Vip magazine #14 - March 2014

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TAINM E ENTER IV L E H E FOR T ESOURC

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

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14 EDITION # 014 MARCH 2

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WELCOME

E N I Z A G A M P I TO THE V r hands tion of VIP-Magazine in you You now hold the 14th edi VIP-News. s from our monthly online presenting selected article

jor industry events in be attending all the ma The VIP-Team will once aga at Eurosonic/Noorderslag r and as usual this started yea the ing dur ce pla ing tak sic Industry it was e difficult years for the Mu som er Aft y. uar Jan in d in Hollan a great deal of future see high expectations and refreshing to once again gen. people we met in Gronin optimism from a lot of the ck we have received to all the positive feedba nks tha , sm imi opt t tha re We sha year. We thank www.vip-booking.com last of n sio ver new the of since the launch yet then we encourage you en’t been to our website you for that, and if you hav s we provide. to do so to see the service ernational industry agazine exist to report int -M VIP and ws -Ne VIP t Remember tha your activities, opinions and ase keep us informed of p. news – your news – so ple ever increasing readershi will be of interest to our nk thi you ich wh ng thi any

INSTRUMENTAL TO YOUR PERFORMANCE novitas insurance broker. In any event.

But firstly – we hope you

enjoy this issue!

THE VIP TEAM

®

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#3 VIP-MAGAZINE 14/2014 www.vip-booking.com

CONTENTS: VIP-MAGAZINE 14 #2014 06

Eurosonic Noorderslag 2014 - Peace, Love & Business

10

Industry Profile

12

At the Bar with Robert Meijerink

14

Concert-To-Go with Simple Minds

16

UK and US Agencies Announce Joint Venture

18

London Based Agency Value Added Talent Celebrates Thirty Years in Business

24

Ralf Scheffler and the Rebirth of Batschkapp

26

Artist Avails

28

Spain 2013

30

Spot Festival

31

On the Move with Fabien Miclet

33

Creative Europe Will Replace Former EU-Culture Program In 2014

34

VIP-Booking Welcomes Charlie Presburg to the team

12

16 24 34

A concert without our stage is like a body without a soul

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 SALES MANAGER: Charlie Presburg | cp@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

#4 VIP-MAGAZINE 14/2014 www.vip-booking.com

vip-booking.com

13297

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

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M E G A F O R C E

Megaforce Veranstaltungs GmbH Jöhlinger Straße 118 D-76356 Weingarten

Phone: +49 7244/7202-0 Fax: +497244/7202-22 Mail: info@megaforce.de

WWW.MEGAFORCE.DE

#5 VIP-MAGAZINE 14/2014 www.vip-booking.com

Manfred Tari mt@vip-booking.com

EUROSONIC NOORDERSLAG 2014 - PEACE, LOVE & BUSINESS Groningen in January has become a lovely tradition. A host of

There is certainly no lack

players­from the European live music business and even from further­

of talent. As usual Euro-

afield, make this pilgrimage to the famous town in the North of the

sonic Noorderslag provided a

Netherlands each year, celebrating the start of the new year with

well-chosen­bill of new artists

a stimulating trip involving talents, tokens and travel adventures...

and for the business buddies an interesting­line up of keynote and

Without any doubt, Eurosonic Noorderslag is one of the best music

panel speakers­and interviewees such

conventions in Europe. With a slight increase in concert goers and

as CAA’s Emma Banks, Lucy Dickens of ITB,

officially 25 more international delegates, another sold out edition

Folkert Koopmans­of FKP Scorpio, and a video

of this convention yet again provided a fresh opening to the business

message from a well known German promoter at the

agenda for a new year.

European Festival Awards.

confessing­while winning the price of the festival line up 2013,

E

es

rderslag i o o N n fi ic n o gu s o r ur

Memorable moments? Stefan Lehmkuhl from Melt Booking

Total visitors ESNS (sold out): 38.500 (previous year: 35.000)

that he never expected to win an award for a money losing festival and Ivan Milivojev of Exit Festival who sharply concluded­regarding RFID-systems for festivals “I am using it to make money, not to promote it!”

With the ‘beer crate sessions’ Eurosonic has created a new conference format, presenting­single speakers in a cross

Conference visitors (sold out): 3,275 (3,250)

between­a lecture and a personal Q&A

Nationalities: 39 (45)

session. The informal character of

Acts: 337 (304) Number of stages at Eurosonic: 36 (36) Number of stages at Noorderslag: 11(12) Media & journalists: 307 (404) EBU radio stations: 30 (31)

these sessions actually seems to work better­than the more official speeches, such as the keynote by Karel Barták from the European Commission, who presented­Creative Europe, the new culture­support program from the EU. Apropos Creative Europe, following the demise of the European Music Office

ETEP festivals: 89 (78) International festivals: 419 (417) #6 VIP-MAGAZINE 14/2014 www.vip-booking.com

#7 VIP-MAGAZINE 14/2014 www.vip-booking.com

Networking at Eurosonic 2014

(EMO) which was forced to file insolvency in October 2013, a group of

Noorderslag team once again delivered an extremely well produced

17 music export offices met during the convention and agreed on to

and fruitful convention­.

join forces in order to fill the gap left by the closure­of the office­. The new network will be known as ‘European Music­Exporters­Exchange­’

There was only one real gripe which concerned the RFID-

but it is not yet known whether this organisation­will install­and

paymentsystem­­ in the delegate bar on Saturday evening (the

maintain an office in Brussels, the political­and administrative­nerve

Noorderslag show which concentrates on Dutch talent) in the main

centre of Europe, to continue to lobby for the benefit and the needs

venue Oosterport­. In reference to Ivan Milivojev’s previous statement

of popular music.

this RFID-system needs to be improved, as the payment-procedures took three-times longer than it takes for a beer to be tapped...

The EBBA’s celebrates European artists that have achieved cross border success with their first international release.

Eurosonic Noorderslag has reached a level where many things occur­ simultaneously – it’s busy! It has become almost impossible­ to follow up on all of the developments, notable information­or concerts during this event.

