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Last night, (for me – by the time you read this it’ll be a few days ago – wonderful thing time travel!) I attended the Brighton Music Awards at the invitation of PRS, Strange this event was happening in my hometown, and I didn’t know it was in the planning! Nobody tells me anything, but then again, I travel a lot. I found myself sitting close to a table occupied by not one, not two, but three gods! Waiting their turn to get up and present awards were the original god of hellfire, Arthur Brown, with two slightly younger chaps, but certainly rock gods in their own right, Jimmy Page and Roger Dal-trey – not a bad line up I’m sure you’ll agree. The event was in support of The Teenage Cancer Trust, a cause to which Daltrey de-votes a lot of time and energy.

There were a couple of really good new bands, Rubylux, and a star in the making, who looked like a cross between Joan Ar-matrading and Jimi Hendrix, and had a hell of a voice, called Z-Star – you heard it here first! At the after show party I had the chance to meet Page briefly, and recalled that I had first seen him playing bass for The Yardbirds with Jeff Beck on guitar, which he remembered as being… difficult.

It’s time again for the UK Festival Awards, so tomorrow (for me – It’ll be… don’t start all

that again! – Ed), I’m off to London to chair a panel dedicated to tales and anecdotes about the festival world, with John Gid-dings (Isle of Wight), John Probyn (Live Na-tion) and James Barton (Cream), all of whom are decidedly aware of the need of humour in this business, so it should be fun – I’ll let you know about it next month.

These Awards, and the European Festival Awards, which will take place at Eurosonic/Noorderslag in Groningen next January are now taken very seriously as befits an industry that has seen remarkable growth in the last 25 years. In Britain alone it is es-timated that more than 670 events took place in 2010, with the top 200 contribut-ing £450m to the economy in ticket sales, travel, accommodation and food. Earlier this year Barry Dickins, of leading Agency,

ITB said that his company does most of its business, probably 65%, in a ten-week pe-riod from the end of May to August. That is quite something, and when you look at the growth of the sector in Eastern Europe, where I think we will see more activity in 2011, including possibly a new Live Nation event, there is more to come.

Some while ago we told you that we would turn over occasional issues of The News to particular markets, the last was Switzerland, and with the help of Christian Storbeck of Striker Entertainment we will look at Italy next month. So if any of our Italian readers have anything to tell our thousands of read-ers about their business and the Italian mar-ket in general, please let us know at am@VIP-booking.com, or mt@VIP-booking.com

Meanwhile this issue has turned out to be pretty much a spotlight on The Nether-lands, which continues to define its posi-tion as ‘gateway to Europe’ by producing very fine conference and showcase events, with Noorderslag/Eurosonic attaining its quarter century, Amsterdam Dance Event again breaking records, and a new urban event kicking off in Rotterdam, they seem to be doing something right.

Ladies and Gentlemen, read about it here:

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McGowan’s Musings:

Allan McGowan

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Managing director: Ronni Didriksenrd@vip-booking.com

General Manager: Peter Briggspb@vip-booking.com

writer and editorial: Allan McGowanam@vip-booking.com

writer: Manfred Tari mt@vip-booking.com

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New urban showcase and Conference for rotterdamAllan McGowan am@vip-booking.com

Buma Rotterdam Beats is a brand new event

whose aim is to be a central meeting point

for the whole range of urban genres. The

event takes place in the city of Rotterdam

and features two-days of music conferenc-

es, workshops and open-mic sessions, plus

a night time music festival across five of the

city’s most exciting venues. The event is also

dedicated to the discovery and promotion

of upcoming local and national talent, act-

ing as a focal point for Rotterdam and The

Netherlands’ best new artists.

Festival director Roger Brouwn says, “With

Buma Rotterdam Beats, a new festival is

born that in terms of styles, talents and mu-

sic perfectly matches the diversity of the

city of Rotterdam. I am delighted that this

city is playing host to he event and look for-

ward to seeing it develop over the coming

years. We hope Buma Rotterdam Beats will

prove to be the definitive music festival for

all urban genres, as well as a platform for

the launch of international careers’.

AmbitionBuma, initiator of the Amsterdam

Dance Event, EuroSonic Noorderslag Con-

ference, Buma NL, Toonzetters and Jazzdag,

intends to grow Buma Rotterdam Beats into

an international conference where know-

how is shared, business deals are done and

where the best new talent is presented to

an international audience.

