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premium ›› Vol. 122 ›› FEBRUARY 2010
McGowan’s Musings:
Shall we start with another seagull story you all know how much I love these nasty
screaming rats of the sky don’t you? How
about this for a headline –‘Seagull Eats
Brighton Man’s Roof!’. Recently in an effort
to convince the rain that it’s not welcome
in my bathroom, I had a thick silicone rubber type of coating liberally applied to the
firewall which adjoins the flat roof over
my bathroom to fill the many cracks (well,
what do you expect in something 150 years
old?) which appeared to have been aggravated by too much snow, ice and rain. Job
done – all that remained was to let it dry,
apply a coat of paint, and hopefully look
forward to a leak free bathroom – but no –
this was not to be! The following morning
I look out of the window and, bold as you
like, stands Shitty the Seagull with a great
chunk of my very expensive roof coating
hanging out of it’s beak – with a ‘shall I eat
this, or waterproof the nest with it?’ look in
its horrible beady eyes! Who wants to buy
one of my ‘Cull a Gull for Jesus’ T –shirts?!
Anyway, sorry about that rant – I feel
slightly better now, so on with what’s happened in the live music industry since the
last News. Generally the biggest news is
that we now have a new name at the top
end of the corporate sector of the business
– ladies and Gentlemen – welcome ‘Live
Nation Entertainment, Inc’! After months
of will they, won’t they, giants Live Nation
and Ticketmaster were finally given the go
ahead to plight their troth with a merger,
the Companies reached agreements with
the U.S. Department of Justice (DOJ) and
with the Canadian Commissioner of Com-
manage the careers of over 200 major artists. Reportedly the combined venture will
also own 140 venues worldwide, promote
22,000 concerts each year, and sell 140 million tickets annually. Independent operators may well have reason to worry about
what’s left for them in the market. Still, I’m
sure we’ll know by the end of 2010.
(Read more on this in Manfred Tari’s Business News in this issue.)
Allan McGowan
petition, announcing the union on January 25. However it is still not all smooth
sailing for this world spanning combination of concert promotions expertise with
ticketing solutions and artist relationships.
On February 10 a London tribunal ruled
that the merger must be reviewed a second time in the U.K. on the grounds that
regulators didn’t fully consider the input
of a competitor, i.e. German Company CTS
Eventim, in the market for ticket sales. If
the commission reverses its approval, the
combined company could be required to
make changes to its U.K.operations.
I have been a little puzzled by the regulators concentration on the ticketing market
– the newly created giant will surely have
an effect right across the board. What
with TM’s massive Frontline management
arm, The Eagles, Neil Diamond, Christina
Aguilera etc. alongside LN’s 360 degree
deals with major artists including Jay-Z,
Madonna, U2 etc, the new Company will
Last month the whole of the Vip team attended this year’s MIDEM, and although
the numbers were very obviously down
our sales chaps reported good business,
for many delegates the quieter and emptier environment seemed welcome, and apparently encouraged business. However
the organisers can not have been happy,
owners Reed Exhibitions are, as the name
indicates, primarily sellers of Stands and
Exhibition space, with all peripheral events
and attractions, such as artist show cases,
being add-ons, an officially admitted drop
off of 10% from last year (some felt the true
figure was more) and wide open spaces in
the Palais are not what they want to see.
This was my 25th visit to the most senior
of the music trade shows and conferences,
and although there was less sunshine than
in past visits I enjoyed it – apart of course
from paying 10 Euros for a beer! Midem
is still trying to extricate itself from long
years of servicing a music industry that no
longer exists, but they’re trying to adapt,
and I feel that they’ll make it, but it may
take a while.
Right – back to the roof! Ladies and Gentlemen – the News!
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ILMC 22 Agenda Announced
Allan McGowan [email protected]
Conference:
Taking a nautical theme for its 22cnd edition the International Live Music Conference, ILMC returns to London’s Royal Garden Hotel from March 12-14.
ILMC 22
Colophon ››
VIP-News is published by:
VIP-Booking
26 York Street
London W1U 6pZ
Managing Director:
Ronni Didriksen
[email protected]
General Manager:
Peter Briggs
[email protected]
Writer and editorial:
Allan McGowan
[email protected]
Writer:
Manfred Tari
[email protected]
For advertising enquiries pls. contact
Peter Briggs [email protected]
or +44 870 755 0092
Lay-out:
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[email protected]
The guest for the Sunday morning Breakfast Meeting slot with ex Dire Straits manager Ed Bicknell is the legendary founder
of the Glastonbury Festival, Michael Eavis
CBE. Europe’s most influential outdoor
event celebrates its 40th anniversary this
year with U2, Muse and Stevie Wonder all
confirmed as headliners, so this could be
a perfect time to reflect on just what has
made Glastonbury so successful.
Another main room Sunday session will is:
Artists: ‘Keeping an Even Keel’. This panel
will consider whether the industry is taking sufficient care of its primary asset – the
artist. With more pressure on acts to tour
than ever this discussion will look at what
precautions are in place and what safety
nets already exist, asking if we are pushing
artists beyond the limit, and who’s willing
to say ‘no’ when they need to? Chairing the
panel will be Stevie Wonder manager and
Music Tank chairman Keith Harris, who’s
joined by legendary lyricist and former
Squeeze frontman Chris Difford, ex Virgin
Records Chairman Marc Marot, and Live
Nation Denmark head Flemming Schmidt.
important element of The Creative Industries much talked about by European Governments, and the politicians in terms of
both trade and culture. Festival Republic
MD Melvin Benn will be chairing the session, and speakers include Lord Tim Clement Jones whose Live Music Bill is currently
on its fourth reading in UK Parliament,
and Belgian Economics Minister Vincent
Van Quickenbourne, at present introducing proposed new ticketing legislation involved. Newly appointed President of The
European Music Office Dieter Gorny will
also join the panel alongside other major
live industry leaders. as they consider better ways of addressing and communicating the needs and the importance of all
aspects of the live music industry.
The full line-up of ILMC conference sessions will be available online at:
www.ilmc.com
Showcases:
On Thursday 11 March, the Nordic Music
Export Offices bring their Ja Ja Ja brand to
the Tabernacle in Notting Hill for a night of
upcoming Nordic talent. The evening is curated by Rob Challice of Coda Agency, and
confirmed for the night are Danish grime
queen Lucy Love, Norwegian pop/shoegaze sound warriors Megaphonic Thrift,
Icelandic ensemble Hjaltalin and Finnish
electro-acoustic quartet Husky Rescue.