Meanwhile the event continues to deliver an ongoing flow of valuable issues and encounters that are essential­ to the present and future of the European music business­. With all this in

Th e

European Fe e h t f stiv rs O e al n n Aw i WYES Group H&S Innovation Award Artist’s Favourite Presented in association with the YES Group and ICM&SS Paleo Festival Best New Festival B.my.Lake Festival Anthem of the Year Daft Punk - Get Lucky Best Indoor Festival Metal Hammer Paradise

M

a

re

k

Li e

b er

b er g

THE FIRST

E

HART 2014 P-C TE

Jungle / 7 Royal Blood / 5 Milky Chance / 5 Sam Smith / 4 George Ezra / 4

#8 VIP-MAGAZINE 14/2014 www.vip-booking.com

The Green Operations Award In association with the GO Group Way Out West Best European Festival Line-Up Berlin Festival Newcomer of the Year In association with Eurosonic Noorderslag Imagine Dragons

European Festival Lowlands

ds ar

mind, the Eurosonic­

The Winners of the European Border Breaker Awards 2014 Disclosure (UK),

Zedd (DE),

GuGabriel (AT),

Icona Pop (SE),

Lukas Graham (DK),

Asgeir (IS) and

Jacco Gardner (NL),

Kodaline (IE),

Woodkid (FR).

Envy (NO),

– also won the celebrated EBBA ‘Public Choice Award’

Eurosonic

Headliner of the Year Arctic Monkeys Promoter Of The Year FKP Scorpio Best Small Festival FUSION Festival (Romania) Best Medium-Sized Festival In association with Eventbrite Melt! Festival Best Major Festival in association with Intelligent Venue Solutions EXIT Festival Lifetime Achievement Award Marek Lieberberg

#9 VIP-MAGAZINE 14/2014 www.vip-booking.com

PROFILE

2014

17.-20. SEPT.

JUHA KYYRÖ

industry Name: Juha Kyyrö

Email: juha@fullsteam.fi Favourite interest outside music: Selected TV series 5 Artists you have worked with during 2013: Justin Bieber, Sigur Rós, System of a Down, Macklemore & Ryan Lewis, Pet Shop Boys

HAMBURG/GERMANY

Company: Fullsteam Direct phone: +358-50-5468187

INTERNATIONAL

Favourite Artist: Bruce Springsteen

TALENTS, TRENDS AND TRADE

5 Artists you have confirmed to work with in 2014: Michael Bublé, Frank Turner, Wiz Khalifa, Gogol Bordello, Testament

1. A brief history of your career in the Live Music industry.

I started booking bands and releasing records as a hobby while in high school, one thing led to another, and I am now a proud owner of the leading promoter and booking agency with the

Annonce_79x115_VIP_Book.pdf

1

11.12.13

17:09

best team possible in Finland.

2. Describe the highlight of your career and the biggest disappointment.

jouer communiquer vibrer rêver bouquiner

600 WIDE-RANGING EVENTS IN MORE THAN 70 VENUES

I’d say the highlight so far is actually the year 2013 in total; over is whenever I see someone killing an artist’s career by going for the quick cash instead of building up something greater.

OPENING JANUARY 2014

3. What’s your best skill and worst habit in the context of your work?

I like to think that my best skill is problem solving. The worst habit is probably not saying “no” as often as I should.

4. What’s your new year’s resolution/plans for 2014?

Keep calm and don’t let the game change who you are.

5. What do you see yourself doing 10 years from now?

Playing football with my son.

Capacity: 200 seated New intimate venue in Luxembourg Concerts - Theater - Congresses Centre culturel régional Differdange / 38 avenue GD Charlotte / L-4530 Differdange E-mail: info@stadhaus.lu Phone: (+352) 58 77 1-1901 Website: www.stadhaus.lu

#10 VIP-MAGAZINE 14/2014 www.vip-booking.com

Organiser: Reeperbahn Festival GbR and Inferno Events GmbH & Co. KG

1,000 shows with over 300 artists. The biggest disappointment

INCL. CONCERTS, MUSIC & DIGITAL SESSIONS, NETWORKING, ART PROGRAMMES 30,000 FANS 3,000 PROFESSIONALS

REGISTER NOW! REEPERBAHNFESTIVAL.COM

Manfred Tari mt@vip-booking.com

AT THE BAR WITH

ROBERT MEIJERINK It is one of these traditions at Eurosonic­

When did this news reach you?

Is that normal or is it a record?

Noorderslag, catching­up with Robert

– In mid September and the deadline

– No, it’s like last year.

Meijerink towards­the end of the event.

Meijerink­is the booker of the Eurosonic festival­and as such the most relevant­

is first of November. Normally we start with the EBU (European Broadcasting

Have you had problems with secondary­

Union) program­ first, every EBU act was

ticketing?

confirmed­, and so we had to reschedule­

– Yes, of course. I think that secondary

talent­supplier or coordinator­for the

every act from the Huize Maas to other­

ticketing is an unacceptable way to make

European­ Talent­ Exchange Program­.

venues. In the end we succeeded, we

easy money. They are not doing their

managed­ to have the Magic Mirror and

job, they are profiting from the efforts of

VIP News: Are you happy now?

also the Der AAKerk. That’s just a particula­r

someone else.

– Yes, I am really happy, yes.

thing affecting the bookingprocess, this

Robert Meijerink, Booker at Eurosonic

In the past you had concerts presented­

one year ago he was an EBU act. He is

we would love to see a development, like a

by Visions and particularly Intro in

just 18 years old and for me it is great

total unknown act who is upcoming, new,

is not a game that you play every year;

How was it that there was a StubHub

Germany­. What happened to them?

because­I discovered this act in Iceland

it’s not about winning an award, it’s more

What have been the biggest pleasures­

every year it’s something different­. Music

reception in the Oosterpoort?

– Well, we don’t want to grow bigger in

and in co-operation­with the radio station­

about the fact that he is touring as an

and what were the most unlikely

first, there are many upcoming talents, so

– I don’t know. That’s really interesting­, that

terms of selling more tickets. It’s almost

RAS we confirmed him as an act to play

headliner act through so many territories­­

things that you experienced at this

how you are going­ to book the festival,

is new to me, really. Secondary ticketin­g is

impossible in terms of the past years, in

at Eurosonic­. We discussed whether it was

around the world right now.

edition of Eurosonic Noorderslag?

who is going to be selected­ and why?

a hot topic, as you know. Not only in the

regards­to the conference and also the

really the right moment or should we wait

– To answer the first question: When we

When I start booking­ the festival then I

Netherlands, it’s all over Europe­.

liveshow cases, we do need every single

for one year. He had a massive success­

Are you also in contact with the festival­

started booking this festival, we asked

rely on the venues we have, and as one

thing in order to fulfill the bookings. It was

with his debutalbum in Iceland. I saw him

bookers of ETEP, do they tell you, for

ourselves­how we could move it up to

big venue like Huize Maas is gone…wow,

I’ve seen so much of a media presence

fine to work together in the way we did,

on stage in Iceland and I thought this is

example, that they have a certain­

another­level. How can we reinvent the heart

that was my personal­ biggest setback of

here; maybe I’m wrong but it seems

with, for example, Visions or Intro, who

really everything an act needs in order to

demand for dancehall or alternative­

of Eurosonic and try to make things better,

the year. It was really like a slap in the

far more than previously. What does it

were always great and helpful partners­, in

make the next step, not only contentwise.