Conference and FestivalDuring the con-

ference representatives of venues and

festivals, record labels, music publishers,

producers and artist managers, plus tour-

ing and brand relationship agencies will

be in Rotterdam to network, share their

know-how, and do business. The daytime

programme includes matchmaking initia-

tives aimed at teaming up individuals with

complimentary skill-sets, lectures and de-

bates focused on the current and future

music industry featuring the people who

live it every day, as well as interactive and

online technology workshops. In addition,

the event also aims to create links with rep-

resentatives from creative industries such

as video games, TV commercials and film-

makers.

26 & 27 November 2010During the two

evenings of November 26th & 27th, the

festival will offer a selection of acts in four

choice locations around the centre of Rot-

terdam. Buma Rotterdam Beats will also

present some of the very best current art-

ists, ranging from internationally known

acts through to the latest breakout national

artists, and the very best new local talent.

Rotterdam Beats

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Once again the ADE celebrates a highly

successful edition:

It’s not only the figures that illustrate the

success of the 15th edition of the ADE.

It was also obvious in the vibe that sur-

rounds this convention.

The ADE reported another visitor record,

sold out for 3 years in a row now, this year

the organizers added 300 additional tick-

ets, bringing the total up to 2.500. Visitors

from 58 countries visited this hot spot for

the dance music industry and even when

the conference program featured topics

such as ‘Club Crisis: What Crisis?’, ‘Genius

Or Suicide? Doing Business in the digital

Dance Environment’, or ‘Label Life (And

Death)’ the overall mood of the major-

ity of the visitors indicate that the dance

music business currently seems to be in

pretty good shape.

There are a couple of components that

make this convention so different from

others. One is the participation of so

many prominent artists as speakers and

moderators of the conference program;

these include Dave Clark, Ferry Corsten,

Plastikman, Jeff Mills, Arthur Baker, Todd

Terry, Don Diablo, Sasha, Roger Sanchez

and many more.

Another one is new formats for its pan-

els as part of the conference program.

In particular to be mentioned on this

occasion is the ‘Label Life (And Death)’

panel sessions covering Publishing, Live,

Distribution and Marketing. All four ses-

sions were moderated and hosted by the

industry journalist and ADE-veteran Gary

Smith from Billboard Magazine who did a

very good job. Another highlight was the

panel moderated by radio DJ and artist

Dave Clarke who finished off the confer-

ence with the Demolition Panel and prior

to this took part in the panel ‘Putting the

A in Authenticity – Being Authentic.’

VIP-News found out more by speaking to

organiser Richard Zijlma

VIP-News: How do you think things went with this edition of ADE?

Richard Zijlma: I was really surprised by

the take up for the ‘extra’ day, Wednesday.

1.500 people turned up and there was a

big queue outside, at eleven in the morn-

ing, with delegates from 60 countries ar-

riving to set up their meetings because

they want to do business, they want to

make it happen over here.

VIP-News: Is dance music currently in a good space in terms of its economy? I heard this when I attended the panels; from what people were saying, the in-dustry actually looks quiet healthy and stable.

Amsterdam dance event 2010Manfred Tari mt@vip-booking.com

The 2011 edition of by:Larm to take

place in Oslo between February 17-

19 will host the inaugural Nordic

Music Prize which will select the

worthiest winner from a shortlist

of 12 records. Alongside five of the

top Nordic music journalists, the

jury consists of Laurence Bell (Dom-

ino Records), Victoria Segal (The

Times), Jeannette Lee (Rough Trade

Records, PiL), Rob Young (author or

Electric Eden, former editor of The

Wire), Mike Pickering (ex-Factory,

now Columbia Records), Matthew

Schnipper (The Fader) and Andres

Lockko (arguably Scandinavia’s

most influential music writer). The

annual StatoilHydro Award – whose

former winners include Ida Maria,

Ingrid Olava and Mathias Eik – will

also offer a grant of approximately

€100,000 to what is considered the

most exciting up and coming Nor-

wegian act.

by:larm to Host Nordic Music PrizeAllan McGowan am@vip-booking.com

by:Larm

Blockparty at ADE

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Richard Zijlma: Yes, I think so. It is obvious

that the Dance-business has became more

international. It’s really a global scene of

course because guys like Ferry Corsten

perform in 87 different countries. Some of

them perform 200 gigs a year, on a partic-

ular level it is still a healthy industry. In par-

ticular I think ADE has become the place

for this scene to set up their meetings and

to promote their products.

I would also say that we now have more

international agencies and promoters on

board, this business is now more involved

with the record labels, the publishers

etc. and now we also have the high level

players of the live dance industry here.

