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E N I Z A G A IP-M ATION R

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13 EDITION # 013 MARCH 2

FISH DISCUSSES MID-LEVEL TOURING READ MORE ON PAGE 18

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WELCOME

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

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#3 VIP-MAGAZINE 13/2013 www.vip-booking.com


CONTENTS:

06

VIP-MAGAZINE 13 #2013 05

UK Government Proposes Amendments to Live Music Act

06

New Acts – New Management

08

Record International Attendance at Eurosonic-Noorderslag Conference 2013

14

A Surprising Deal

18

Mid Level Touring – What Does it Actually Cost?

24

Artist Avails

25

Danish promoter Flemming Schmidt passes away

26

New Head Announced for Montreux Jazz Festival

28

MAMA Take Ownership of Lovebox

30

Madonna World Tour Tops 2012

32

Live Nation, AEG Square Up in London – and the OFT Moves in to Referee

08

32

18

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: vip@vip-booking.com | www.vip-booking.com DIRECTOR: Ronni Didriksen | rd@vip-booking.com GENERAL MANAGER: Peter Briggs | pb@vip-booking.com AREA MANAGER (GAS): Stefan Gottwald | sg@vip-booking.com WRITER AND EDITORIAL: Allan McGowan | am@vip-booking.com & Manfred Tari | mt@vip-booking.com 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 vip@vip-booking.com. Read more online www.vip-booking.com

#4 VIP-MAGAZINE 13/2013 www.vip-booking.com

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Allan McGowan am@vip-booking.com

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 am@vip-booking.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


Danny Pape

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: info@megaforce.de

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

an

35,000

audience­of music

lovers

and professionals­came together in Groningen­ , Holland­. The

number

of

international­ delegates­ to

the

conference­

increased­by

1,100

on last year to 1,500., combining delegates­

with to

local­ produce­

a sell out figure­of 3500 delegates­.

A

comprehensiv­e

conference programme concen­ trated­on music of course, but

#8 VIP-MAGAZINE 13/2013 www.vip-booking.com

Allan McGowan am@vip-booking.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

Nationalities: 45

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

remarkable

about

this event?

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.

the

Do you know any figures off the top

festiva­l, the way

of your head about the usage of your

that they’ve set

systems?

the stage in the

– I can tell you that an average of about

middle

the

1500 delegates received the “where was

conference-are­a .

I last night”-email and I can tell you that

set

The

up

of

Oosterpoort

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

organisations­

that

company­that runs offices in

Canada, the UK and the US.

How did business go for you?

regularly attend the Eurosonic­

Beside­s

– I’m very happy about what we’ve done

Noorderslag.

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...

the

Eurosonic­

Noorderslag­

compan­ y serve

festival­ s

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

year?

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

around

and

Eurosoni­ c Noorderslag

comparing

pick it up quickly and they walked into the

other

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

with

Beaumont-

gave them a summary of all the bands they

entranc­e control­and social media

Looking

Jake

VIP News ask Jake Beaumont-Nesbitt­… What

were

your

impressions

oft

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

early.

for them to make an assessment in their

How do you use Eurosonic Noorderslag­

career, because­after all these years it’s still

for IMMF?

When do you start on it?

a showcase-festival.

– 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

these applications?

the other mentioned etep-bands, I will

– Yes.

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

What

of

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

about

recommendations

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?”

you know.

improv­ e the

selection-procedure

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

discussions­?

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

record?

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

discuss.

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

versus UK/US-Talents?

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

do it!”

– 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

style.

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

people­in administrations?

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

politicians.

The First ETEP-Selection (Name of the acts and number bookings): Palma Violets (11)

C2C (9)

Churches (8)

Ragleklods (6)

Villagers (5)

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

lated…it fits!

careers!

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 mt@vip-booking.com


26.-28. sepT.

reeperbahnfesTival.com

InternatIonal talents, trends and trade –

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-

both businesses.

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

Company?

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

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

13.11.12 18:32


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

cal business?