artists­?

learn from the faults of the previous year.

face, it pushed me not in a wrong way,

mean to you in terms of productions­?

order to present the new acts, but we also

His father, who is a famous poet in Iceland­,

– I’m in touch with a few of them; of

That’s always a good position to start, but

of course, but we had to deal with it and

Do you have a higher number of

want to work with the media in a more

wrote his lyrics. It’s a big story and he’s a

course I like to talk with them about their

when it comes to booking you have to deal

I think we’ve found a great solution by

requests­from media companies or is it

targeted situation as we did this year. We

great musician backed up by his friends,

preferences­ . There are so many festivals­

with lots of music and you have many choic-

having both venues to accommodate

pretty much as usual?

think that it makes more sense. If you have

maybe more experienced and also great

involved­at ETEP, so many genres. It’s about

es. Every year, in that process, it’s always­

the acts. No one was talking about the

– We have more requests than before, it’s

an Intro night, it’s always a great night,

musicians. It was a great show at Eurosonic­

there being so much diversity Europe­ .

hard to find a way; but in the end we do

‘HuizeMaasEffect’­ , so I think that is a

developed over the last few years. I think

wellattended, great musicians, but at the

but not everyone was aware of that fact.

Eurosonic­is focused on pop music in

find our way. Now about the negative things

good thing.

it is important to have media on board and

end it’s not about Intro, it’s about the

He played twice and one year later he

genera­l, dancehall and metal is always a

I’m really glad that we have group media

artists­, you know?

earned so much success, John Grant from

part of it but we don’t have a rich history

Canada translated his lyrics and a UK Label

in booking metal acts.

– we had to deal with difficult things in the bookingprocess, like, the confirmed venue

I only noticed today that the venue

attending Eurosonic, because we have so

Huize Maas was badly damaged by a fire last

was not in the listings for this year.

many acts that are investing in their careers.

Looking back at the ETEP edition in

year. As a booker you look at the entire fes-

– Yes, I was there one week after the fire,

For me as a booker it is very important to

2013, are you pleased with the results­

tival from a helicopter perspective. You try to

it’s not totally destroyed but it’s badly

have the right people at the right place,

of the Programme and the EBBA

And he also won an award…

– Finishing this edition, surviving this

give every artist the best spot that is possible

damaged.

because I care about the acts who come

Awards? Was there any highlight for

– Yes, he did.

evening­ , celebrating the success. Every

with a growing ambition, with a strategy, a

you, something that surprised you in

and ensure that the people, not only the del-

released a UK edition.

What is next on the agenda?

year a couple of weeks after Eurosonic

egates, can find their way, so they can enjoy

I’ve been told that Eurosonic Noorder-

dream, however you want to call it. Media

any way?

Would you say that the ties between

we sit together and we review what we

the program in the best way possible. When

slag was sold out in fifteen minutes.

is very important but not only the media,

– Oh, that’s a pretty hard question. There

EBBA and ETEP are a little bit closer

did and then we look ahead to the next

the cancellation of a venue comes so late in

Can you confirm that?

the professionals in general, people who

were quite a few acts who broke through.

than before?

edition­.

the game, it’s like you really have to start all

– Yes, that’s right

come to discover the talents and invest in

Kodaline won an award, Ásgeir played his

– I think it’s hard to say. I think Ásgeir is an

them, of course. It all makes sense.

first show outside of Iceland, and exactly­

exception and also a great example of how

over again.

#12 VIP-MAGAZINE 14/2014 www.vip-booking.com

#13 VIP-MAGAZINE 14/2014 www.vip-booking.com

Concert-To-Go with

Simple

Minds

The

’Take

Away

Concert

Experience’

continues­… German company Bleeker Street Entertainment will join Simple Minds on their European­tour and provide­fans with instant live recordings on USB-sticks throughout­the UK act’s upcoming tour.

Every concert will be recorded, mastered and made available for purchase­by fans immediately­following

each

show.

This

special­audio-merchandise­ -item will consist of recordings­delivered in an MP3-format­and delivered on 4 gigabyte USB-sticks.

The ‘official bootleg’ costs 30 Euro and will be offered in the concert venues or can be bought afterwards on the web site www. bleecker-street-shop.com/

#14 VIP-MAGAZINE 14/2014 www.vip-booking.com

#15 VIP-MAGAZINE 14/2014 www.vip-booking.com

Allan McGowan am@vip-booking.com

S E I C N E G A S U D N A UK E R U T N E V T N I O J E ANNOUNC

Marty Diamond, East Paradigm’s Head of its n isio Coast Music Div

Rob Challice, Director/Agent, Coda

a deep commitment to artist development­.

– Horseman: Someone said to me I’ve seen a

agents in Beverly Hills, New York, Nashville­

This new partnership is the next logical step

job that’s got your name written all over it! So

In a Press Release from London and Los

and Monterey, guiding the careers of an elite

as we continue to carefully grow our Music

I went in and met all the Partners­. I only really­

Angeles earlier this month the UK’s CODA

roster of clients in motion pictures, television­,

Division with the artists interests always at

knew Alex Hardee (Coda Director/­ Agent),

Agency and the US based Paradigm have

music, theatre, comedy, publishing­ , digital

the forefront of our planning.”

we worked together on Calvin Harris’s­debut­

announced the setting up of a joint venture

media, physical production, commercials and

partnership. This formalisation of a global

voice-overs. Considered a taste maker in the

alliance­sees Paradigm acquire a 50% stake

Music business, Paradigm represents a wide

in the company CODA Agency Limited.

they come across something of interest. The

Claire Horseman, da Managing Director, Co

main thing is that with both Companies the main motivation is whatever’s­right for the artist. The joint venture will enable­the two agencies to pool their expertise­and resources on a global basis.

album­project. He was probably­the only

– Horseman: The two Agencies have worked

Sam Gores, Chairman and CEO of Paradigm

Agent who I worked closely­with back then. I

together for quite a while and there is a lot

said, “We could not be happier to start the

had never thought that labels worked well, or

of mutual respect. Following the completion­

I was wondering whether this deal

range of highly respected artists including­;

New Year with this partnership with CODA,

closely enough, with Agents (except perhaps­

of their deal with AM Only, Paradigm was

would be exclusive enough to stop you

Aerosmith, Black Eyed Peas, Coldplay­, Dave

a terrific group of agents who are dedicated­

if you were working indie/rock acts), and

looking­for other areas in which to expand­,

working with other agents in the US or

CODA Music Agency celebrated its 10th

Matthews Band, Ed Sheeran, Eli Young

to growing artists careers the right way.

when marketing budgets got squeezed the

and it seemed quite natural to approach­

will it allow you to continue working

anniversary­in 2012 and has grown rapidly­

Band, fun., Imagine Dragons, Janelle Monae,

This furthers our strategy of aligning with

need for tour support always got questioned­.

