbahn Festival GbR and Inferno Events GmbH & Co. KG
– The joint venture is not with the convention itself, but with the
– Not concretely…we still have a 2 year exclusive contract with CTS,
booking agency of c/o pop. The idea behind it is simple…get in
apart from our metal tours through Dragon Productions and our
touch with young talent early and help them develop their career
local shows. In 2 years time we will see.
by joining forces and supporting each other. In general, do you expect that the market concentration and Mehr! Entertainment has its own ticketing portal and sys-
consolidation will reach a new level?
tem. Are there already any plans in place for this to alter the
– Yes…look at the acquisition of the Lanxess Arena. There will be
current ticketing set up of A.S.S. concerts?
more like this…officially or in terms of cooperations.
VIP News asked Maik Klokow, CEO of Mehr! Entertainment…
much welcomed by the promoter. Next to it A.S.S. will operate his own business and we will try to implement some synergies to boost
Mehr! Entertainment is so far highly specialized within Fam-
ily Entertainment sector, which is structured very differently
than the concert and touring sector. How is A.S.S concerts
The marketing and PR-strategies for family entertainment
going to be embedded within the current framework of your
productions is also different. Is it foreseen that concerts and
tours by A.S.S will be integrated within PR- and marketing
– Mehr! Entertainment operates several live entertainment loca-
campaigns of M.E.?
tions and a ticketing organization. In these areas we have already
– Yes, where it makes sense. We have large deals with TV stations
worked together a lot with rock and pop promoters. If a promoter
and other media channels so if it makes sense for one or more art-
rents one of our locations he is free to use our local market know
ists at A.S.S. to be integrated in such a huge marketing campaign
how or his own. Our resources and know how at ME is always very
we will do so. On the other hand if we talk about finding young
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#16 VIP-MAGAZINE 13/2013 www.vip-booking.com
artists and helping them to become more known in the market
Second is our venue network where we present, as much as pos-
place there we can add competence, network, ideas and budgets
sible, different live entertainment concepts. Some of these produc-
as well from the ME side.
tions are coming directly out of the ME world but most are coming
from other producers and presenters.
Does the takeover require taking on new administrative staff?
Our third column is our independent ticketing organization, which
– No, A.S.S will be run by Dieter and Michael, we just add a func-
offers an independent infrastructure to all market players for the
tional GM next to them to give ME a better understanding of the
best way to market and sell a ticket. So having said this it is obvious
daily work and the requirements to get synergies in place.
that there is more to achieve in finding the synergies which will help the artists at A.S.S. to get a faster and more successful grip on
Isn’t the family entertainment sector currently under pres-
than others. And our venues and ticketing organization will get a
sure due to the economical situation?
push from the booking activities of A.S.S.
– Not at all; our Cats tent tour is nearly sold out; Starlight Express celebrates its 25 anniversary and has been successful with growing
When putting on a new musical, how do you investigate and
revenues in the last 4 years. Our bookings in the Theatre like, Bal-
identify the market potential of a musical production?
let the Revolution from BB promotion or, Heisse Zeiten, Rock, the
– It’s a secret.
ballet from Thomas Collien are doing great business. So although
it was never easy to market shows it is no more difficult than in the
Is it rather your passion that determines such decisions or
past, you just need a great show.
rational market analysis?
– Both parts are important. I don’t want to work just for the money.
Once again referring to the differences between the fam-
I love what I do which means I look for people with the same at-
ily entertainment and the concert and touring business, can
titude and enthusiasm and with the same passion for live enter-
you explain the advantages and the difficulties of the musi-
tainment. So the business case study is as important as the human
factor and of course sometimes is just “Bauchgefuehl”* to make
– We are a company who works on the 3-pillar structure. The
the right choice for a partner and a product.
first column is content in all fields of entertainment, like musicals, shows, exhibitions, rock pop, heavy metal…
* German word for instinct
#17 VIP-MAGAZINE 13/2013 www.vip-booking.com
Allan McGowan email@example.com
MID LEVEL TOURING FISH REVEALS THE FIGURES
… Some years ago when I was doing some work with the managementof the rock band Saxon, our neighbours in a West London office were the managers of the then particularly successful UK band, Marillion. As a result I got to meet and spend the odd half hour with their formidable Scottish singer Derek Dick, much better known as Fish. I recall one particular incident when halfway through a number at a gig in Hong Kong he caught sight of me entering the venue, replacingsome lyrics with the greeting, “McGowan – what the fuck are you doing here!”…As many will know Fish parted company with Marillion a few years ago taking up a solo career and fronting his own bands. Fish is now based back in Scotland and is still musically active and in demand, and on his site I happened to come across this very detailedand informative break down of what it costs the artist, in both financialand labour terms, to undertake a mid level tour in the UK, this particular example was his spring 2012 tour . I figured this would interest a lot of VIP readers, so called him to ask if we could use the article, fortunately he was happy to oblige. So, Ladies and Gentlemen I hand you over to the informative writing of Fish… Allan McGowan.