Excelsior Recordings artist Tim Knol will
performs live at Buma Cultuur’s annual
The Flying Dutchmen Meet & Greet at the
Dutch Embassy on Friday 12 March. The rising Dutch star will perform songs from his
eponymous debut which is released in the
UK in May.
On the Saturday 13 March The Politics of
Live: ‘The Steering Committee Meeting’ at
12:00 in Room 1, will consider the present
relationship between the live industry, an
Tim Knol
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Family Entertainment Suffers in Germany
Manfred Tari [email protected]
Recent developments indicate the market
for Musicals and Events are having a harder time than other parts of the live entertainment industry. At the end of January
the company Franz Abraham Art Concerts, founded in 1986, filed insolvency
and in February had to cancel four arena
production shows of the entertainment
spectacular ‘Ben Hur’ in Gelsenkirchen
and Vienna. Originally the shows had been
scheduled for November. Some 25.000
ticket holders for the shows in Germany
are unlikely to receive any compensation
for tickets bought. Abraham announced
that he is undertaking attempts to set up
a new company with new investors and to
schedule new dates for ‘Ben Hur’ in May.
At the beginning of February, the musical
producer Prime Time Entertainment AG
(PTE AG) founded by Matthias Hoffmann
in 2007, also had to file insolvency. In De-
cember the company launched ‘India’,
a revue show featuring more than 70 Indian acrobats, presented in a circus tent,
in Frankfurt following shows in Hamburg.
Hoffmann has worked in the live entertainment business since 1971 and according to media reports invested 7 million
Euros in the show. The insolvency administrator of PTE AG indicates that there are
chances for to find new investors for the
company. Meanwhile all dates have been
cancelled and the Indian acrobats are flying back home.
A few days later the musical producer
Stage Entertainment declared that, from
July, they would no longer promote musical productions in the Colleseum, declaring that it wasn’t possible to stage profitable shows in their Essen venue.
The musical “Buddy Holly” will continue
until July.
Matthias Hoffmann founder of
Prime Time Entertainment
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HMV
Completes
Purchase of
MAMA Group
Allan McGowan [email protected]
HMV
Another, somewhat smaller, but
none the less important consolidation than the Live Nation/Ticketmaster merger has also recently
been completed in the UK market
with HMV’s acquisition of 360 degree music company the MAMA
Group. This purchase of a Company
involved mainly in venue ownership, live promotion and artist management by a company best known
as a high street music retailer, is a
very pertinent sign of the times.
HMV CEO Simon Fox told reporters: “I am delighted that our offer for
MAMA Group has been successful,
and to welcome our new colleagues
from MAMA to HMV. The acquisition
represents a further significant step
for HMV as we continue the transformation of our business begun in
2007. Building on the successful platform created by the formation of our
joint venture with MAMA just over a
year ago, we will be embarking on
exciting new growth plans for the
group in live music and ticketing”.
Politicians Oppose Financial
Support for Loveparade
Manfred Tari [email protected]
Once again the rave-event Loveparade causes trouble. In 2006 the event
left Berlin moving to the Ruhr-District
in Western Germany. A five-year plan
foresaw that the Loveparade would
take place each year in a different RuhrDistrict town, and with quite successful
editions in Essen in 2007 and Dortmund
in 2008 the event seemed to have arrived in the Ruhr-District.
But in January 2009 Loveparade promoters LopaEvent cancelled the edition planned for July 2009 in Bochum.
The main reasons given cited logistical
problems, plus dispute with the city
council of Bochum over the route that
the promoter had in mind.
According to the five-year plan the
event in 2010 is supposed to happen in
Duisburg. However, similar to the Bochum situation, local political and administrative decision takers voice their
concerns. But in the case of Duisburg it
is rather financial problems and safety
concerns that may result in cancellation.
The Duisburg site for Loveparade is
supposed to be a former freight yard,
but the estimates to prepare it as event
location sum up to 860.000 Euro. So far
the idea was that the city of Duisburg
would share some of the expenses with
LopaEvent to make the event possible.
Meanwhile Duisburg Marketing GmbH,
a company belonging to the city council
launched a charity fund. So far it looks
as though the SPD (Social Democrats),
FDP (Liberals) and the Linke (Leftwing)
will vote against sharing any expenses
to promote the event.
Another delicate component is that the
five-year plan with the various Ruhrdistrict towns to host the Loveparade
had always been in the light of the
RUHR2010. The Ruhr-District is, along
with Istanbul and Pecs in Hungary, one
of three European Commission appointed European culture capitals.
Mama Group
Love Parade
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SXSW Music Announces First Band List, Panelists and
Day Stage News
Allan McGowan [email protected]
The South by Southwest (SXSW) Music Conference and Festival will take place March
17 - 21, 2010 in Austin, Texas, and will feature some notable artists that will be speaking on panels taking place in the Austin
Convention Centre.
Judy Collins shares her thoughts on
“Where Goes English Folk Music?,” John
Doe joins Ian Rogers’ panel “The Cultural
Significance of Direct-to-Fan Marketing,”
DJ Spooky encourages the spread of music into established cultural institutions
in “Performing Arts: New Frontier for Live
Acts,” Melissa Auf Der Mar exhibits her
photographic side on “Image Makers Of
Rock and Soul,” Suzanne Vega kicks MP3
butt on “Music Artists: Getting A Digital
Ass-Kicking,”Andrew WK dissects rock star
myths on “What Becomes A Legend Most,”
Chris Walla highlights his studio work on
“Producers Adapt & Survive,” Chris Frantz
and Tina Weymouth recall early gigs on
“CBGBs Stories,” and Anya Marina talks
soundtracks on “Case Study: New Moon.”
Join these artists and over 350 other speakers for an enlightening look at the past,
present and future of the music industry.