CODA.

relationships­with other agents that you

in recent years representing over 500

Jason Mraz, Phish and Toby Keith amongst

agencies­around the globe that share our

Now it’s much more integral, and of course

approaches­, but Paradigm has a very similar

have worked with previously?

artists­and DJs from numerous genres.

many others.

values and our commitment to the highest

live is a massive part of an artist’s development­

style and there was a lot of common ground.

– Rob Challice: Coda will continue sharing­

quality representation.”

and career.

CODA was set up as an LLP, so we formed

clients with other agencies in USA, i.e.

CODA Agency Ltd as the entity to complete

where we book an act in Europe and they

a 50/50 partnership.

book the act in North America. The same

The company’s­Directors are Agents Alex

Other

Companies

had

made

Hardee­, James Whitting, Marty Diamond­,

The agreement with CODA will be the

Rob Challice­and Tom Schroeder supported­

second­joint

for

VIP News spoke to Coda MD Claire

How has it been since you took over

by Greg Bestick, Dave Hallybone and

Paradigm­ , followin­ g their agreement with

Horseman­and Director/Agent Rob Challice

looking after the Coda business?

Managing­Director Claire Horseman. The

AM Only, a leading electronic dance music­

about the new joint venture:

– Horseman: It’s been a bit of a rollercoaster

What do you think are the main

they book in North America and there are

company

agency

ride since moving from the record industry

strengths of the coming together of

other agencies­booking the band here. We

currently

works

with

artists

venture

partnership

representing­such

international

applies­to Paradigm, where they have clients­

including­: Bastille, Bon Iver, Disclosure, Ellie­

stars and Grammy winning artists as David

Claire Horseman only took over as MD at

side to the live business, but it’s allowed

these two Agencies?

firmly believe in managers placing their

Goulding, Emeli Sande, Imagine Dragons­,

Guetta­, Skrillex and Tiesto, in January 2012.

CODA in March last year, having previously

me to bring in some fresh ideas and a new

– Horseman: For a start, unlike some Agencies­,

artists­with the most appropriate agents in

had a successful career working for BMG

approach­, and the deal with Paradigm has

the Directors are all still Agents, Marty

respective territories. Also, we don’t want

and Columbia.

certainly followed on from that.

Diamond­of Paradigm is also on the Board of

to go down the route of ‘making’ one of

Jake Bugg, Rudimental, The XX, The Lumineers­and many others.

Marty Diamond, Paradigm’s Head of its East

CODA and it’s my job to run the business side.

our agents represent­a band that they don’t

Paradigm is one of the entertainment

working closely and successfully with CODA

How did your move to Coda and into the

What do you think was the main reason

Both Paradigm and CODA are very strong in

believe­in, that ethos remains at the centre

industries­major talent agencies, with 130

for many years and share common values and

Agency business come about?

for this deal coming together when it did?

an A & R sense and tip each other off when

of how we make decisions.

Coast Music Division said, “We have been

#16 VIP-MAGAZINE 14/2014 www.vip-booking.com

#17 VIP-MAGAZINE 14/2014 www.vip-booking.com

Allan McGowan am@vip-booking.com

LONDON BASED AGENCY VALUE ADDED TALENT CELEBRATES THIRTY YEARS IN BUSINESS

VIP-News talks to Dan Silver, Founder and MD of Value Added Talent: Thirty years is quite a substantial time to have maintained and

hadn’t really invaded) in the Autumn of 1977 and I grabbed it with

developed an independently operated booking agency, but

both hands. I have worked full time as an Agent ever since. I got some

your personal experience in the industry goes back even longer

great experience at Albion, the Agency that invented pub rock and

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

was so influential with the growth of punk, and later worked at MAM

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

and then TBA alongside a young John Giddings, (MD of Solo, and

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

Organiser of The Isle of Wight Festival.) before creating Value Added

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

Talent in 1983.

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

You appear to have maintained successful long term

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

relationships­with particular acts and managements, how

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

important­has that been to the way you operate?

1973 but decided that then it held limited prospects and returned­to

– As my saying goes, “If you want loyalty, get a dog” – this must be

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

true because it has been borrowed and repeated by John Giddings

unemploymen­t ’ was first talked about as a serious issue, I worked some

ever since! I have had my share of upsets over 30 years of trading

jobs I hated a lot, whilst still looking into music options. I stumbled­

so I do value very highly continuing to work with the acts that I have

into a second opportunity of working with an independen­t Agency

grown over many years. Most acts I work with I have grown on a

(well almost all Agencies were independent in those days, corporate­s

long term basis and from the start of their careers, I am thinking

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#18 VIP-MAGAZINE 14/2014 www.vip-booking.com

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

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#19 VIP-MAGAZINE 14/2014 www.vip-booking.com

of Depeche­Mode, and Vince Clarke’s’ two other bands Yazoo and

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

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

of these command enough of an audience to drive ticket sales and the

Erasure­, although I no longer work with those acts today. Orbital has

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

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

other consequence of this is an increase in bids for exclusivity and longer

always been a pleasure to represent and I am now booking their 25th

work I do represents­unpaid work, in the sense that we coordinate

the entrepreneurial spirit. The merger of Live Nation with Ticketmaster

lock out periods to other events. At the same time, some events are ca-

anniversary tour since their first release in 1989, in 2014. Steve Hillage

marketing­campaigns, advise Artists on their strategies and partners

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

pable of generating customer loyalty by having high standards of infra-

too is a long-term client that I have helped with other projects as

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

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

structure and a good diversity, so in that sense the event then becomes

diverse­as Gong’s 40th anniversary tour and currently in 2014 his new

deals wherever­possible and generally act as an expert consultant in

themselves. LN now buying into successful Management companies

a destination in itself and the acts become less important.

and exciting fusion project with Rovo from Japan.

strategy­, marketing­, international promotion and so on.

is further evidence of the continuing process. Without shareholders

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

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

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

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

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

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

years Agency still appears to be the sector that has remained

Agents were very reliant on the record labels marketing and promotion­

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

a possible lack of new talent as record companies are not

consistent in the way that it operates - although the numbers

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

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

growth of the Internet represents the chance for Artists to assume

Do you think that the growth of the festival market has

seems to be having problems?