I’m sitting here in the control room listening
Ticket price (all prices in pounds sterling)
Rep: 120: this what we pay per show for the
to the rough mixes of the Saturday night
22.50 net after VAT 18.75 net after PRS
promoters representative who liaises with
(publishing on songs played during per-
the venue and ourselves and takes care of
conventionlast year while contemplating the
formance, takes over a year to come
the fees due on the night of show.
May touring figures in the UK. Many of you
back minus percentages to society):
were interested and surprised at the last blog
regarding the state of the music industry
Local/National press budget: 700: this is based on the total budget split between the
with regards to distribution and my survival
Total receipts at Box office on capacity sell
12 shows The Gig Cartel are promoting for
ideas. I touched on the touring situation and
me. This covers ads and the cost of a press
the difficulties therein and after talking to
officer who deals with the tour in advance
Yatta (Tour Manager) I have decided to take
setting up interviews and notifying local and
it a step further and open up with some
Support: 50: (standard fee)
detailsthat may surprise you.
Catering: 300: for 10 people (sandwiches, teas coffees, soft drinks, water -lunch, main
Insurance: 75: this is the insurance the
What I am about to disclose is a picture of
meal at night (normally a 10 “buyout” =
promotertakes out for cancellation/ public
a typical tour costs assessmentusing an
fend for yourselves), 6 bottles of wine + soft
liabilityetc etc again split across 12 shows. It
unnamed venue from the May tour with
drinks, water and snacks for dressing room.
does not cover me.
explanationswhere needed as to the figures and what they mean.
Ticketing: as with most venues nowadays Venue Hire: 1100: normally this is inclusive
the ticketing is outsourced to agencies who
of PA and lights as most venues have their
charge what I consider exorbitant fees and
Firstly I am showing the costs from the
own installations, it also includes security,
earn a tidy profit for very little in my opinion.
promotersperspective and where the money
localcrew (‘humpers’), towels etc. Cheapest
A 4.50 charge in some cases to process a
goes. As I said this is a “typical” venue but
venue hire is 250 but PA and securityadd on
ticket plus postage, which again appears
sometimesthere are variations, which I’ll
950. Most expensive is 2250 (and that is a
more than enough to cover delivery. Just
point out, and explain:
400 capacity) Average is around 1500.
more middlemen eating the ever decreasing
Capacity: 700 (on the tour we are playing
as I said are inclusive at this level of gigging.
venues from 400 cap ( x3) to 1200 (1) the
Next one up they become extras or venue
rest average around 650-700).
hire rates go up accordingly.
#18 VIP-MAGAZINE 13/2013 www.vip-booking.com
Total expenses for this example are £2245.
– WHAT DOES IT ACTUALLY COST? The Gig Cartel has dealt with my last couple
The break even on this show requires 273
fees (re read the busted promoters section
of tours and they are easy guys to get on with
above) or I couldn’t fit the agents percentage in my budget at the level I work on. (Add a
and total pros, well versed at dealingwith bands at this level. There are no hiddenoffice
And now we move onto my costs! (all minus
manager’s 20% on top and you understand
expenses or extras that seep away at the ex-
why I don’t have management!).
penditure. They guarantee a fee to Yatta and
Band wages: 750: 5 musicians, I am not
myself, cover their rep and like me hope that
includedin calculations for wages.
Yatta and I have been around the block
we ‘break percentage’ on the show. That
Crew wages: 400: 4.Sound tech; backline
enough times to know a good selection of
means we earn more money as we pass the
tech; video/light tech and Yatta. As with the
European promoters, the ones we trust, the
‘break even’ figurewhere all venue costs and
musicians these are not top-notch wages but
ones we want and like to work with and
expenditure is met. The guaranteeis based
what I can afford and I am lucky I have great
who Yatta can pick up the phone and put
on the number of tickets they expectto sell.
band and crew guys that have remained
together a tour with. By not having ‘London’
It is in no ones’ interestsfor promotersto
loyaland give and make time for me.
representation we might lose out on some festivals and other gigs but we have our
go out on a limb with unrealisticfigures as that means busted promoters, and busted
Agency: 113: This is Yatta’s fee of 5% of the
‘meat and potatoes’ and the lower costs
promoters can mean busted and potentially
gig guarantee for settingup and booking
mean we can work more often. With no
derailed tours and other bands getting hit
the tour with the Gig Cartel, booking hotels,
major record company behind me and at
in the aftermath if they are going through
sortingout transport, organising and print-
55 years old with the numbers I normally
the same promoter (as happened to me in
ing itineraries, phone bills, laminates and all
do it would be highly unlikely that either a
91 when I took a kickingon the Exile tour
the other work that goes into organising a
mainlineagent or decent manager would
through a bankruptedcompany called
tour before we go out. It can take months
look at me anyway. I don’t take it personally.