Fucked Up (Toronto, CANADA), Grant Hart
(St. Paul, MN), Hauschka (Dusseldorf, GERMANY), Here We Go Magic (Brooklyn, NY),
Hudson Mohawke (Glasgow, SCOTLAND),
Invincible (Detroit, MI), jj (Gothenburg,
SWEDEN), Killer Mike (Atlanta, GA), LA Riots (Los Angeles, CA), Les Savy Fav (Brooklyn, NY), Maldita Vecindad (Mexico City,
MEXICO), Marina & The Diamonds (London, ENGLAND), Mayer Hawthorne & The
County (Ann Arbor, MI), Midlake (Denton,
TX), Miike Snow (Stockholm, SWEDEN),
Mr Hudson (London, ENGLAND), Mundo
Livre SA (Recife, BRAZIL), Murs (Los Angeles, CA), Natalia Lafourcade (Mexico City,
MEXICO), Pretty Lights (Charlottesville,
VA), Rye Rye (Baltimore, MD), Sharon Jones
and the Dap-Kings (Brooklyn, NY), She &
Him (Los Angeles, CA), Shwayze (Malibu,
CA), Spoon (Austin, TX), Steve Aoki (Los
Angeles, CA), Systema Solar (Taganga,
COLOMBIA), Texas Tornados (San Antonio,
TX), The Drums (Brooklyn, NY), The Middle East (Townsville, AUSTRALIA), The Soft
Pack (San Diego, CA), The Very Best (New
York, NY), The xx (London, ENGLAND), Trae
(Houston, TX), VV Brown (London, ENGLAND), and Wolfgang Gartner (Austin, TX).
This list is subject to change. This is only a
portion of the bands that will be performing at the SXSW Music Festival.
The previously announced Smokey Robinson keynote will anchor four days of panels, interviews, workshops, peer meetings,
a trade show exhibition and the worldrenowned music festival.
For a full listing of events, go to:
www.my.sxsw.com/events
Bands:
A few highlights selected out of over
10,000 music applications appearing over
80 stages throughout downtown Austin
include:
Amaral (Madrid, SPAIN), Anita Tijoux (Santiago, CHILE), Apoptygma Berzerk (Oslo,
NORWAY), Athlete (London, ENGLAND),
Bajofondo (Buenos Aires, ARGENTINA),
Balkan Beat Box (Tel Aviv, ISRAEL), Band of
Skulls (London, ENGLAND), Bear In Heaven
(Brooklyn, NY), Black Milk (Detroit, MI),
Black Rebel Motorcycle Club (Los Angeles,
CA), Bomba Estereo (Bogota, Colombia),
Broken Social Scene (Toronto, CANADA),
Chalie Boy (Hearne, TX), Chamillionaire
& Paul Wall (Houston, TX), Cymbals Eat
Guitars (New York, NY), Deer Tick (Providence, RI), Evan Dando (New York, NY),
Frightened Rabbit (Selkirk, SCOTLAND),
Smokey Robinson keynote at SXSW
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A Premium Venue in Brussels
Manfred Tari [email protected]
The Ancienne Belgique is some sort of a
masterpiece. The facilities of the venue
are impressive and the concert program
is highlighted with appearances by many
of today’s top artists that are touring in
and are able to fill up 2000 persons capacity location. VIP-News spoke with Herman
Hulsens, one of the venue’s bookers.
VIP-News: How is the concert business in
Belgium?
Herman Hulsens: I think it is doing pretty
good. I think everybody has to cut a little
bit of their expenses but the audience is
coming more and more to the shows. So
the capacity is always full so to speak.
VIP-News: You’re promoting here in probably one of the most prominent Belgian
venues. What makes the Ancienne Belgique
different to commercial clubs?
Hulsens: The big difference is in the fact
that we are subsidised for 20 percent of
our expenses to aid our growth. So we can
use that money to develop young artists,
we can put a band in a smaller room which
adding in all the promotion and production expenses would normally lose a lot
of money. Since we have the chance to do
that we can develop a lot of local artists
and try to bring them up to the next level.
So if we discover a young band that has a
lot of potential what we try to do is put the
money into the small room, with the hope
that at some point we can promote them
in our main 2000 capacity room.
Hulsens: We do about 250 shows ourselves and out of that I would say about
20 shows are co-productions with outside
commercial promoters, where we share 50
percent of the profit or the loss. And then,
I think, the commercial promoters book
another 16 dates at our venue and that is
always the big room because that 2000 capacity is the only way you can make some
money.
Hulsens: We don’t do any advertisements
on our website. Our website is free of advertisement. But in the same way as we
have to pay for the use of the sound system I as a promoter also have to pay for the
use of our website. So with the money that
our promotion part of the company gets
from us promoting all these shows, we pay
the expenses for the website.
VIP-News: Belgium is, as we all know, one
of the smaller markets in Europe. Do you
promote your shows nationwide or do you
concentrate your promotion mainly here
in Brussels?
»We don’t do any
Hulsens: We go nationwide in the sense
that we have a trilingual website and we
sell almost 70 percent of our tickets online.
Our main marketing campaigns are online
and we will do less and less postering, from
both a green point of view and because
the postering is becoming less and less effective for ticket sales. So if we do poster, it
is mainly for a local show, and mainly in the
capital, in Brussels, but we tend to put a lot
of money into maintaining our trilingual
website which of course generates a lot of
expenses in translations and so on.
VIP-News: You are doing the ticketing
yourself but do you also handle the marketing of your website yourself?
advertisements on our website.
Our website is free of
advertisement«
- Herman Hulsens
VIP-News: But don’t the sponsors of Ancienne Belgique request branding on your
website?
Hulsens: Yeah, there’re visible on the website. They’re on the bottom of each page,
their have their logos. But it is not like that
they can really advertise their products on
our website, we do sometimes send out an
email to our customers.
VIP-News: How many website subscribers
do you have?
Hulsens: I think we have now 16.000 or
17.000 email subscribers.
VIP-News: All over Belgium or just in Brussels?
Hulsens: That is all over Belgium, plus of
course also people from Holland and England and even Japan and so on. But I think
the email advertising outside of Belgium
represents roughly 2 percent.
VIP-News: Is it compulsory for you to book
Belgian acts or artists?
Hulsens: Kind of because it’s the main part
of our dossier, so we book almost 50 percent local artists, 50 percent of the shows
are not local artists per se, but if you count
all support bands etc, then 40 to 50 percent of those playing here are local artists.