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

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

impacted­on the traditional touring periods, and has this

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

promoter­, and quite often that relationship is based on trust

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

affected­the way you plan your tour schedules?

open to that possibility. In general, someone whose judgement I respect­

as agency contracts still seem to be very rare documents.

today internationally bring added value and represent a big asset to

– The live industry has swung heavily towards the Summer Festival­circuit­

will tell me about an act and I will then look into it. I do evaluat­e a lot of

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

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

and this has certainly changed planning and schedules. Appearing­at

situations and often pass. I don’t think I am aggressive in the way I look

business­?

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

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

for opportunity – for example I have never knowingl­y poached an Act,

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

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

pattern of touring. The Summer is now usually our busies­t work period,

although I have learned about an unhappy band and then looked into it.

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

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

and it used to be Autumn, Spring and then Summer, in that order. I liken

Yes it is harder to break an act these days as the conventional indicators

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

that is experience and knowledge about best choice of partners and

Festivals today to the 5-screen cinema concept­, as the diversity of acts

mean a great deal less. Plus the audience themselves seem to be less

agree contract­s with new acts as it recognises the huge investment

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

across a number of different stages is now the norm. Whilst there are

‘tribal’ in their dedication, meaning that bands can have a great media

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

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

now what seems like ‘six million live bands’ only a very small number

success and then mean nothing very quickly. There is a divorce between

Dan with his FAMILY at Dan’s anniversary party

#20 VIP-MAGAZINE 14/2014 www.vip-booking.com

developing­acts as they once did, and the smaller venue circuit

Dan Silver. On his left Bob Young, On his right is Ian Huffman.

#21 VIP-MAGAZINE 14/2014 www.vip-booking.com

‘fans’– which I remind myself is an abbreviation of fanatic - and bands.

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

Decreased audience loyalty and increased turnover of artists makes the

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

traditional building of an act much harder today.

certainly are some family dynasties in this industry and I am happy not to be amongst them. I expect that VAT will remain a personal

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

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

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

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

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

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

an up and coming agent - or booker?

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

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

with the opportunity to make my own destiny, so it is unlikely I will

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

let go willingly and of my own volition. I suppose I can now actually

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

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

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

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

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

to achieve.







           #22 VIP-MAGAZINE 14/2014 www.vip-booking.com

#23 VIP-MAGAZINE 14/2014 www.vip-booking.com

Manfred Tari mt@vip-booking.com

After 37 years the well-known concert venue Batschkapp in

Batschkapp

Frankfurt­has found a new home. It is one of these rare stories of a re-location of a famous concert club that has existed for ages starting all over again in new location. VIP News spoke with Ralf

– The investment is around 2.7 million Euros. The real estate office­

entire investment has been done completely without any support­

Scheffler, boss and business mastermind of Batschkapp:

of Frankfurt purchased the premises exactly for this purpose as the

by a bank. In particular our bank, which we worked pleasantly

City of Frankfurt was highly interested in keeping us in the city. The

together with for 37 years, has covered itself in this regard with

banks actually played no role at all within this process, in fact the

particular fame.

What led you to re-locate Batschkapp?

– Our aim was to obtain a capacity up to 1.500 people. In fact we have been aware of the fact that extensive renovation measures were necessary to keep the ‘old’ Batschkapp in business. So we

For further information please check www.batschkapp.de

thought it is more reasonable to invest our money in a new project.

When planning the new Batschkapp, what have your priorities­been for the new venue?

– We wanted to obtain a better room and technical facilities for TRIBÜNEN

>

BESTUHLUNGEN

>

artists and for the audience as well.

Have you or the architect had to consider many new obligations­and requirements by the building authorities?

EINLASSSCHLEUSEN

RASENSCHUTZ

Planning and opening a new concert location always comes

BODENSCHUTZ

>

Im Hintergrund und unverzichtbar …

SITE-MATERIAL

>

safety settings for venues and locations. Ed.)

>

untranslatable word for a well designed guideline of health and

>

ABSPERRSYSTEME

„Versammlungsstätten Verordnung“. (A German masterpiece and

>

– Well, we had to consider the very well known and highly respected­

along with some surprises.

– Any exciting examples that caused your astonishment? emergency power supply for the smoke extractor, two very big

SANITÄRSYSTEME

>

Not really - except one perhaps: the fire brigade requested an ventilators­that start working in the case of fire and suck in smoke in the, from my point of view unlikely event, when a power black out in the town district occurs by sheer chance at the same time a fire starts... A quite unlikely coincidence that would eventually­ only occur in the case of war or a terror attack. However, this requirement­wasn’t to be discussed...

How big is the investment and are you pleased with the Ralf Scheffler

backing by your bank and the local authorities in Frankfurt?

… Infrastrukturdienstleistungen von eps Damit Ihr Konzert, Festival oder Event ein voller Erfolg wird.

Und was können wir für Sie tun? Kontaktieren Sie uns!

Büro Köln Zum Frenser Feld 1 50127 Bergheim koeln@eps.net Tel.: +49 2271 995 44 00 eps_VIP_170x126_140127.indd 1

#24 VIP-MAGAZINE 14/2014 www.vip-booking.com

Büro München Talangerstr. 5 82152 Krailling muenchen@eps.net Tel.: +49 89 89 444 555

Büro Berlin Weinbergsweg 22 10119 Berlin berlin@eps.net Tel.: +49 30 25 700 833

Weitere Informationen: www.eps.net

27.01.14 16:57

#25 VIP-MAGAZINE 14/2014 www.vip-booking.com

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

ORBITAL

Glasvegas

Patti Smith Territory: Europe Period: 2014 Agency: Primary Talent International Agent: Andy Woolliscroft Phone: +44 20 7400 4500 E-mail: andy@primarytalent.com Homepage: www.pattismith.net

The Cure Territory: Europe Period: 2014 Agency: Primary Talent International Agent: Martin Hopewell Phone: +44 20 7400 4500 E-mail: martin@primarytalent.com Homepage: www.thecure.com

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

Glasvegas Territory: Europe Period: 2014 Agency: Primary Talent International Agent: Ben Winchester Phone: +44 20 7400 4500 E-mail: ben@primarytalent.com Homepage: www.glasvegas.net

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

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

FireHouse Territory: Europe Period: October 16-31 Agency: ARM Entertainment Agent: Dana Strutz Phone: 651-483-8754 E-mail: ds@armentertainment.com Homepage: www.armentertainment.com/firehouse

Alan Parsons Live Project Territory: Worldwide Period: 2014 Agency: World Entertainment Associates of America Agent: John Regna - Artist Agent/Manager Phone: +1 407-993-4000 E-mail: JPR@JohnRegna.com Homepage: www.AlanParsonsTourPromo.com

THE ORCHESTRA starring ELO former members Territory: Worldwide Period: 2014-2015 Agency: World Entertainment Associates of America Agent: John Regna - Artist Agent/Manager Phone: +1 407-993-4000 E-mail: jpr@johnregna.com Homepage: www.THEORCHESTRAonline.com

Dionne Warwick Territory: Worldwide Period: 2014-2014 Agency: World Entertainment Associates of America Agent: John Regna - Artist Agent Phone: 407-993-4000 E-mail: jpr@johnregna.com Homepage: www.DionneWarwickTourPromo.com

Need to know who is touring Europe?