Bandstandwho’d booked me, sold my
sometimes when dealingwith Europea n
I am just realistic which is why we operate as
ticketsand lost the money before they went
bus tours across a 6-7 week itinerary. The
we do. Anyway back to the costs!
down as a result of other busted tours just
agency percentagealso covers my side of
as I hit the road with my tour! I took a 75k
earnings after we pass the ‘break even’
Hotel (4 twin and 2 single) 400: ranges again
hit to the head with no comeback available).
point. A mainline London booking agent can
go from 280 up to 550. This UK tour is not
take between 10-20% of a show fee and
on a sleeper bus. The journeys are only a
Yatta haggles over the guarantee as our
they generally don’t do anything apart from
matter of a couple of hours, which would
costs have to be met within that but after all
book the gig and only liaise with the band’s
mean sleeping parked up outside venues. On
I have said above realism has to exist on all
production manager with regards to all the
European tours the distances are greater and
sides. The percentage splits after the break
we couldn’t travel those hours on a gig day. On bus tours we get a hotel every 4 days
work accordingly, usually 70-30 in favour of the artist with the Gig Cartel not making any
Mainline agents (especially the good ones)
unlessthere’s horrendous travelling involved
money itself until after the break even is hit.
are more in demandand more difficult to
( as we have on a long section of the Sep-
get than record deals these days as the live
tember tour with only a ferry cabin in 8 days).
My guarantee on every gig on this tour is
scene takes over as the artist’smain income
Bus tours can mean a day room on gig day
supplier from selling recorded product. As
where everyone showers etc unless there are
I said in the previous blog the album sells
facilities in the venue. Bus costs are around
the tour and not the other way around as
450 a day for something not luxurious! This
it used to be years ago when I started in
UK tour requires doubles, which means shar-
the business. I couldn’t affordto deal with
ing for the band and crew. Yatta and I have
a mainline agent as it would mean it would
singles.. It’s the only thing I ‘pull rank’ on
be unlikelyto get the numbers of gigs I do
as I need my sleep to recover the voice and
get as promoters either couldn’t afford the
need the peace and quiet to chill and steady
#19 VIP-MAGAZINE 13/2013 www.vip-booking.com
myself. Yatta deals with after show figures,
Video Hire 75: This is for the equipmentwe
Rehearsals: 416: The average taken from
advancing gigs etc and also needs his own
use to provide the backscreen projections.
12 shows for just under 2 weeks full band
space. Not ideal but a necessity as you’ll see
I don’t have the budgets to go for a
rehearsals on half wages with a hotel room (I
further down the page.
‘PorcupineTree’ visual extravaganza but
have 2 rooms here and potentially 3 are ‘out
we do what we can within the constraints
of towners’ with Shaun up for the last few
Insurance: 42: this is another of those figures
to put something up to make more of the
days) catering for the band and fuel to and
split over 12 shows. This is my cover for
show. I use ‘in house’ lighting techs on the
from the farm. It comes in around 5k.
publicliability and cancelled shows in the
night who are briefed on what we need
main. It only covers the guarantees not any
from what we get provided with in the
And that ladies and gentlemen, boys and
potential percentage break no matter how
venue. There are some fine guys out there
girls is only the rough costingwithout any
many tickets are sold in advance. It doesn’t
on the circuit and quite a few I would like
allowance for miscellaneous! It doesn’t take
cover merch loss or anything else. Only the
to have kidnapped! Again at this level I
into account the days off of which there are
costs I have incurred and lost through a ‘no
can’t afford a Lighting designer (LD) with
3 that have no income but still have crew
show’.. Luckily my history has been relatively
another wage and another hotel room
wages (the guys get paid by the week, the
clean in recent years so although I don’t have
etc. I use ‘apps’ in the form of the video
band by show), the hotels, the splitter van
a ‘no claims’ bonus the premiums are not
operatedby ‘Secret’ on this tour. (He did
hire (it’s out with us for the duration) the
13th Star and is a talent!) Again this figure
fuel, breakfasts coming in at around 1100.
is averaged out over the 12 shows.