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 am@vip-booking.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

performance­at

Spa

(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

£18.19.

the

Leamington

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

out £12,731.

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

Expenditure

setting up interviews and notifying local and

it a step further and open up with some

Support: 50: (standard fee)

national press.

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

Venue:

PA/Lights/Security/Crew/Barriers/Towels:

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.

pie.

#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

tickets.

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-

VAT):

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

other details.

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

£2250.

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

horrendous.

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

approximately­ £2496.

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

here!

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

Normal procedure­.

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


www.NorthSide.dk

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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!

the doors!

Contact: fish@fishead.com website: fisheadsclub.com


#23 VIP-MAGAZINE 13/2013 www.vip-booking.com


ARTIST AVAILS

Martin Turner’s Wishbone Ash

See/Add more Artist Avails at VIP-Booking.com

Nina Hagen

Bond Territory: Europe Period: 2013 Agency: GLP Agent: Georg Leitner E-mail: gleitner@glp.at 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: booking@kultopolis.com 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: booking@kultopolis.com Homepage: www.kultopolis.com

Nina Hagen Territory: Europe Period: 2013 Agency: GLP Agent: Georg Leitner E-mail: gleitner@glp.at

Foreigner Territory: Europe Period: 2013 Agency: GLP Agent: Georg Leitner E-mail: gleitner@glp.at Homepage: www.glp.at

TV Off Territory: Europe Period: 2013 Agency: RedBerg Agency Agent: Juha Juoni E-mail: juha.juoni@redberg.fi Homepage: www.redberg.fi

Diana King Territory: World Period: 2013 Agency: GLP Agent: Walter Laurer E-mail: wlaurer@glp.at Homepage: www.glp.at

Musical Youth Territory: World Period: March 2013 - March 2014 Agency: Stratosphere Music Agent: Steve Hughes Phone: +447779257295 E-mail: musicmgmt@hotmail.com

THE DOORS ALIVE - BEST DOORS TRIBUTE ACT IN WORLD Territory: World Period: January 2012 Onwards Agency: Value Added Talent Agent: Dan Silver Phone: +44 207 704 9720 E-mail: dan@vathq.co.uk Homepage: www.vathq.co.uk

Need to know who is touring Europe Go online - www.vip-booking.com

#24 VIP-MAGAZINE 13/2013 www.vip-booking.com

®

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

Flemming Schmidt

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

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Eberhard, Raith & Partner GmbH · Assekuranz Makler Trappentreustr. 1 · D-80339 München · Telefon 089-54 01 63-0 info@erpam.com · www.erpam.com

#25 VIP-MAGAZINE 13/2013 www.vip-booking.com


Allan McGowan am@vip-booking.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

July.

LUXEMBOURG PREMIUM CONCERT VENUE AND PROMOTER

Main Hall cap. 6 500 Rockhal Box cap. 2 500 Club cap. 1 100 Booking contact: booking@rockhal.lu Venue information: info@rockhal.lu

On the road again?

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Phone: +352 24 555 - 1 • www.rockhal.lu

BRUSSELS

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LONDON

COLOGNE

DUBLIN

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#26 VIP-MAGAZINE 13/2013 www.vip-booking.com

20/02/13 16:47


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 veranstaltungszentrum@westfalenhallen.de www.westfalenhallen.de/capacity


Allan McGowan am@vip-booking.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

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#29 VIP-MAGAZINE 13/2013 www.vip-booking.com


MADONNA Allan McGowan am@vip-booking.com

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

million.

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


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10:43

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#31 VIP-MAGAZINE 13/2013 www.vip-booking.com


Allan McGowan am@vip-booking.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

events.

and give them greater control over obtaining artists.

The situation regarding control of major London­venues, Hyde Park,

Park Wars!

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

shopping­these giants!

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


Dennis Hone

Start herbSt 2013

John Reid

EmslandarEna.com

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.

special guest

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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VIP-Magazine 13 - March 2013  

There will be 3.000 copies reaching over 10,000+ desks around the globe: - Agents - Promoters - Booking Agents - Venue managers - Festivals...