VIP-News: Your venue has so to say quite
brilliant facilities in terms of sound, light
systems, and in terms of stage settings and
the entire infrastructure. How expensive is
it to promote a show compared to a nonsubsidised venue?
VIP-News: You also work together with
the big commercial promoters here in
Belgium. So how many shows do you promote yourself and how often do you rent
the venue out?
Hulsens: It is pretty expensive because our
idea is that you have to pay for every thing
that you use even though it’s our own PRHerman Hulsens
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system. As in - house promoter still I have
to pay for the PR-system and for each part
of the facility that we use. We’re able to
build up our budgets, we’re able to do
the necessary refurbishments, and we can
try to buy new gear and stay competitive
with other companies that deliver all these
technical facilities. But of course counting
everything in, I think we are pretty expensive in comparison to other European
venues. I think for example the Paradiso
in Amsterdam is charging half of what we
do in terms of production and promotion
expenses. But I think it is important to do
it that way on a long-term basis to be able
to have the necessary budgets to keep on
doing what we’re doing. This year the government has cut back on their subsidies so
it is important to maintain a financial independence.
VIP-News: How much money do you receive from the government?
Hulsens: We are receiving 900.000 Euros
per year for our artistic budget. And then
we have a different budget to maintain
the building that is based on the expenses that we think we’re likely to incur if
the walls are falling down or there is new
glass to be put in. But that is a completely
different budget separate from the artistic budget.
VIP-News: Where does the money come
from?
Hulsens: It is the Flemish cultural ministry
that is giving us the funds. Also now we
have a couple of projects that we’re doing
outdoor in the summer like a little festival,
and that is being paid for by the local government. But the main money is coming
from the Flemish cultural ministry.
VIP-News: How many people work for the
Ancienne Belgique?
Hulsens: There are 45 people working
fulltime. So we have our own production
teams, sound and lights and we have our
own ticketing shop. We have 6 people
working for promotion and there are 3
inhouse promoters. And then we always
say that we roughly have about a hundred outside people doing other almost
fulltime freelance jobs that are coming in
daily like stagehands, drinks people etc.
VIP-News: How many tickets do you sell a
year?
Hulsens: Our average is a quarter of a million per year.
VIP-News: And what lead to the decision to
take the ticketing completely in - house?
»Because we also hold all the
information about our ticket
buyers we can shape our
marketing towards them«
- Herman Hulsens
Hulsens: Because we wanted to be first
hand on the service because if you use
an outside ticketing company you don’t
have really have control of the quality that
they’re delivering towards your audience.
Because we also hold all the information
about our ticket buyers we can shape our
marketing towards them as well, like we
can send them emails about special things
that we do during the shows or if there
are timings that have to been changed.
If a band has cancelled we can just email
The Ancienne Belgique
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VIP- News - Fe b r u a r y 2 0 1 0
them in like a second, we have all their
information. That was our main concern.
After all the years that we have done this
we were able to talk to Live Nation for example about using our ticketing office for
the shows that they’re promoting here,
which was a kind of a battle to get them
to do. It turned out that by charging the
expenses on the ticket we were able to
make it a break-even set-up.
VIP-News: You have been working at the
Ancienne Belgique for 15 years at least.
What has changed in the last 15 years in
terms of the audience and let’s say business in general? What is your personal
opinion on that?
Hulsens: I think like everywhere else everything has become really, really professional, not only at Ancienne Belgique,
also the artist management and the labels. Of course everybody is more and
more focussed on the business and on
the money side of the shows, which is at
some point really good because everybody is looking after the artists. And for
us doing 250 shows plus the rentals it is
really important to have a very well operated venue. We invest a lot of money in
our special staff to handle the buildings.
The last 2 years we set this up as a company to run the business so that everything
has become really, really professional..
Hulsens: Here in Brussels I would say the
Botanique, which is the French cultural
sponsored venue. But they work on a
small scale because their biggest room is
600. But they’re doing a lot of the upcoming indie and British bands.
VIP-News: What is the average ticket
price?
Hulsens: I guess it would be around 22
Euros and for the main hall ranging between 16 and very exceptionally 40 Euros
for example for an artist like Grace Jones.
But on average it would be around 22 and
then the small room is always 12 Euros.
That’s a fixed price, and to me that is a reason why we’re still selling so many tickets
because we’re knocking at the high end
shows market.
VIP-News: Who are your local competitors?
The Ancienne Belgique
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VIP-BOOKING.COM
frida
EUR
do
the
We would like to thank everybody for attending the 2010 edition,
we do look forward to welcome you at the 2011 one!
15
2011
thursday
EUROSONIC
downtown Groningen
thursday
the Netherlands
thursday
EUROSONIC
downtown Groningen
the Netherlands
EUROSONIC
downtown Groningen
the Netherlands
13
13
14
1414
Registration and artists submission is open from may 1st 2010
onwards on www.euroSonic-noorderslag.nl,
Deadline for artist submission is September 1st, 2010
1515
15
THE
EUROPEAN
MUSIC
CONFERENCE
THE
EUROPEAN
MUSIC
CONFERENCE
JANUARY
THE
EUROPEAN
MUSIC
CONFERENCE
AND SHOWCASE FESTIVAL
AND SHOWCASE FESTIVAL
WWW.EUROSONIC-NOORDERSLAG.NL
AND SHOWCASE FESTIVAL
WWW.EUROSONIC-NOORDERSLAG.NL
WWW.EUROSONIC-NOORDERSLAG.NL
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NOORDERSLAG
De Oosterpoort
Groningen
THE EUROPEAN MUSIC CONFERENCE
AND SHOWCASE FESTIVAL
2008
2007
15.500
15.050
35
29
2.487
2.200
237 JANUARY
221
23
24
76
69
59
54
29
25
9
8
138
65
13
friday
EUROSONIC
downtown Groningen
friday
the Netherlands
2009
18.000
34
2.650
265
22
123
59
32
9
140
2011
saturday
NOORDERSLAG
De Oosterpoort
saturday
Groningen
FACTSHEET
2010
Total number of visits
18.000
Nationalities present
34
Professional participants
2.800
Artists performing
259
Radio stations present
24
WWW.EUROSONIC-NOORDERSLAG.NL
international
festivals present
237
ETEP participant festivals
59
Number of stages @ EuroSonic
31
Number of stages @ Noorderslag
10
Number of European journalists present
193
saturday
NOORDERSLAG
De Oosterpoort
Groningen
14
JANUARY
friday
EUROSONIC
downtown Groningen
the Netherlands
friday
EUROSONIC
downtown Groningen
the Netherlands
13
15
saturday
NOORDERSLAG
De Oosterpoort
Groningen
WWW.EUROSONIC-NOORDERSLAG.NL
thursday
EUROSONIC
downtown Groningen
the Netherlands
THE EUROPEAN MUSIC CONFERENCE
AND SHOWCASE FESTIVAL
EUROSONIC
downtown Groningen
the Netherlands
EuroSonic noordErSlag
saturday
NOORDERSLAG
De Oosterpoort
Groningen
14
VIP- News - Fe b r u a r y 2 0 1 0
JANUARY
2011 JANUARY
2011
2011
VIP- News - Fe b r u a r y 2 0 1 0
Conincx Pop
Allan McGowan [email protected]
Hilde Spille is booking agent at Paperclip
Agency and co-owns the company. Here
she tells us about her work with the small
boutique festival Conincx Pop which has
its 28th edition on July 03, 2010.