The most important agencies from the

States and the UK are on board, so it’s re-

ally interesting. Naturally it’s a scene that

is really into new developments, sharing

knowledge in music because the whole

thing is triggered by the tracks, it is to-

tally differently to the pop/rock industry.

Normally an average rock bands goes into

the studio for a certain time to create their

record and when its finally finished, they

will go out there and share it with the rest

of the world. But electronic music is far

more immediate, when the track is hot you

can bring it out and share it, and it could

happen that after 24 hours a DJ like David

Guetta or Paul van Dijk will pick it up and

there will be a new hit.

VIP-News: The Dutch dance music scene has become pretty strong. All around the world you now hear the ‘Dutch Sound’. You have very strong international Dutch artists such as Tiesto, van Buuren, Fedde le Grand and others. Could you that say that there’s a strong connection back to ADE by the top Dutch artists or Dutch representa-tives of the music industry?

»I am definitely convinced that the Dutch industry has benefited from ADE

because it gives fantastic opportunity to promote your

artists globally»

- Richard Zijlma

Richard Zijlma: I am definitely convinced

that the Dutch industry has benefited from

ADE because it gives fantastic opportunity

to promote your artists globally; over the

years ADE has become strong in the whole

dance community and this combination

really works for everybody. In the past

most famous DJs from Holland were con-

nected to trance music but now all kind of

genres come up on a worldwide scale. It is

also really interesting for example that the

Dutch record industry is doing so well, that

people like Paul van Dijk or Paul Oakenfold

sign to Dutch label Armada Music. It is ac-

tually a new development which I think

also shows that the Dutch record industry

behind the artists is really doing well.

VIP-News: As far as I can see ADE benefits much more than any other conference in terms of its conference program from the fact that artists take part in it, that they participate as speakers, moderators and so on. Why is this?

Richard Zijlma: It is really fantastic that

the artists are also really involved in a con-

ference like the ADE, that they show up

and share their knowledge and hang out.

People like Chucky or Ferry Corsten came

back from the states to be here for a few

days and somebody like Richard Hawtin is

around for five days at ADE. They are doing

shows, doing master classes, setting up a

lot of interviews and also taking care of

their own business as well. They are really

dedicated to ADE, I think, because it more

and more has a kind of a family feeling

and that is very important. We are able to

reach out personally and are related with

all the artists in the scene. It is really differ-

ent when compared to some other confer-

ences where the visitors are more focused

only on the industry and not so related to

the artists directly.

VIP-News: What can you tell us about the ADE-Festival?

Richard Zijlma: The conference now starts

on Wednesday and a lot of labels and com-

panies are doing their showcases and of

course there is a lot of competition. Some

locations are probably not the best suited

for some shows, and it is very important

to see these as showcases. That is one of

the issues you have to deal with here. But

nevertheless, most of the shows are really

packed anyway, for instance the Melkweg

is now 35 years old and during ADE last

year they broke their visitor record with 17,

000 people, that’s just the Melkweg!

VIP-News: Taking about the audience size, have you now reached the maximum ca-pacity of the Felix Meritis and the Dylan Hotel?

Richard Zijlma: Yes, we have definitely

reached the maximum capacity, although I

think it worked out fantastically well. I was

a bit afraid it was too busy but it sorted

out pretty well. We have sold out for three

years in a row now, and this year we sold

about 300 extra conference tickets due to

a lot of demand by the people who really

want to visit. But I guess this is more or

less quite a good amount of people for a

conference. I think 4000 or 5000 people is

really too much even so, but ask me again

in 10 years!

VIP-News: The future is what I wanted to ask you about, what is on the agenda for 2011 and 2012?

Richard Zijlma: On the Wednesday pro-

gramme during the day we included

‘music & bytes’ with really good speakers

from EcoNest for example, I really want to

develop this more. In term of the internal

value of ADE I really focused on making

this stronger, and I’d like to continue that,

because it is more important than just

making ADE bigger or stuff like that.

Richard Zijlma

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Mick Jagger has said that it is important for

the future of live music that the 100 Club

in Oxford Street, threatened with closure

should survive. The venue is faced with

paying rent which has soared to £4,000 a

month plus overheads.

A Save the 100 Club campaign has been

backed by stars including Bobby Gillespie

of Primal Scream, Johnny Borrell of Razor-

light, Glen Matlock of the Sex Pistols and

Radio 2 DJ Janice Long plead for its sur-

vival. The venue has presented perform-

ers such as Muddy Waters The Clash, Oasis

and Humphrey Lyttelton.