Go online - www.vip-booking.com

#26 VIP-MAGAZINE 14/2014 www.vip-booking.com

速

vip-booking.com

#27 VIP-MAGAZINE 14/2014 www.vip-booking.com

Manfred Tari mt@vip-booking.com

Albert Salmeron

The Spanish promoter Association APM

in the careers of local new talent as the

– The music business is very important for

(Asociación­de

promoters­are investing less money.

local and international tourism in Spain.

Promotores

Musicales)

- An Exception amongst European Concert Markets

Festivals­and big concerts make an important­

and invested­in festivals (Denmark,

How

markets

economic and social contribution to the areas­

Sweden­ , the Netherlands­ ) becoming

structured­and which companies are the

talents and newcomers on a club level?

consolidation

where they take place. Hotels, restaurants­,

the biggest­festiva­l promoter­in Europe.

main players in Spain?

– The crisis has particularly affected this market.­

transports, shopping, museums­and other

FKP Scorpio­itself is associated­with CTS

– Lots of ticketing companies have appeared­

Ticket sales of small shows have gone down

association­Prodiss undertook a survey­

cultural activities are getting a big benefit

Eventim, a stock market listed com-

in the last years. Most of them associated­to

significantly. It’s really hard for the promoters­

and concluded­ , that within the next

from these festivals or events. Even small

pany that within 10 years has become

banks or regional saving banks, and also to

to make a profit from these club shows with

Besides the V.A.T. increase for concerts,

five years around 90 percent of the

festivals­have a real value in the economy of

the biggest ticketing­company in Eu-

big stores. Also there are lots of ticketing

the low ticket sales and the 21% VAT.

what are currently the biggest concerns

independent­concert companies­might be

the area around. Currently there are many

rope. Do you expect that stock market

systems offering software to the promoters­

for the Spanish live music industry?

out of business­. Do you see indicators for

festivals in Spain and every city or region

listed companies such as CTS Eventim,

and venues to create their own ticket

In some markets the segment of arena

– One of the biggest concerns currently is that

a similar development­in Spain as well?

wants to have a music event. Festivals like

SFX Entertainment or Live Nation will

systems­. The main ticketing companies­are

shows is under pressure due to higher

we can’t be competitive with other countries­

– Around 30% of concert companies have

Sonar, Primavera Sound, FIB (Benicassim­ ),

undertake­efforts to invest in or take

Ticketmaster, Entradas.com and El Corte

production expenses and the lack of

in the European Union because of the 21%

closed down since the beginning of the crisis

BBK Bilbao Live, SOS 4.8 (Murcia­ ), Arenal­

over Companies in Spain which could

Inglés.

headliners. Does the same goes for

VAT (imposed in September 2012 and leaping­

and specially since the new 21% VAT on the

(Burriana), DCode (Madrid)… are really

lead to significant amendments­within

from the previous 8%), plus the 10% PRS.

tickets. Many companies that haven’t closed

succesful­and are very important for their

the Spanish concert industry?

VIP-News: Is the market share of mobile

part of the market is still healthy?

This 31% is significantly­affecting­the tours

are still in the business but in a very precarious­

cities­or regions.

– In fact Live Nation is working in Spain

and online ticketing growing and what

– Nowadays there are less arena shows due, as

since they bought GAMERCO (including

is the split between ticket sales through

you say, to the pressure of higher production expenses­and the lack of headliners. As I had

regularly­publishes one of the best annual­ reports­by a live music organisation in Europe­.

In

many

European

concert

VIP-News spoke with Albert Salmerón­of

a

concentratio­ n and

Producciones Animadas who is also a board

proces­s is evident The French promoters­

member of the promoter association.

coming­to Spain, as Spanish­promoters­ situation. Anyway, maybe it’s too pessimistic

is

the

ticketing

marketing

How would you describe the market for

Spain or would you rather say that this

can’t make offers competitive­with other

to conclude that 90% of companies will be

In Sweden the festival market has

Iguapop and Pino Sagliocco’s company).

box offices and online portals?

countries­of the region. So we are losing­

out of business in 5 years in Spain.

changed significantly within just 5

Now Live Nation has offices in Barcelona

–

increasing

mentioned some international artists are only

years.

Online

ticket

sales

are

and Madrid. However, the peculiarity of

considerably.­Some specific companies are

playing festivals in Spain as the offers are very

only coming to Spain to play festivals­. The

UKmusic.org recently released a study

as Peace & Love, Arvika Festivalen­

the Spanish concert industry should allow

selling around 90% online while others

high and the promoters of arenas cannot be

ongoing­crisis is affecting ticket sales, which

on the value of music tourism in Great

and Hultsfred­have had to declare­

a market with many local independent

are still selling most of their tickets via box

competitive with other European promoters and

are considerably­down, especiall­y at the club

Britain. How important is music tourism

insolvency­ .

The

companies­apart from major companies like

office­. We could say that now online could

with Spanish festivals. However, tickets sales of

level­ . This is also affecting very negatively­

for the Spanish concert industry?

company­FKP

Live Nation.

be around 50% and it’s growing every day.

arena shows are usually doing well in Spain.

tours by international­acts. Some of them are

One Direction, live in Madrid 2013.

#28 VIP-MAGAZINE 14/2014 www.vip-booking.com

Long

lasting

festivals

German

such

concert

Scorpio­expanded

Rhianna

#29 VIP-MAGAZINE 14/2014 www.vip-booking.com

Allan McGowan am@vip-booking.com

Manfred Tari mt@vip-booking.com

SPOT FESTIVAL Announces 20 Edition th

You are probably one of

ON THE MOVE

the very few persons in the music industry that have an idea of what is going­on in the political cosmos of the European­ Parliament

with Fabien Miclet

and

the

European­ Commission­ and

its

administrative­

related bodies

in Brussels. Please let us know what is happening there that might affect the

SPOT Festival will celebrate its 20th edition, as ever, in

network with around 1000 music industry

When Saints Go Machine, Sigur Rós, Tina

professional­s. In 2013, 600 Danish delegates

Dico, Teitur, Aura, Alphabeat, Junior Senior,

music industry...