This is the 8th edition with Paperclip Agency on board as talent buyer. The first confirmed acts are Dutch elektro-pop band
Krause and Dutch singer-songwriter Tom
Musca.
Conincx Pop is a one-day-festival with one
stage, and takes place in Elsloo (province
of Limburg), The Netherlands, close to
Maastricht. The festival is situated at the
banks of the river Maas, with Belgium in
sight just across the river. 9 bands will play
to music aficionados from the wide region
and to entire families, from babies to 70
year olds from the village. Together with
great music, this always results in a great
atmosphere.
My work as talent buyer for Conincx Pop
means that I obviously have to look beyond
my own roster. I thoroughly investigate
the rosters of my international colleagues.
Conincx Pop aims to be a trendsetter for
good bands and aims to book artists that
will grow bigger in the near future. The
festival has already booked the Belgian
rockers Triggerfinger in 2008, the Dutch
band Voicst in 2005 and Mo’Jones in 2003.
All three bands broke through in The Netherlands soon after.
The choice to be a trendsetter for good
Hilde Spille
bands is partly due to the fact that Conincx
Pop is a free festival without any subsidies.
As soon as the media hypes a band, they
usually quickly become too expensive for
Conincx Pop. Although the budget for the
bands is relatively small, the festival’s set
up is very professional. For the talent buyers of such a festival it’s important to have
a good nose for as yet unknown talent.
Distribution and promotion of an album
in the Netherlands is less important. For
me this makes the selection procedure
very much different compared to select-
ing a band to add to my own roster as
booking agent. Since the very successful
25th anniversary in 2007, visitors records
were broken each year, despite the recession. In 2009 Conincx Pop had 8000
visitors. The market for festivals without
entrance fees is very different from major
festivals. There is an audience out there
that wants to enjoy good music in a relaxed atmosphere with a pint of beer for a
reasonable price (I agree! – Ed.). Conincx
Pop and similar festivals work hard to
achieve this goal, and deserve all the attention they can get.
Conincx Pop 2009 (Photography by: Marion Baggen - Conincx Pop)
11
VIP-BOOKING.COM
VIP- News - Fe b r u a r y 2 0 1 0
UK Live Music Bill Moves to The Commons
Allan McGowan [email protected]
The workings of the two Chambers of
the UK Houses of Parliament are not always under scrutiny in publications that
concentrate on the live music industry,
however recent announcements that affect small venues and the development
of vital new talent are important and require some explanation of traditional parliamentary processes.
Convinced that the live music scene is being strangled by red tape and officialdom,
Liberal Democrat peer, Lord (Tim) Clement-Jones’s introduced what is known as
a ‘private members bill’ to the House of
Lords, these bills requires three readings
in the House of Lords, before going to the
House of Commons to gain a chance of
being passed as law. We’re glad to note
that, having sailed through previous
stages in the Lords with no amendments
his Live Music Bill had its third reading on
Tuesday 9 Feb and will go to the Commons. It will be championed in that House
by Don Foster MP who wrote an article on
the subject for the December ’09 issue of
VIP-News.
The Bill proposes that schools, hospitals,
colleges, and small venues up to a capacity of 200 should not need a licence for
a live music performance, and that the
‘two-in-a-bar’ exemption should be reinstated. (This allowed two musicians to
perform in a venue without a need for a
special performance license. The Government’s 2003 Licensing Act means live musical performances must have a licence or
the organisers risk criminal prosecution.
Lord Clement-Jones said, “The Government’s
stubborn refusal to accept the recommendations of the Culture, Media and Sport select
committee that licensing be relaxed for live
music is short-sighted and illiberal. Live music
used to be at the core of our society. But it’s
harder for someone to play the piano in a bar
now than it was in 1899. We should be supporting small venues not strangling them with red
tape. More live music in our pubs would mean
more punters and fewer pubs closing. My Bill is
the only chance to change the law before the
general election and breathe new life in to the
live music scene. I challenge the Government
to explain why they will not support it.”
The Bill should get a proper hearing in
the Commons in March. It’s unusual for
private member’s bills to actually become
law, given the government - who have already rejected some of Clement-Jones’
proposals following its own review of licensing rules - have the automatic majority vote in the Commons.
The Live Music Bill already has support
from Musicians’ Union and UK Music and
now looks more likely to move into law
than the Government’s own sponsored
proposals – to make an exemption for
venues with audiences of less than 100 –
which were opened to consultation at the
end of last year. Lord Clement-Jones will
speak on a panel, chaired by Melvin Benn
CEO of Festival Republic, dealing with
the relationship between governments
and the live music industry on March
13th in London at ILMC 22. Hopefully all
concerned with live music in the UK will
lobby for these amendments to be made
law in order to support the development
of artists for arenas and festivals in the
next five or so years!
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.
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VIP-Booking.com
VIP-Booking.com is now the most widely used online
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12
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VIP-News
Written by our highly merited journalists, Allan McGowan and Manfred Tari, with over 50
years of experience between them in the Entertainment Industry, VIP-News brings the latest news and views directly to your computer
keeping you up to date at all times.