Adding his name to the bid to save the

club Sir Mick told London’s Evening Stand-

ard, “This is really bad news if another

great venue is threatened with closure.

There’s a real need for these places - they

have a connection with the past. And what

is important is that you have places where

bands can cut their teeth and places of a

certain intimacy and size, that new bands

can experiment in. There aren’t that many

great places in London, or indeed any city,

that you can say that about.” He added:

“We never played the 100 Club when we

first started. We couldn’t get a gig.” They

did make it in the Eighties though, to per-

form a 1986 benefit for their late keyboard

player Ian Stewart.

Supporters are now trying to raise £500,000

towards making it possible for Jeff Horton

to pay off debts, and to provide working

capital to keep the club open. The plan is,

if successful, for the campaign to take over

the lease and run the venue as a charitable

or non-profit-making venture.

Stones Ronnie Wood and Mick Taylor are to

play a benefit gig on December , though

Jagger will be away. Other names are be-

ing lined up to play a fundraiser on No-

vember 25.

Jagger Joins Fight to save london VenueAllan McGowan am@vip-booking.com

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Geoff Ellis received the lifetime achieve-

ment award at this year’s UK Festival

Awards at IndigO2, last Thursday, fol-

lowing the Festival Conference at the O2

Dome the same day.

James Drury, MDof the UK Festival Awards

announced: “Under Geoff’s leadership, T In

The Park has grown into Scotland’s largest

and most successful festival winning nu-

merous accolades, including two UK Festi-

val Awards for Best Major Festival”.

Many artists, including Caleb Followill of

Kings Of Leon and Brandon Flowers of The

Killers say it is their favourite festival. Fans

flock back to the Scottish event every year,

testament to the innovation and concerns

for the enjoyment, and the safety, which

Ellis and his team take so seriously.

Drury continues, “It is Geoff’s charismatic

leadership, dogged attention to detail and

inspirational good humour which makes

him such a worthy recipient of the UK Festi-

val Awards’ Lifetime Achievement Award”.

The UK Festival Awards were presented

at London’s O2 on Thurday November 18.

MD James Drury said, “This year’s awards

were the most hotly-contested we’ve had,

with over half a million votes, demonstrat-

ing just how important festivals are to the

UK public. Despite the continued chal-

lenges of the economy it’s been an incred-

ible year for festivals and our awards are all

about celebrating that. The winners should

be rightly proud of their achievements, as

should the rest of the industry”.

Ben Turner, co-founder of AIF states: “It was

an incredible night for the independent

festival sector, and a victory for the great

British festival. It’s rewarding to see events

like Green Man and Kendal Calling finally

getting the respect they deserve and to

see Bestival beat the biggest and most

established festivals in the world – never

mind the UK – is a testament to the passion

festivalgoers have for the efforts, energy

and love put in by independent festival

promoters to make their events unique.

As for Creamfields, it is without doubt the

world leader in global dance music. The

original and still by far the best.”

Fiona Stewart, Managing Director of Green

Man Festival states: “We are delighted to

win. There are a lot of clever and creative

people who work very hard to make Green

Man happen and this award is a testament

to them. But most importantly, its thanks

to the amazing people who come to Green

Man every year and who voted for us.”

T In The Park Boss Geoff ellis to receivelifetime Achievement AwardAllan McGowan am@vip-booking.com

Awards

UKFA - Colin Rodger T in the Park

UKFA 2010 - Kendal Calling win Best Small Festival

UKFA 2010 - Jim King (Rockness)

UKFA2010 - Geoff Ellis accepts Lifetime Achieve-ment Award

UKFA 2010 - Fiona Stewart of Green Man wins Best Medium Festival

UKFA 2010 - Rob da Bank accepts Best Major Festival Award

Geoff Ellis

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The full list of winners from the seventh

annual UK Festival Awards is as follows.