These all go into the overalltour budget!
Splitter Van Hire: 110: the new all singing and
Merchandising facility fee: 50: The fee
But I am getting slightly ahead of myself.
dancing ‘Clown Carrier’, a 9-seater Merc van
we pay to venues to allow me to sell my
Meanwhileback at the venue it’s gig day so
that also carries all our backline equipment
merchandise. We get a space we need to set
let’s add up the Fishy costs!
and my merchandise driven by Shaun the
up a stall providedby the house and lighting.
‘FTC’ who also, as most of you well know, is
I can deal with that! I can’t deal and refuse
In total the rough costs on my end are
our sound tech. On a “big bus ” tour it goes in
to deal with percentages of the revenue. My
a trailer behind the bus, which is an additional
averagetake at a venue is 3 a head, which
cost, about the same as a splitter van hire!
means on average I sell 3 pounds for every
This gives me a loss of 246 on the guarantee
Fuel for Van: 47: an average as you’d expect.
ticket holder. In a 400 crowd I therefore
but 254 ahead if I bring the merchandise
would take 1200, which includes VAT. Take
into the equation!
Fuel for Car: 25 Yes you did the figures right!
off the VAT and it’s 1000. T shirts have
There are 10 in the party and a 9-seater
roughly a 35% profit margin so that’s 350
It’s not all doom and gloom though.
Splitter van. This means yours truly will be
but as there’s DVD’s and albums with slightly
Rememberthese figures are on the
followingthe Clown Carrier again driving to
bigger margins and I don’t only sell T’s say
guaranteethat requires 273 people to buy
gigs with whatever passenger decides to join
the take after VAT is 500.If the venue takes
tickets out of a potential 700. For every
me. We haven’t even registered a hire cost
their 25% then it’s off the 1200 figure. That’s
extra 100 tickets I’d sell here I’d make
300! Then they charge VAT at 20%. That’s
another1200 with a potential of 4800
360. Ok I can claim the VAT back my end
if I sold it out! And there’s extra heads
Strings/Skins etc: 42: Not drug paraphernalia
but it means the venue makes more than me
buyingmerch? But realistically, in both
but the ‘throwaways’ the musos go through
from my merch. Rough figures but you get
my eyes and those of the promoters, that
again averaged out over the 12 days. Drum
the idea! If only I could get a percentage of
is unlikely to happen. 500 maybe with a
skins, drumsticks, guitar strings and bass
the beer they sell to the audience I bring in?
fair wind and a walk up. Maybe, maybe,
strings break, wear out and have to be
.2 pints on average each, 600 pints, 25%
maybe! I’ve been hit before and ran a tour
replaced. It’s a tour cost not an individual’s.
=150 pints @ 3 each? If I had a separate
with only about 5 breaks in 20 shows. I
merchandiser he’d be on 100 a show plus a
never gamble. I nearly lost a house before
hotel room/ breakfast so another 150 a night
being way, way too optimistic. And it’s a
Catering – Breakfast: 25: The only meal we
comes out the nett to give me 300 after the
recession and there are a lot of bands all
pay for on gig days and days off; sometimes
facility charge of 50. Once again I have to
chasing the same pie!
inclusive in the hotel charge and sometimes
take the ‘guerilla’ approach and Yatta will be
not. Some of us do and some of us – mainly
handling the merch stall on this UK tour with
On the figures I have across the 12 dates with
me – don’t. Again an average.
the rest of us helping set ups.
Gig cartel based on guarantees and without any merchandise sales in the equationand
#20 VIP-MAGAZINE 13/2013 www.vip-booking.com
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#21 VIP-MAGAZINE 13/2013 www.vip-booking.com
adding those empty 3 days off I am looking
bigger fees but way more expense with the
I am eternally grateful to have made it this far
at a loss of 6.5k.
added kick off witholding taxes by relative
down the road and to still be able to even pull
countries. And again it will be the last one
a crowd after over 30 years as a professional
The lottery win of a complete sell out tour
for at least another 18 months. It’s a harvest
singer. There are a lot of burnt out wrecks
would be around 45k profit. Those numbers
of sorts after years preparingthe ground and
in the ditch and even more musiciansthat
aren’t coming up! Half that and I would be a
you have to make sure you gather what you
never even got a ride that were left standing
happy man but that’s doubtful. If it did hit say
can as it has to last a while. Unlike the band
holdingdreams a long way back. I got lucky
25k there’s still the bogeymanof HMRC and
and crew I only get one hit at this while they
but there’s gonna come a time when I have to
corporation tax at 24% taking 6k and leaving
can move onto other bands and tours.
pull over and park up and cut down on the driving as I don’t want to end up a casualty.