VIP-NEWS
VIP- News - Fe b r u a r y 2 0 1 0
Our guest writer this month is John F. Smith, General Secretary of the British Musicians’ Union and President of
the International Federation of Musicians (FIM). The MU
supports Lord Tim Clement-Jones Live Music Bill referred
to in this issue of the News and elements of this article
are relevant to the hoped for success of the Bill.
John F. Smith - MU
Making a Living from Live
John F. Smith
Despite the recession and a National Arenas’ Association report showing a drop in
attendances of 15% in 2008, live music is
still one of the few areas of the music business that is thriving. While there is much
cause for optimism regarding the live music scene, for the working musician there
remains some significant barriers to achieving the full potential of performing live and
at the same time making a decent living.
»It’s clear that music fans
really value the experience
they get at a live gig«
- John F. Smith
Let’s have a look at some positives before I
move on to the negatives. On the plus side
the main and fundamental factor is that
the public like to see and hear live music.
It’s clear that music fans really value the
experience they get at a live gig. Research
has shown that young people will gladly
part with upwards of £100 in order to hear
their favourite bands ‘in the flesh’, but conversely many of these same music fans
cause real problems for the music industry
through P2P file sharing. So what are the
problems?
In the UK the Licensing Act 2003 continues
to be a bugbear. I was a member of the
Government’s Live Music Forum, chaired
by Fergal Sharkey, which oversaw the implementation of the Act on behalf of the
music sector. We pointed out at the time
that there was likely to be a drop in the
number of smaller venues putting on live
performances. These venues had by and
large benefited from the so called 2 in-abar exception which meant that if there
were two or fewer performers there was
no need to have the old Public Entertainment Licence. For these smaller venues
the new act meant added bureaucracy
and when faced with the daunting task of
completing their Premises Licence application many preferred to opt for recorded
music as that (and rather bizarrely, big
screen sports broadcasts) is not classed
as regulated entertainment and consequently does not need to be included in
the Premises Licence. So we lobbied for an
exemption for small venues with an audience capacity of 200 or less. That lobby
continues and was added impetus as the
Select Committee for Culture Media and
Sport included it in its recommendations
to Government.
The Minister, Gerry Sutcliffe reacted by announcing a consultation on an exception
to the requirements of the Act for venues
with a capacity of 100 or less. We recognise this as being a significant step in the
right direction, but feel that 100 is too low
and would not help many of the venues
in which, as both the MU and the DCMS
research demonstrates, there has been a
marked decline in the provision of live music. We also want to see a more cohesive
application of the Act across the country.
At present it is subject to the interpretation and vagaries of local licensing committees and inspectors, and we want to
see a simple fast-track method of varying
a licence so that live music can be added
to an existing premises Licence. Lord Tim
Clement Jones Live Music Bill pushes for
all these amendments and the improvements they could bring.
The Licensing Act is not the only barrier;
taking instruments into the cabin on flights
13
VIP-BOOKING.COM
is still a problem, this is in spite of an agreement that the MU reached with the Department For Transport which clearly states that
an instrument up to the size of guitar may
be taken onboard a plane as hand luggage.
Some airlines ignore this recommendation.
We’ve even had cases where the staff at the
check-in desk seem to make their own policy ‘on the hoof’ mainly to the detriment of
the musicians. Our advice is always contact
the airline beforehand, don’t risk turning
up on the day. Before I look at the international scene I must mention the problems
that UK musicians have had when applying
for work-permits for the USA. Applications
are expensive and have to be in person. The
requirements that apply to entertainers, I
must add, that do not apply to sportsmen
and women.
Briefly, on an international front, taking instruments on planes is a worldwide problem. You may have seen the US country
music artist, Dave Carroll’s You-Tube video
– ‘United Breaks Guitars’. If you haven’t have
a look at it as it sums up the issue splendidly.
But one of the main barriers that performers from outside the EEA come up against
is UK restriction on work-permits. We are in
a tricky position with this one. If a self-contained act, be it a rock and pop band or a
symphony orchestra, want to tour in the UK
we have no objections and welcome and
encourage such cultural exchanges, however we draw the line at musicians being
brought in as cheap labour to replace UK
and EU studio and theatre musicians, and
players in our orchestras.
So, all-in-all live music is doing pretty well
and if we get the few improvements we
are looking for we certainly will be ‘keeping music live’.
VIP- News - Fe b r u a r y 2 0 1 0
MU Launches ‘Music Supported
Here’ Campaign
Allan McGowan [email protected]
The Musicians’ Union has announced the
launch of its new campaign, designed to
unite musicians and fans in a common understanding of the need for musicians to
have the right and the means to control the
use of their music in a digital world.
The Press Release says: In today’s internet—
sharing world, it’s never been easier for
original music to be hijacked, plagiarised,
copied or just plain nicked. That’s why music copyright has never been so important.
Copyright is important for musicians because it safeguards the rights to their own
music. And it’s important for music fans
because it pays for musicians to make more
music. The MU is committed to making sure
that everyone respects the value of music
and the huge part it plays in our lives. But
we can’t expect the right to enjoy music
unless we respect the rights of the people
who make it. And if musicians do want to
give their music away, they should be in
control of the process. By supporting music
rights, we’re supporting music.
As Horace Trubridge, Assistant General Secretary for the Musicians’ Union comments,
“Musicians are individuals with different
views about music on the Internet and P2P
and Music Supported Here gives musicians
a platform to discuss the issue and share
ideas. That said, no one likes to be rippedoff and ‘Music Supported Here’ reminds
fans that it’s the musicians who want to be
able to decide how their music is distributed in a digital world and if they don’t want it
to be free, don’t nick it! This movement is a
concerted effort to finally put the issue centre stage. The more people who join us, the
louder the noise we can make.”
Says Paul Belford, creative director at This
is Real Art , the creative agency behind the
campaign, “the campaign logo is a simple
idea that communicates the issue at the cen-
tre of the campaign, music copyright. There
will be multiple versions of the design, each
one written by a different musician. In fact,
any musician can simply write it out and
put their name underneath it. Copyright
is about musicians individual creations so
why shouldn’t this idea be represented in the
music copyright logo?” Belford continues,
“we also wanted the campaign line, ‘Music
supported here’ to be positive. Not critical or
preachy.”