- Best Toilets T In The Park

- Best Metropolitan Festival Gaymers Camden Crawl

- Best Family Festival in association with Showsec Camp Bestival

- Best Breakthrough Artist in association with Rizla Mumford & Sons

- Best Dance Event in association with Peppermint Bars Creamfields

- Feel Good Act of the Summer in associa- tion with Be-at TV Paolo Nutini

- Best New Festival in association with Ac- cess All Areas Vintage At Goodwood

- Headline Performance of the Year in as- sociation with Jagermeister AC/DC at Download Festival

- Virtual Festivals’ Critics Choice*

Biffy Clyro at Glastonbury

- Overseas Festival

Snowbombing

- Anthem of the Summer in association

with HMV

Florence & The Machine ‘You Got The

Love’

- Line-Up of the Year* in association with

XL Video

Rockness

- Promoter of the Year in association with

IQ*

Team Glastonbury

- Best Small Festival in association with

Doodson Entertainment

Kendal Calling

- Best Medium Festival in association with

Smirnoff Flavours

Green Man

- Best Major Festival in association with

Tuborg

Bestival

- Lifetime Achievement in association with Music Week Geoff Ellis, T in the Park

* Chosen by a jury of journalists and in-

dustry experts

In addition to this, a further four award cat-

egories were presented during the day at

the UK Festival Conference.

Decided by a panel of experts assembled

by the associated partner organisation:

- Outstanding Contribution to Festival Production in association with TPi Neil McDonald

- Best Sponsor Activation in association with Brand Republic Coca Cola

- The Grass Roots Festival Award in asso- ciation with Robertson Taylor 2000 Trees

- A Greener Festival Award in association with agreenerfestival.com Croissant Neuf Summer Party

MW Panel - Chris Barrett_Andy Smith

UK Festival Conference - Jim Mawdsley

UK Festival Conference - James Barton - John Giddings - John Probyn - Allan McGowan

UK Festival Conference

UK Festival Conference - Colin Rodger(T in the Park)

UK Festival Conference Crime panel

Conference

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Awarded by a panel of judges assembled

by the UK’s leading brand platform Brand

Republic, Coca Cola were awarded the ‘Best

Sponsor Activation’ award for their Recy-

cle Garden and Swap For Swag schemes

at festivals across the UK. Brand Republic

Editor and chief judge for the award cat-

egory commented: “Having used multiple

platforms, including amplifying the mes-

sage via digital channels pre and post the

event, plus a range of touch points at the

festivals they sponsored, the brand visibly

changed customer behaviour, delivered a

positive impact on the consumer, the par-

ticipants and the festivals.”

Platinum tickets for the UK Festival Awards

sold out a record three weeks in advance

of the event. More informationon the Fes-

tival Awards: UK Conference & Awards 2010

including the full list of winners and pho-

tos / video content from the gala evening

can be found at www.festivalawards.com

and www.festivalconference.comUKFA 2010

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Interview with Peter Smidt – Creative Di-

rector of Eurosonic Noorderslag:

Eurosonic/Noorderslag celebrates its

quarter century anniversary next January

2011. Slightly more than twenty-five years

ago, so Peter Smidt tells me, he was work-

ing hard – that’s not to say that he doesn’t

work hard these days as Creative Direc-

tor of Eurosonic Noorderslag, Manager at

Buma-Cultuur and also Vice President of

The European Music Office – but at that

specific time all those years ago the work

was physically hard – he was digging. To

be precise he was levelling a sloping floor,

some of you may well have benefited from

his work by being able to keep yourselves,

and your drinks, upright when watching a

band play in Groningen’s Grand Theatre,

which was previously a cinema – hence

the slope.

The Beginning

As a student of Arts and Art Management

in the University City of Groningen Peter

was one of the squatters of The Grand

Theatre, which was to be replaced with a

shopping mall. Squatting has a fine tradi-

tion in Holland; there would for instance

be no Paradiso in Amsterdam if students

and others had not taken direct action. Pe-

ter recalls, “I was using the downstairs area

as a rehearsal room for my band, and it

seemed a natural move to start promoting

in the venue.” He also promoted shows at

The Oosterport venue, booked the acts for

the Stars in the Park summer festival and in

1986 started Noorderslag, a festival event

presenting Dutch and Belgian acts.

“In those days,” Peter recalls, “Both audi-

ence and the business considered local

repertoire as merely a niche market, but

the festival showed the quality and the

potential available. At the time we figured

that other European territories must be

proud of their own acts and to have similar

international potential but we didn’t really

have a clue.” Things began to move when

Dutch artists like Urban Dance Squad and

the Nits began to attract the attention of

professionals from other markets, includ-

ing Bernard Batzen from France, Tapio

Korjus from Finland and Marc Ridet from

Switzerland and they and others came to

Noorderslag to check out the bands.