– Well, there are many subjects­ on the table in Brussels that have

and 350 internationals attended, with a

Mew, Kashmir, Figurines, Saybia, Choir Of

Aarhus, Denmark, during

record­40% of these coming from Europe’s

Young Believers, MØ and many more, before

a direct impact on the music industry­.

the first weekend of May

biggest music market Germany.

they were known by the international music

A European directive on collective­rights

(1-4 May) in 2014.

management­is

industry.

Fabien Miclet­

Danish music has experience significant international­success over the last few years,

being

discussed

at

the

moment­ . The new 2014-2020 cultural funding

More information:

is one of the very

negotiations on the free trade agreement with the US started last

Programme, Creative Europe, has just been launched. The

The showcase event will present over a

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

www.spotfestival.dk…

few people in the music

100 bands from the Danish and Nordic

a big hand in this, showcasing acts such as

and go to

business­who has a decent awareness about what really goes on in

year, and the European­Parliament elections are going to take place

www.spotfestival.dk/vip for accreditation.

Brussels­. Although, to be accurate there is a lot going on in the political­

in May. The composition of the new Parliament will be important

universe­of the European Parliament and the European Commission­,

for the music sector; this institution is responsible for voting on a

but unfortunately very little in favour of the music business­.

great variety of legislations, some of which have a direct impact on

music scene, and offer the opportunity to

Efterklang, The Raveonettes, Reptile Youth,

the music industry­, in a variety of policy fields including copyright, Till November 2013 Miclet was project manager of the European

licensing, taxation, visas, work permits, broadcasting rules, and many

Music­Office (EMO) and handled the business of the organisation

more subjects.

until it unfortunately went into administration. It has to be noted that Miclet took over this post after the financial problems had already has

Creative Europe is the new culture support program by

been caused. Nevertheless it was he who handled the last months of

the European­Union. Do you see a difference between the

this so far one and only office that until now was the one and only

forerunner­programme and the new one?

organisation that actually undertook at least some lobbying efforts

– Yes, and I would say that progress has been achieved since

for popular music. And this in an political environment that is very

the Culture Programme’ - 2007-2014. To begin with, music is

well known for mainly supporting large scale farming, financial or

now recognized­as an actual sector in the eyes of the EU, while

chemical industries.

it was considered only as one among other components of the ‘performing­arts’ in the last Programme. In the past, popular music

SPOTF E S T I VA L #30 VIP-MAGAZINE 14/2014 www.vip-booking.com

After EMO you started working for the concert venue Ancienne­

projects had to compete directly with theatre, ballet, opera and

Belgique in Brussels. What are you actually doing there?

other art forms which traditionally heavily rely on public funding

– I’m currently coordinating an application for EU funding for a

and have decades of experience in securing subsidies. Another

very exciting project involving AB and 12 more likeminded music

improvement we have triggered­is that the new Creative Europe

venues­from all across the European continent. Our idea is to create­

Programme will now include­topics such as new business models­,

a platform­of concert halls and clubs encouraging the circulation

access to finance, and touring in its guidelines. This wouldn’t

of emerging artists. It will work through a bonus system: the more

have been conceivable a few years back, when the priority of the

emerging European acts you book, the more money you get. On

Culture­Programme was mostly to provide funding in support of

top of this, we’re also striving to build a sustainable, ever-growing

the ‘intrinsic value’ of culture and the preservation of cultural

network­of venues working together and learning from each other.

heritage­.

We will submit an application for EU funding in March of this year.

#31 VIP-MAGAZINE 14/2014 www.vip-booking.com

Within the proposed budget­ for

Creative

55

percent

1.46

sector, and those who try to have a more streamlined impact on the

Europe­ , industry as a whole. Another thing is the industry’s relative timidity­ of

the

music­-industry manages to put together a comprehensive and catchy

tougher­. Does it make sense to submit an application within

advocacy­strategy, it will achieve better results. But the sector would

such a pop-music-hostile-environment?

regarding investment in lobbying compared to the cinema sector. A

first need to invest much more in lobbying, to start working together,

– I agree, these forms are quite heavy, and the requirements to become

million­Euros

structure like EMO, which had a transversal approach to the issues­

to believe in itself and to mobilise its artists and creators as often as

eligible for funding are sometimes difficult to work with. But it’s really

is dedicated­to the

faced by the European music sector, as well as an unmatched sectorial­

possible. To answer your question, yes, ambitious campaigns should

worth it, and I see no reason why successful EU-funded initiatives like

film sector. Any idea

grasp of EU funding mechanisms, was shut down recently due to lack

be launched, but complaining about ‘unfair’ policies won’t solve

ETEP or the EBBAs should be the only ones out there. Moreover, as I

why

designers

of funding. The popular music industry needs to realise that Brussels

much. We need to do more in order to achieve more.

said, the new Programme is now less unfavourable to the music sector,

Creative­Europe

is where a large part of its future is being decided: be it for structural

are so crazy about

funding, digital rules or trade and export regulations, many important

Since the end of December it is possible to apply for funds

with the other performing arts sectors. Unfortunately EMO isn’t there

of

the

supporting

the

the focus is more business-oriented and competition is less distorted

film

decisions are now made at EU level, not in the Member-States. I hope

within the various sub-programs of Creative Europe. Within­

anymore to help with the paperwork and to give advice for projects,

and movie industry and

the initiative launched last week at Eurosonic (the idea of creating a

the previous­culture program only a handful of popular

but there are specific ‘Creative Europe Desks’ in all EU countries which

thereby neglecting other

new European network of national music export offices) will go in

music-­related­projects actually received funding. The formal­

are very helpful. It always makes sense to submit an application as long

that direction.

requirement­s are tough, the bureaucratic burdens even

as you have a good idea. It’s never a piece of cake, but if you get

creative sectors?

– It’s safe to say that the cinema

through, financial support can be consequent. No pain, no gain…

industry­is way ahead of most cultural

Looking at the document ‘Commission Staff Working Paper

and creative sectors when it comes to securing EU funding. In fact,

for establishing a Creative Europe Framework Programme’ the

before­the Creative Europe Programme, the audiovisual sector­had

term ‘film’ is mentioned 220 times, the term ‘music’ 41 times.

its own distinct Programme, called the MEDIA Programme, which

Digging a bit deeper, the term ‘cinema’ 65 the term ‘concert’

was concentrating­on most of Europe’s cultural funding. All financial­

6 times. The document itself consists of 170 pages. With

envelopes have now been merged through the Creative Europe

other words, this document even proves that the creators of

Programme­ , but cinema is still vastly overrepresented within this

Creative­Europe are obviously film enthusiasts and created a

new system. There are various reasons explaining this ‘patronage’

program that is very unbalanced. Would you recommend that

in favor of the film industry. The first that comes to mind is that all

in particular­the live music sector now should launch a political­

components­of this sector (directors, actors, authors,

campaign regarding the unfair policies of EU-burocrats and

studios­ , etc.) have been lobbying together

politicians?

in Brussels for much longer than other

– This is a very interesting question. At the core of

cultura­ l players. The cinema indus-

the cinema industry’s lobbying strategy, you find

try holds a well-established­, wellend­owed

and

panoramic­

lobbying­position in Brussels­ .