19k. It’s still a lot of money which I would be lucky to be able to make in this day and age
No matter how you look at it it’s all a gamble
I’d like to slow down and take in the view for
and which I’d be exceedingly grateful for.
which in previous scenariosI have lost my
a change as there’s still a lot of things I want
shirt and underpants by taking. If it comes
to see and do. I am very aware of the changes
But to throw that figure in perspective in
off then everyone is happy. I just wanted to
that are occurringand not all of them I like or
the big picture it’s the only UK tour I could
share this with you to give you a better idea
want to be part of. It’s always been a rough
safely command for at least another 18
of how it works and what lies behind the
ride being an artistbut there’s only so long I
months withou t another new album and
scenes of touring at the level I am working
can keep this ‘off – roading’ up for. This year
apart from the Fishheads Club tour that
on. It’s not a cry for sympathy or anything
will be a challengingyear for us all and it’s
closed in 2011 my first full electric band
else of that nature. It’s how it is and as I said
going to be interesting to see where I end up
touring since 2008 with only around 10 or
before I have to deal with it the best I can
when the dust clears!
so shows in 2012.
and hope the sun shines on me occasionally
The European tour in the Autumn is a completelydifferent ball game. Slightly
#22 VIP-MAGAZINE 13/2013 www.vip-booking.com
and makes it a good night for walk ups on
Fish is available for Festivals in your area!
Contact: firstname.lastname@example.org website: fisheadsclub.com
#23 VIP-MAGAZINE 13/2013 www.vip-booking.com
Martin Turner’s Wishbone Ash
See/Add more Artist Avails at VIP-Booking.com
Bond Territory: Europe Period: 2013 Agency: GLP Agent: Georg Leitner E-mail: email@example.com Homepage: www.glp.at
Barclay James Harvest feat. Les Holroyd Territory: World Period: Summer 2013, Autumn/Winter 2013 Agency: Kultopolis Agent: Markus Sollner Phone: 0049-6861-939980 E-mail: firstname.lastname@example.org Homepage: www.kultopolis.com
Martin Turner’s Wishbone Ash Territory: Europe excl. UK, E, B, NL, G Period: Summer 2013, Autumn/Winter 2013 Agency: Kultopolis Agent: Markus Sollner Phone: 0049-6861-939980 E-mail: email@example.com Homepage: www.kultopolis.com
Nina Hagen Territory: Europe Period: 2013 Agency: GLP Agent: Georg Leitner E-mail: firstname.lastname@example.org
Foreigner Territory: Europe Period: 2013 Agency: GLP Agent: Georg Leitner E-mail: email@example.com Homepage: www.glp.at
TV Off Territory: Europe Period: 2013 Agency: RedBerg Agency Agent: Juha Juoni E-mail: firstname.lastname@example.org Homepage: www.redberg.fi
Diana King Territory: World Period: 2013 Agency: GLP Agent: Walter Laurer E-mail: email@example.com Homepage: www.glp.at
Musical Youth Territory: World Period: March 2013 - March 2014 Agency: Stratosphere Music Agent: Steve Hughes Phone: +447779257295 E-mail: firstname.lastname@example.org
THE DOORS ALIVE - BEST DOORS TRIBUTE ACT IN WORLD Territory: World Period: January 2012 Onwards Agency: Value Added Talent Agent: Dan Silver Phone: +44 207 704 9720 E-mail: email@example.com Homepage: www.vathq.co.uk
Need to know who is touring Europe Go online - www.vip-booking.com
#24 VIP-MAGAZINE 13/2013 www.vip-booking.com
DANISH PROMOTER FLEMMING SCHMIDT PASSES AWAY One of the most influential promoters in Denmark over the past 40 years, Flemming Schmidt, has died from cancer. Flemming and his partner Steen Mariboe founded DKB in early 1970 and became the alternative
to the then major concert promoters Knud Thorbjørnsen and Arne Worsøe. In 2000 DKB was sold to EMA Telstar (today Live Nation) and Flemming and Steen signed a five year deal with the new owners. Later on Steen left the company but Flemming stayed with Live Nation until he sadly passed.