The Mission

When Patrice Hourbette from the French

Export Office asked if he could bring some

French acts, then Polygram (now Universal

for those under a certain age!) inquired

about presenting some of their European

bands, Peter realised that Noorderslag

was in a position to realise the fast devel-

oping potential within European reper-

toire which audiences and professionals

alike were largely unaware of. The Dutch

based promoters and agents Association

Network Europe became involved, invit-

ing agents and promoters to bring in their

acts. This became the mission and the

aim, as Peter says, “To present European

repertoire within the whole European sec-

tor, and to create a platform for European

music and European music professionals.”

The Noorderslag Seminar was created in

1993 to encourage the exchange of ideas

within the sector and work began on

building what was to become Eurosonic

Noorderslag.

The Partners

However Peter was aware of limitations,

“One show in Groningen was not enough,

the important thing was to create and

maximise exposure and radio was one

way of achieving this.” The European

Broadcasting Union was approached and

with the help of Jan Sneum of Danish Na-

tional Radio, EBU collaboration, involving

Holland’s Radio 3 FM, German stations and

the BBC, with John Peel broadcasting live

from Groningen, was initiated, with the

aim of distributing to all main stations.

In 1999 the event took on the Eurosonic

name. Peter continues, “Because we were

able to present the most promising acts

more promoters and agents came, finding

it easy to check all the upcoming talent in

one place. The infrastructure of Groningen

works so well for this, with so many good

venues all within walking distance of each

other. There are not many Cities with that

facility.”

Apparently Groningen owes this happy

situation not just to the fact that it is home

to a large University with lots of young

people therefore lots of demand, but to a

local law passed in the 1950’s; this permit-

ted bars and clubs to stay open late if they

staged live music. Very forward thinking!

This situation allowed musicians like Her-

man Brood to develop their art in Gronin-

gen; he could play seven nights a week in

different venues and had a big influence,

encouraging bands to start up. This in-

spiration led to there being a lot of active

bands in the 70’s and just as importantly

an active audience!

eTeP & The Festivals

The fast growing festival market was the

next sector to be involved within this his-

tory and this infrastructure, which provid-

ed the perfect setting for buyers, artists

and radio to exchange talent, information

and advice. The aim was to continue to

encourage all these sectors to work to-

gether to help create careers and spread

European repertoire. A tool was needed to

make this idea work and Peter formulated

the concept of ETEP, the European Talent

Programme, to achieve this in an objective

and measurable way. He went to the Fes-

tivals Association Yourope with the idea,

and, as he says, “They listened and said

let’s try, and we were all surprised by the

results.” ETEP offered radio support from

Twenty Five Years of eurosonic/NoorderslagAllan McGowan am@vip-booking.com

Peter Smidt

12

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12

VIP- News - N o v e m b e r 2 0 1 0

the EBU and a small amount of money to

participating festivals to offset the costs of

putting on an act from another territory,

which they may not have considered oth-

erwise.”

Funding

The start up money came from the Culture

Department of the Dutch national Gov-

ernment, there was some reticence about

Dutch Culture funds subsidising other

countries, but it was considered a very

interesting programme, so Peter was told

he could have the money to start up, but

to look to the EU for the future! But there

was assistance from other areas, the Euro-

pean Music Office (EMO) came on board as

a main partner, along with assistance from

Italy, Norway, Luxembourg and Belgium

amongst others, allowing the Programme

to kick off in 2003.

Peter has had mixed success in obtaining

funds from the EU, receiving support in

some years and not in others, he has spent

a lot of his time in Brussels. He says, “There

is still no set policy for the music sector in

Europe which will serve it best. If we can

secure the policy first, the programmes

will follow. Although ETEP has without

doubt shown that it is works and is effec-

tive, so far within the current programmes

of the European Commission it has not

been rewarded.” EMO is still lobbying and

has had some success with ETEP and the

European Tour Support Programme. Peter

continues, “There have been good pilots

but nothing as yet has led to a solid follow

up within the framework of European sub-

sidies. Currently I am keeping a close eye

on the development of the Cultural Indus-

try Policy to see what can be learnt from it,

but at the moment the framework is not

suitable for the music sector.”

eBBA Awards

However, the doors are not closed, the

Commission’s instigation of and support

for the European Border Breakers Awards –

the EBBAs, are evidence that it has listened

and does want to find a way of working

with the music sector. The fact that the

Awards are now presented at Eurosonic

Noorderslag is very positive. As Peter says,

“The EBBA aims are the same as those of

ETEP – crossing borders. If an act does well

as a result of ETEP, then progresses to EBBA,

this builds a framework for crossing bor-

der success. Eurosonic makes new talent

discoveries, then EBBA awards those who

have become established, the stars. The

attendance of Commission representa-

tives at Eurosonic Noorderslag introduces

a platform for debate between them and

the music sector. There must be a constant

dialogue to exchange views and change

and create policies.”