This

discrepancy­in

allocation­of

the

funding

within­the Creative­Europe Programme­is the result of a 30-year old collective lobbying­effort. No other cultural­and creative sector has

three principles: teamwork, differentiation­ and visibility. Teamwork means that all

Fabien Miclet is one of

branches of the sector will speak with

Manfred Tari mt@vip-booking.com

CREATIVE EUROPE WILL REPLACE FORMER EU-CULTURE PROGRAM IN 2014

the very few people in the

one voice on certain subjects (and

music business who has a

Differentiation­ : in all aspects of the

The previously suggested 1.8 billion Euro, is reduced to 1.4 as the

The music sector is barely being considered within “Creative

advocacy­work, the film sector presents­

recently European Union approved budget for the new culture­

Europe­ ”. For instance, one of the most important documents

itself as substantially distinct from other

program­entitled Creative Europe. The program will run on from

“The Commission Staff Working Paper for the Creative Europe­

cultural sectors, arguing the peculiarities­

January 2014 to December 2020 and is intended to support

Framework­Programme”, only considers market figures for

European­culture and its creative sectors.

recording­music but not at all for the live music sector. Economic

decent awareness about what really goes on in Brussels

invested that much for so long in its presence in the environment of

of course, funding is one of these).

of its value chain and its relative eco-

data for the Film and TV sector is described very differently and in

nomic importance. And perhaps­the most important point is visibility: Often when an

Once again it will be the film and audio visual sector that benefits­

a much better way.

important subject is discussed at EU level, the film

most from this program as 56 percent of the planned budget

sector invests in briefing movie stars and acclaimed

is allocated­for those parts of the creative industries. Unlike the

However, this is only one example that indicates why the music

music­sector, the film industry lobbied decision takers and opinion­

sector isn’t being considered appropriately or on a par with the film

EU officials will always prefer a chat in person with Lars Von Trier,

leaders very effectively and working closely together with the

sector. Carrying out a word count check within this document of

The needs of the music sector are to even a very far extent not

Almodovar, or Daniel Bruhl over reading yet another policy paper on

Europea­ n Commission for Education, Culture, Multilingualism

170 pages reveals, that the term “film” is mentioned 220 times.

so well specified and documented as thoseof the film industry.

private copy levies or cross-border licensing. Can you blame them?

and Youth developed­tailor made support measures for the film

The word “music” appears 41 times and the word “concert” gets

business­. Specific­sub-programs such as “Support for Distribution”,

mentioned six times.

the European institutions.

The support schemes for the film sector are well developed and serve exactly the needs of this industry.

film directors and bringing them to Brussels. And guess what:

What went wrong?

– Far too recently the music sector became aware of the importance

There is no objective reason why popular music should be treated

“Developmen­t Funding” or “Support for Markets, Festivals and

of advocating its case in Brussels. Besides, its lobbying effort is too

with less regard than the film sector. They’re equally useful softpower­

Training” will perfectly feed the film sector, while the music sector

disparate, torn between larger organizations focusing exclusively on

tools for Europe, they are both essential for cultural diversity and

might have to seek support within those parts of Creative Europe

piracy and copyright, others advocating for music as a non-industrial

they contribute to the EU’s economy in equivalent proportions. If the

they are able to squeeze in to.

#32 VIP-MAGAZINE 14/2014 www.vip-booking.com

#33 VIP-MAGAZINE 14/2014 www.vip-booking.com

Allan McGowan am@vip-booking.com

N

S

13TH -15TH JUNE 2014

ARCADE FIRE RÖYKSOPP & ROBYN LANA DEL REY THE NATIONAL ASAP ROCKY · PIXIES QUEENS OF THE STONE AGE DO IT AGAIN 2014

RUDIMENTAL · MEW · WHITE LIES MØ · TURBOWEEKEND · NINA PERSSON FLOGGING MOLLY · FRANZ FERDINAND RHYE · JURASSIC 5 · LARS H.U.G. ST. VINCENT · OH LAND · QUADRON THE BRIAN JONESTOWN MASSACRE DONKEY ROADSHOW & SPECIAL GUESTS

VIP-BOOKING WELCOMES CHARLIE PRESBURG TO THE TEAM Through his previous work with the highly respected and

subscriber base as well as reach new markets and territories­. This is

informative­trade publication, Pollstar, VIP-Booking’s new Sales

a very powerful resource and can potentially help develop the way

Manager Charlie Presburg is already well known, not just to all of

everyone in the live industry, from promoters to agents, venues to

us in the VIP team, but also to many in the live music industry as a

festivals, operates and grows their business

MOUNT KIMBIE · LULU JAMES · WHOMADEWHO REPTILE YOUTH · RY X ·JAMES VINCENT McMORROW THE BLUE VAN · COLD SPECKS · LUCY LOVE · BABY IN VAIN TEMPLES · THE MINDS OF 99 · NABIHA · ROYAL BLOOD DÚNÉ · ANE BRUN · THE MOUNTAINS

regular contributor to events such as Eurosonic and ILMC. We’ve taken part in panels together and Charlie has always been prepared

General Manager at VIP-Booking Peter Briggs commented “I have

to help out when I’ve needed accurate information for the News,

known Charlie for many years as our paths have crossed at many

so it’s a personal pleasure for me to welcome him to the team.

of the trade fairs and conferences we attend every year. He has always come across as being a very genuine person – an attribute

Charlie Presburg said, “Having spent over 20 years working in the

that we value highly at VIP-Booking - and we soon found that we

live music media, making the move to VIP Booking seemed to be a

shared several common interests, not the least music and football.

very logical step for me and the time felt right. I have been aware

Charlie brings a professional network and experience with him that

of VIP for a long time through the other work that I have done and I

will be of huge value to our business and I look forward to working

see great potential for its services in the UK and European live music

alongside him in an environment where we can all learn from each

and events industry. I look forward to working with the VIP Booking

other as we consolidate our efforts to reach the goals we set out

team and hope to be able to help develop and grow its European

to achieve.”

#34 VIP-MAGAZINE 14/2014 www.vip-booking.com

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