Idee: Christian Raith · Agentur: www.milk-and-honey.de, Foto: Public Adress
Versicherungen für alle Eventualitäten® Vertrauen Sie nicht irgendwem, sondern dem unabhängigen Spezialversicherungsmakler mit mehr als 20 Jahren Erfahrung im Entertainmentbereich. Eberhard, Raith & Partner GmbH – Das Original
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Eberhard, Raith & Partner GmbH · Assekuranz Makler Trappentreustr. 1 · D-80339 München · Telefon 089-54 01 63-0 firstname.lastname@example.org · www.erpam.com
#25 VIP-MAGAZINE 13/2013 www.vip-booking.com
Allan McGowan email@example.com
NEW HEAD ANNOUNCED FOR MONTREUX JAZZ FESTIVAL Christmas. Mathieu Jaton took over for what was hoped to be a temporary period while Claude recovered, however this was not to be, and Jaton will now assume the job permanently. This year’s Festival is due to take place from 5-20 Jul. A tribute concert for Nobs took place at the Stravinsky Auditorium in Montreux in the beginningof Feb., and is followed by Claude Nobs & Mathieu Jaton
anotherevent in New York this spring. An event at the Royal Opera House in London,
Following the tragic death of the founder
head of the world famous event.
which Nobs was workingon prior to his
of the Montreux Jazz Festival, Claude Nobs,
A hugely popular figure, Claude Nobs went
death, is scheduled to go ahead on 26-27
Mathieu Jaton has been named as the new
into a coma following a skiing accident at
LUXEMBOURG PREMIUM CONCERT VENUE AND PROMOTER
Main Hall cap. 6 500 Rockhal Box cap. 2 500 Club cap. 1 100 Booking contact: firstname.lastname@example.org Venue information: email@example.com
On the road again?
Phone: +352 24 555 - 1 • www.rockhal.lu
#26 VIP-MAGAZINE 13/2013 www.vip-booking.com
E Z SI S R E T T MA nd!
rtmu e to Do Welcom
E v A h E W : 1 e l l a h n Westfale hE cApAcITy! T d E d n A p Ex
WElcoME To doRTMund, dIScovER ThE poTEnTIAl. We have space: Up to 6,000 standing spaces and more than 9,000 seats are ready for your events in Westfalenhalle 1. IT IS onE of ThE MoST TRAdITIonAl AREnAS In GERMAny. event organisers know: an estimated six million people live in the dense catchment area of the Westfalenhalle, 20 million live within a 15 kilometre radius. the Dortmunder halle is among others a magnet for the whole of Westphalia.
More Information: fon: +49 (0) 231 - 1204 359 firstname.lastname@example.org www.westfalenhallen.de/capacity
Allan McGowan email@example.com
MAMA TAKE OWNERSHIP OF LOVEBOX At Wednesday 23rd January 2013; MAMA & Company reported
still very much part of the fabric of the event and working with Rob
the completion of a deal to take on sole ownership of Lovebox,
Silver, Rich McGinnis and Dave McCalmont, the future of the show
the Londonfestival founded by DJs Andy Cato and Tom Findlay of
is in good hands. Lovebox is London’s best and most creative festi-
Groove Armada in 2002. The event held in Victoria Park has grown
val and we look forward to putting on a great party in Victoria Park
from a club night to become an award-winning, three-day event.
this summer on what will be Lovebox’s 10th anniversary.”
Originally devoted to dance music, over the last 10 years Lovebox has expanded into other genres including hip hop, indie, rock and pop. MAMA has been working with the DJ’s since 2007, and the acquisition follows news of the company’s management buyout and partnership with LDC in December 2012. Dean James CEO of MAMA & Company says; “We have enjoyed working with Tom and Andy over the years, but the reality is that we have been running this festival since 2009. Two of the original founders, Tim Harvey and Jools Butterfield are
#28 VIP-MAGAZINE 13/2013 www.vip-booking.com
Lovebox 2013 will take place between 19th – 21st July.
Eurosonic Noorderslag is the key exchange and networking platform for European music, European artists, international music industry professionals and organizations.