Certainly this upcoming 25th Anniversary

Conference can provide an ideal platform

to signal the continuation and expansion

of debate, but we cannot just wait for

things to happen, as Peter continues, “The

music sector has to acquaint itself with the

Commission’s views and goals within the

general Cultural Industry policy, and the

industry players who attend Eurosonic

Noorderslag should be willing and able to

become involved in this, in order to prog-

ress the development of European reper-

toire.”

New developments

There is no doubt that whilst growing and

evolving over the last 25 years Eurosonic

Noorderslag has achieved and maintained

its original stated purpose of creating a

platform for European music and Euro-

pean music professionals. Over the past

few years many other conference and

showcase events have appeared on the

international industry calendar, many of

which seem to have adopted formats not

dissimilar from those developed by the

Groningen event, this does not worry Pe-

ter, in fact he has an opposite view, “If oth-

ers copy the Eurosonic Noorderslag model

it indicates that the European market is

growing. It is vital that this market has as

many available stages as possible, it indi-

cates growth and vindicates all our origi-

nal plans and ideas.”

Noorderslag Eurosonic is not an event

that stands still, as the European industry

develops new elements are introduced

to the Agenda. The 2010 edition saw the

introduction of The European Festival

Awards in partnership with Yourope and

Virtual Festivals. Also continuing confer-

ence discussion of digital distribution and

interactive possibilities has resulted in the

introduction of the Interactive Awards, in

cooperation with Dutch Collection Soci-

ety, Buma Stemra, and Factor E, to recog-

nise the creative use of interactive media

by artists and companies. The 25th edition

will also feature a Media Lounge within the

Conference to service the use of Eurosonic

Noorderslag content, (the 2010 EBBA’s

were broadcast in 12 countries.) and to

accommodate more requests from digital

media, along with the growing numbers

of radio and TV stations. Also a new Artist

Village will be introduced to create more

possibilities for artists to connect with at-

tendant media and, just as importantly

within the ethos of the event - each other.

Fittingly, Eurosonic Noorderslag will also

celebrate its 25th anniversary by making

its home country, The Netherlands, focus

country for the 2011 edition.

So, Peter Smidt may no longer be wielding

a shovel to level theatre floors but 25 years

on he and all at Eurosonic Noorderslag

continue to work to create a level playing

field for all involved in the development

and the distribution of European reper-

toire. See you in Groningen on the 12th

January 2011!

13

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Business NewsManfred Tari mt@vip-booking.com

Music In shareslive Nation – Improvement rescheduled to 2011:significantly lower key figures slow down live Nation earnings results.

What at first view seems to indicate a turn-

over growth actually isn’t the case. In the

third quarter (Q3) 2010 Live Nation gained

a revenue of $1.836 billion compare to

$1.794 billion in the same period one year

ago. In the first nine months of the ongo-

ing business year the revenue grew from

$3.326 in 2009 to $3.825 billion. But since

the merger at the beginning of 2010 the

current figure reflects the combined turn-

over of Live Nation and Ticketmaster.

Live Nation reported net income of $51.4

million for Q3, compare to $69.2 in Q3-

2009. But in particular it’s the nine months

overview that describes the development

of the company since entering into the

merger. The net loss climbed from $60.6

to 89 million while the net long term debts

rose from $699.0 million to $1.671 billion.

In detail Live Nation reported a decline for

almost all of its various business units. The

revenue for the Concerts division shrunk

10.3 % within the last nine ninth months,

from $2.951 in the same period in the pre-

vious year to $2.648 billion; the Ticketing

unit dropped from $856.4 to $734.7 mil-

lion. The subsidiary Artist Nation had to

face a turnover decline of 19 %, as results

dropped from $332.3 to $269.2 million.

The Sponsorship department sustained

a moderate loss of 2.8 %, with turnover

down from $133.3 to $129.6 million. Only

the eCommerce department been in-

creased revenue from $61.2 to $62.8 mil-

lion.

The number of concerts promoted went up

from 14,933 to 15,049 but the total number

of visitors fell from 39,711 to 35,667 million.

Bearing the figures in mind it is no surprise

that Michael Rapino, CEO of Live Nation

states, “We continued to drive results in

our higher margin businesses, including

our eCommerce and sponsorship assets.