MU members have been contributing their
version of the logo to be used in the campaign. Thousands of members received
tear-off postcards in the current copy of
The Musician (the MU’s magazine), inviting
them to send in a handwritten logo. For
anyone wanting to go beyond making a
statement of support, the Music Supported
Here website (www.MusicSupportedHere.
com) contains the chance for everyone to
have their say, exclusive videos, downloadable banners, graphics and information
about music copyright issues.
Support from the Featured
Artists Coalition (FAC)
Although the movement was initiated by
the MU, it is for all musicians. Music Supported Here has received unanimous endorsement from the FAC. Pink Floyd’s Nick
Mason, Co–Chairman, FAC said, “The FAC
is delighted to participate in the MU’s ‘Music
Supported Here’ campaign. The Digital Age
offers both advantages and challenges for all
artists - whether stadium-fillers or those just
starting-out. The more support that can be
offered to artists to help them navigate their
way in the online marketplace, the better.”
14
VIP-BOOKING.COM
VIP- News - Fe b r u a r y 2 0 1 0
Business News
Manfred Tari [email protected]
CTS Eventim still stands up against the Live Nation Ticketmaster Merger
Already in January CTS Eventim appealed
at the UK Competition Appeal Tribunal
(CAT), for the British Competition Commission (CC) to reconsider the approval of the
merger between Live Nation and Ticketmaster.
The CC now has until May 11 to reply to
CTS Eventim’s objections against the
merger. John Park, a spokesman from CC
explained the proceedings with: “We are
reopening the investigation from the point
of the final report - which will now become
provisional - so that CTS Eventim, who appealed against the final decision, and others
will get chance to comment and make submissions on that decision.”
In reference to the re-appeal by CTS Eventim Park declared: “Central to CTS Eventim’s
appeal was that they were denied the chance
to comment properly on our decision - particularly as it was a change from the provisional verdict.”
With this in mind the spokesman continued and elaborated on the settings of the
ongoing case: “As such, we took the decision
to agree to having the judgment quashed
and reopening the investigation for a maxi-
mum of three months – thus giving CTS the
chance to make their arguments in the way
they say they were denied - rather than fight
the challenge. This seemed the common
sense approach as it does mean the situation
will be resolved quicker than if we’d gone
through the whole appeal process.”
CTS Eventim declined to comment on this
new attempt to fight against the merger
approved by the UK and US cartel authorities. It’s also become apparent that CTS
Eventim is not able to approach the European Union’s Competition Commission
on this merger as Ticketmaster’s take over
of Live Nation does not match the criteria
as both companies must have a combined
turnover of 5 billion Euro.
Opinions on the merger and the upcoming business year
It is not only CTS Eventim that will be affected by the new situation the merger between Live Nation and Ticketmaster causes for the European concert industry. Vip
News spoke to Peter Schwenkow, CEO of
DEAG and Karsten Jahnke, MD of Karsten
Jahnke Konzertdirektion, about their opinions on the merger and their expectations
for the business year 2010.
What are your expectations regarding the
consequences of this approved merger
and the effect it will have on the music industry in general?
Peter Schwenkow: “The live music market
worldwide is a multi-billion $ business. I do
expect that the combined companies will
enjoy growing margins by convincing the
artist that promoters also have to make
money. I hope that Live Nation Entertainment will become a profitable organisation not only by selling tickets.”
Karsten Jahnke: “If a merger of this dimension is approved you really have to ask
yourself why we have a Federal State Commission. A conglomerate that big can put a
lot of pressure on the whole industry.”
Do you assume that the merger may also
have an impact on your business?
Schwenkow: “Yes.”
Jahnke: “Whether this will also have an influence on the German market is hard to
say. This mainly depends on whether Ticketmaster will stand up to the far superior
ticketing systems that are in this country
at present.”
Schwenkow: “We as DEAG Entertainment
will definitely see growing business and increasing profits because of our diversification also into the world of classical music,
mostly because of our 360° business with
artists like the violin player David Garrett
that includes promoting, producing and
recording as well as merchandising, sponsoring and our music
library.“
What is your assumption for the business
year 2010?
Jahnke: “Me and my team are mainly concentrating on a balanced mix of touring
business and promoting shows locally. In
2010 again there will be lots of changes,
merges, ideas and of course new companies and companies that close.
I think we all need to focus more on live
and let live by giving respect to new platforms, ideas and companies but also to get
respect from the new ones.
We all need to keep in mind that our business is business but our goods are music
and artists and not only numbers and 30
page contracts.”
Peter Schwenkow - CEO DEAG
15
VIP-BOOKING.COM
VIP- News - Fe b r u a r y 2 0 1 0
CTS Eventim take over Ticketcorner
While Klaus Peter Schulenberg, CEO of CTS Eventim, just recently declared
in an interview with the financial newspaper “Euro Am Sonntag” that the
company held back its plans to acquire a Spanish ticket service operator, CTS
Eventim has now announced that it will take over the Swiss ticketing company
Ticketcorner.
CTS Eventim is to pay about 44 million Euro to the private equity company
Capvis, the previous owner of Ticketcorner. The Swiss ticketing company had
a turnover of 24 million Euro in 2009 and delivered Earnings before Interests,
Taxes, Depreciation and Amortization of about 4,4 million Euro. CTS Eventim
declared that it will continue to expand its international business. In “Euro Am
Sonntag” Schulenberg announced that he intends to enter the Belgium and
French ticket markets within the next two years.
Currently the shares of CTS are traded at a price level of 34.35 Euro. The company announced that its business report for 2009 will be revealed at the end
of March.
Mama Group leaves stock market
While the end of 2009 saw some sort of bidding going on for the Mama
Group, it is now decided that on March 12 the Mama Group will be de-listed
from the London Stock Exchange.
On February 1 the retail company HMV announced that it holds 66.3 percent
of the outstanding shares of Mama Group. In the beginning of January SMS
Finance reported that its bidding for the Mama Group had failed.
On February 10 the Mama Group reported that HMV owns 75 percent of the
share capital of the company. “I am delighted that our offer for MAMA Group
has been successful, and to welcome our new colleagues from MAMA to HMV.”
declared Simon Fox, CEO of HMV Group. For Fox the deal is another milestone in the development of HMV.