PREVIOUS EDITION IN NUMBERS: Total number of visitors Eurosonic Noorderslag: 35,000 (sold out) Visitors Conference: 3,250 (sold out) Nationalities: 45 Acts: 304 Media and journalists: 404 EBU radio stations: 31 ETEP festivals: 78 International festivals: 417 Number of stages Eurosonic: 36 Number of stages Noorderslag: 12
EARLY BIRD REGISTRATION AND ARTIST SUBMISSION OPEN FROM MAY 1ST 2013 ARTIST SUBMISSION CLOSES SEPTEMBER 1ST 2013 EUROSONIC NOORDERSLAG IS ORGANIZED BY
IN COOPERATION WITH
#29 VIP-MAGAZINE 13/2013 www.vip-booking.com
MADONNA Allan McGowan firstname.lastname@example.org
WORLD TOUR TOPS 2012 According to Billboard figures Madonna’s World Tour was the highest money earner in 2012, raising $228m, beating Bruce Springsteen. The Boss only managed to return a gross of $198
Top ten highest grossing tours of 2012 1) Madonna - $228.4m 2) Bruce Springsteen & The E Street Band - $199.4m
3) Roger Waters - $186.5m Worldwide the MDNA Tour played to more than 1.6 million fans in more than 65 cities since last June. The MDNA album also did well; in the UK it became her twelfth number one. Elements of the tour produced controversy (probably no bad thing from a promotional point of view at this stage in her career…), several
4) Michael Jackson The Immortal World Tour by Cirque Du Soleil - $147.3m 5) Coldplay - $147.2m 6) Lady Gaga - $124.9
dates in Australia were cancelled with no real reason being given,
7) Kenny Chesney & Tim McGraw - $96.5m
and France’s National Front party threatened her with legal action
8) Van Halen - $54.4m
following the use of an image of French Politician with a swastika
9) Jay-Z and Kanye West - $47m
on his face during her Paris show.
10) Andre Rieu - $46.8
MDNA Tour played to more than 1.6 million fans in more than 65 cities since last June
#30 VIP-MAGAZINE 13/2013 www.vip-booking.com
Make each event your best …
… with infrastructure from eps We offer a wide variety of rental equipment and services for concerts, festivals and further productions. Find out what eps can do for you. Get in touch! America Washington, DC, Chicago, Los Angeles email@example.com
South America Rio de Janeiro, Sao Paulo firstname.lastname@example.org
Australia Melbourne, Perth Sydney, Brisbane email@example.com
Europe Munich, Cologne, Berlin, Udine, Wintherthur, Copenhagen, Wroclaw firstname.lastname@example.org
Learn more about us: www.eps.net
#31 VIP-MAGAZINE 13/2013 www.vip-booking.com
Allan McGowan email@example.com
LIVE NATION, AEG SQUARE UP IN LONDON – AND THE OFT MOVES IN TO REFEREE After last year’s ‘soggy summer’, which affectedmany festivals and
over ticket pricing control, Live Nation and Gaiety Investmentsmust
nearly made the grass in Hyde Park extinct, we could be looking
sell off HammersmithApollo and The Forum before buying into
at a ‘sultry summer’ with the temperaturebeing raised by the two
Academy Music Group. AEG’s prospective control over the two
giants of live music slugging it out over competing venues and
biggestvenuescould give them the muscle to increaseticket prices
and give them greater control over obtaining artists.
The situation regarding control of major Londonvenues, Hyde Park,
Wembley Arena and the Olympic Stadium has alerted The Officeof
We now seem to be observing the first forays of Park Wars! Live
Fair Trading (OFT) which will carry out an investigation of concerns
Nation announced that it had pulled out of the Hyde Park tendering
that the potential ownership structure could result in higher ticket
process in the autumn. Following the dramaticimposition of a
prices and less choice of big name acts.
curfew, which saw the unplugging of Paul McCartney and Bruce Springsteen mid jam, Head of Events for The Royal Parks, James
The dominant Companies, Live Nation and AEG, owners of the
Russell, said: Curfews would remain the same as last year, but
East London O2 Arena, have been very active of late; Live Nation
hoped that there will not be a repeat of that cutting off. Live Nation
recentlysecured the rights to stage gigs at the Olympic stadium
said there were too many problems with noise levels amongst other
complex in east London, and as well as joining a consortium to buy
problems. However a spokesman for The Royal Parks Agency, said
the Hammersmith Apollo from the beleagueredretailer HMV, rival
that “Live Nation participated in the tender process from start to
AEG secured the contract to stage events in Hyde Park, replacing
finish but was not selected as the preferred bidder”.
Live Nation, which had been responsible for events such as Live 8 and Hard Rock Calling in the central London park for 10 years
Live Nation responded by announcing an exclusivedeal to host
Then, before Christmas, AEG moved in on WembleArena in North
gigs at the OlympicPark and stadium in east London this summer,
London, which Live Nation had held the management contract
with the Wireless Festival and Hard Rock Callingdefecting from
for the previous six years. They do love their sparring and their
Hyde Park, a number of concerts to be held in the stadiumduring
the summer. The London Legacy Development Corporation today confirmedit has entered into a contract to bring a series of concerts
Anyway, AEG’s ambitious London expansioncame to the attention
and festivals to Queen Elizabeth Olympic Park this summer, ahead
of the OFT which launched an investigation into whether the pro-
of its full opening in spring 2014.
posed but not yet completed Wembley deal, could lead to a “sub-
The deal gives Live Nation exclusive rights to host major music
stantial lessening of competition” for live music in the capital, and
concertsin the North Park and stadium in summer 2013.
will decide whether to refer the issue of AEG controlling London’s two biggest arenas to the Competition Commission.
John Reid, President of Concerts at Live Nation Europe, said:
The regulatory body can impose restrictionsif it elects to do so, such
“As the world’s leading provider of musicfestivals and outdoor
as it did in 2007, when it ruled that because of potential concerns
events, Live Nation is delighted to have won the inaugural contract
#32 VIP-MAGAZINE 13/2013 www.vip-booking.com
Start herbSt 2013
for Queen Elizabeth Olympic Park. In the coming weeks, we will unveilthe headline acts for the first Wireless and Hard Rock festivals to be staged in London’s new flagshipvenue, which promise to be the UK’s blockbuster events of 2013.” Dennis Hone, Chief Executive of the LondonLegacy Development Corporation said: “This summer Queen Elizabeth OlympicPark will once again host some of the greatestshows on earth. I’m delighted that leading global companies like Live Nation are interestedin the stadium and the Park. We’re thrilled to be working with them this summer.”
katie melua 30.Nov 2013
On 23 January 2013. AEG Live and The Royal Parks announced “Barclaycard British SummerTime - a ground-breaking new event for 2013, to be held at the greatest outdoor venue in the world - Hyde Park”. The event promises to give music fans throughout the capital the chance to see many of their favouriteheadlining and supporting music artists play over back to back weekends in ticketed events. Bon Jovi were named as the first headline act with more ‘high profile’ acts to be announced in the coming weeks.
boSSe (solo und akustisch) #33 VIP-MAGAZINE 13/2013 www.vip-booking.com
a stroll in the park… Event Director Jim King of AEG Live said:
Turning up to 11?
“After a great deal of planning and hard work, we are so proud to
Although some of the Hyde Park problems Live Nation were
announce what will no doubt be an incredible event for London.
confrontedwith involved noise complaints from local residents,
Barclaycard British Summer Time takes everythingwe have learned
AEG intend to raise the volume, with Bon Jovi claiming in Spinal
indoors at our other venues - in creating the amazing experiences
Tap fashion to turn up to 11.
at The O2 - and shares it within the world’s greatest outdoor venue, Hyde Park. We literally started with a blank canvasand in
Last year, fans complained that gigs by Blur and Madonna were
BarclaycardBritish Summer Time, we have created what we believe
too quiet, as a result of noise restrictions imposed by Westminster
to be the ultimatein Summer events - fantastic music, great food,
council, but AEG says a repositioned stage will allow the volume to
drinks, farmers markets, theatre, film - and much more incredible
be turned up without disturbing local residents. Events Director Jim
entertainment across a full 10 days. The list is endless!”
King says that an independent report makes it very clear that the “orientation and position of the stage” was of crucial importance,
James Russell, The Royal Parks, Head of Events said:
and the new set-up will be “better for residents, customers and
“This is a new era for entertainment in Hyde Park. Hyde Park has
bands. We worked the plan in terms of relocating that stage and
such a wonderful heritagein hosting world class concerts in the
orienting it away from the residents because previously it had been
heart of London, dating back to 1969. Today, we are looking
firing straight at them.” The new Great Oak Stage with LED panels
forward , and along with AEG Live, we are very excited to be
and screens will be camouflaged within the park setting, and the
bringingthe Barclaycard British Summer Time event to this iconic
lighting control booth will be set in a tree house.
location that is recognised around the world.” Residents will have to wait to see if AEG’s confidence in the report Well – spot the similarities? It could be an interesting summer for
Hyde Park London
#34 VIP-MAGAZINE 13/2013 www.vip-booking.com
and the changes are justified.
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JOHN ABERCROMBIE JACK DE JOHNETTE NILS PETTER
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TAYLOR MICHEL PORTAL YOUN SUN NAH PAOLO FRESU CHICO FREEMAN GIANLUCA PETRELLA
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LLOYD COLE LAMBCHOP TARAF DE HAÏDOUKS CARLOS NUNEZ
There will be 3.000 copies reaching over 10,000+ desks around the globe: - Agents - Promoters - Booking Agents - Venue managers - Festivals...
Published on Feb 28, 2013
There will be 3.000 copies reaching over 10,000+ desks around the globe: - Agents - Promoters - Booking Agents - Venue managers - Festivals...