He says: “The acquisition represents a further significant step for HMV as we
continue the transformation of our business begun in 2007. Building on the
successful platform created by the formation of our joint venture with MAMA
just over a year ago, we will be embarking on exciting new growth plans for the
Group in live music and ticketing.”
artist avails ››
Michael McDonald
Territory: Europe
Period: June 2010
Agency: William Morris Endeavor Ent.
Agent: Sheraz Qureshi
Phone: +44 20 7534 6947
E-mail: [email protected]
Homepage: www.wmeentertainment.com/
michael_mcdonald/summary/
Lady GaGa
Territory: Period:
Agency:
Agent:
Phone:
E-mail:
Homepage: Europe
Spring 2010 onwards
William Morris Endeavor Ent.
David Levy
+44 20 7534 6800
[email protected]
www.ladygaga.com
Cushh
Territory: Period:
Agency:
Agent:
Phone:
E-mail:
Homepage: Worldwide
On Going
Mission Control Artists Agency
Craig D’Souza
+44 (0) 207 252 3001
[email protected]
www.missioncontrol.net
Fischer-Z
Territory: Period:
Agency:
Agent:
Phone:
E-mail:
Homepage: Europe
01/07/2010 - 31/12/2010
Artist Agency
Bart Quintens
+32 16777670
[email protected]
www.artistagency.be
Cyndi Lauper
Territory: Europe
Period:
June 2010
Agency:
William Morris Endeavor Ent.
Agent:
Sheraz Qureshi
Phone:
+44 20 7534 6800
E-mail:
[email protected]
Homepage: www.cyndilauper.com
Sweet
Territory: Period:
Agency:
Agent:
Phone:
E-mail:
Homepage: Worldwide
Generally available
ABS Agency
Nigel Kerr
+44 208 399 3474
[email protected]
www.thesweet-now.com
More Artist avails on:
www.vip-booking.com
Post your Artist avails on:
www.vip-booking.com
16
VIP-BOOKING.COM
VIP- News
VIPNews
- A u-g Fe
ust b
2 0r0u5a r y 2 0 1 0
notice board ››
Another new service in the improved and redesigned VIP-News is the Notice-board, which is available for all readers.
Reader’s messages will be posted on the Notice-board as a free service, passing on announcements, job postings, buying and selling notices, inquiries or alike. Announcements should be emailed to [email protected]
MW_vip_170x126_0901
26.11.2009
17:13 Uhr
Seite 1
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enquiries before entering into any agreements.
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[email protected], including name and email address.
Please shorten your message to the extent possible, to make room for
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M_252_AZ_A23
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readers page ››
Speak out - participate in the debate. The VIP-News Reader’s-page is open for letters and contributions from readers.
Consider the VIP-News Reader’s-page, as your “speaker’s corner” towards professionals in the entertainment industry all
over Europe. The purpose of the Reader’s-page is to encourage more interaction and to allow our readers to voice their
opinions about the many aspects of our industry. Contributions should be emailed to [email protected].
Reeperbahn Festival
Dear all,
Reeperbahn Festival and Reeperbahn
Campus would like to thank everybody
who visited our Business Breakfast during EuroSonic 2010. Meeting you at Coffee
Break in the heart of Groningen was a pleasure. We had a great time and we hope you
enjoyed it too.
Besides the delicious buffet and probably the best coffee in town we all had the
chance to talk business in a very relaxed
atmosphere.
Bernhoft was just the perfect cast for this
event and – by the way – you could find the
whole Reeperbahn Festival crew sitting in
the first row during his showcase this very
night at the Grand Theatre :-).
Traveling and promoting Reeperbahn Festival and Reeperbahn Campus is big fun and
we are now looking forward to our activities at SXSW, in Austin Texas this March.
Besides our Reeperbahn Festival BBQ
party with Nneka and Kilians at the Texas Embassy on Saturday, we will present
Nneka at the FILTER party at Cedar Street
Courtyard on Friday. From Wednesday to
Friday you can as well find us at the SXSW
trade show.
If we don’t meet at SXSW we hope to see
you during Reeperbahn Festival 2010 from
September 23 to 25 in Hamburg!
The Reeperbahn Festival crew
VIP-Booking ApS cannot be held responsible for loss or damages
incurred as a result of transactions with individuals or companies
through the notice board. We recommend all to make the necessary
enquiries before entering into any agreements.
VIP-Booking ApS may not, for reason of space, be able to post all
announcements received. Announcements should be emailed to
[email protected], including name and email address.
Please shorten your message to the extent possible, to make room for
as many notices as possible.
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VIP-BOOKING.COM
Reeperbahn Festival GbR
Neuer Pferdemarkt 23, 20359 Hamburg
T. +49-40-4317959-17
F. +49-40-4317959-26
[email protected],
www.reeperbahnfestival.com
VIP- News - Fe b r u a r y 2 0 1 0
Member presentation ››
In
In this
this section
section we
we offer
offer members
members of
of VIP-Booking.com
VIP-Booking.com some
some space
space to
to present
present their
their company
company to
to VIP-News
VIP-News readers.
readers.
If
you
would
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present
your
company
please
contact
Peter
Briggs
at
[email protected]
If you would also like to present your company please contact Peter Briggs at [email protected]
Row One Music
Row One Music is a booking and concert promoter agency, based
between Lisbon and Mexico City.
The musical universe led us to create a bridge between different
worlds, initially from Latin America to Europe and vice versa.
After many years of working in great festivals, and of managing
hundreds of groups, Row One is born from professionals with an
enlarged experience in various aspects of the musical panorama.
Our main objective is to divulge traditional music and its different fusions which pass through pre-Hispanic music, Reggae, Surf
Rock, Hip Hop, Ska and Cumbia among other styles.
Among other artists : El Gran Silencio (Mexico), Los Rastrillos (Mexico), La Revuelta (Colombia), Sr. Bikini (Mexico) and Tribu (Mexico).
Row One Music
About Our Company
VIP-Booking’s core product is the Internet’s oldest and largest database for the European Live Entertainment Industry www.vip-booking.com developed as a tool for industry professionals. Since it’s
launch in the year 2000, we have consistently offered our subscribers the very best in database services and now boast subscribers in
over 30 countries.
Today VIP-Booking offers a range of tools for the industry – including VIP-News, VIP-Booking, VIP-Book and VIP-Contract.
Please visit vip-booking.com for further information.
Your comments and suggestions are always appreciated.
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