Given our direct access to over 200 million

fans through our online storefront, we’re

focused on improving our digital offer-

ings and participating in multiple revenue

streams linked to the online ticket pur-

chase.”

Michael Rapino

14

VIP-BOOKING.COM

14

Rapino furthermore announced: “We are

also taking additional steps to reduce our

operating costs and further improve effi-

ciencies across our operations as we move

toward 2011. As we execute our strategy,

we remain confident in our ability to maxi-

mize the value of our end-to-end platform

and improve the performance of our busi-

ness.”

The Executive Chairman of Live Nation Irv-

ing Azoff also hopes for external , saying:

“While our roster of superstar clients and

tour schedules for 2011 remains strong,

we need some improvement in the overall

economic environment in order to opti-

mize profits going forward.”

Since the beginning of November the

share of Live Nation moved up at the New

York Stock Exchange (NYSE) from $9.50 up

to $10.01.

Live Nation acquires Ticketnet in France

In order to strengthen its ticketing busi-

ness in Europe, Live Nation took over

Ticketnet. The company is active in the

ticketing markets in France, Belgium and

Luxembourg and sells around 6.6 million

tickets per year via its internet platform

and 750 retail outlets.

Managing director Francois Thominet

will remain with the company and com-

mented on the deal in a press release: “We

are excited about the opportunity to see

Ticketnet continue to grow in the French

marketplace while taking full advantage of

all the resources and experience that Live

Nation has to offer.”

Alan Ridgeway, CEO of Live Nation Inter-

national welcomes Thominet’s continua-

tion with Ticketnet saying: “I’m delighted

that François Thominet is staying with

the company and will be continuing the

great work that he has already done to

establish Ticketnet as a market-leading

full service ticket retailer and distributor

in France. Through Ticketnet, Live Nation

intends to further develop its commercial

relationships with all the constituents of

the French entertainment market: venues,

producers and local promoters.” No infor-

mation was made on the purchase price.

VIP- News - N o v e m b e r 2 0 1 0

Alan Ridgeway

VIP-BOOKING.COM

BauchklangTerritory: WorldwidePeriod: 2011 Agency: Georg Leitner Productions Agent: Nina Pernica Phone: +43 1 914 8615 E-mail: npernica@glp.at Homepage: www.glp.at

within TemptationTerritory: WorldwidePeriod: March 2011 and onwardsAgency: X-Ray TouringAgent: Paul BoltonPhone: +44 (0) 20 7749 3500E-mail: paul@xraytouring.comHomepage: www.xraytouring.com

Adler’s AppetiteTerritory: Germany, Czech Republic, Austria, Slovakia, Hungary, Turkey, Greece Period: 15/3/2011 - 26/3/2011 Agency: ARM Entertainment Agent: Dana Strutz Phone: +1 651 483 8754 E-mail: ds@armentertainment.com Homepage: www.adlersappetite.com

Groove ArmadaTerritory: Europe / WorldwidePeriod: Europe Winter 2010 Worldwide 2011Agency: WME - William Morris Endeavor Ent.Agent: Steve HoganE-mail: shogan@wmeentertainment.comHomepage: www.groovearmada.com

Alannah Myles - Acoustic/unplugged TourTerritory: EuropePeriod: 1/3/2011 - 30/4/2011Agency: ARM EntertainmentPhone: +1 651 483 8754 E-mail: ds@armentertainment.com Homepage: www.alannahmyles.com

sass JordanTerritory: EuropePeriod: February / MarchAgency: Paperclip AgencyAgent: Hilde SpillePhone: +31 24 323 9322E-mail: hilde@paperclip-agency.comHomepage: www.paperclip-agency.com

15

artist avails ››

MoRe ARTisT AvAiLs oN:www.vip-bookiNg.coM

posT youR ARTisT AvAiLs oN:www.vip-bookiNg.coM

VIP- News - N o v e m b e r 2 0 1 0

The German concert industry mar-

ket leader continues to maintain

its growth rate. As usual in recent

years CTS Eventim reported posi-

tive earnings and revenue figures.

Revenue rose within the first nine

months of 2010 from 329.5 in the

first nine months of 2009 to 372.4

million Euro, an increase of 13 per-

cent. The Earnings before Interests,

Taxes, Depreciation and Amortisa-

tion (EBITDA) grew 10 % from 50.5

to 55.6 million Euro while the EBIT at

44.2 million Euro remains at almost

the same level as in 2009 where the

EBIT was at 44.1 million Euro.

Nevertheless the company reported

that the earnings results are weight-

ed due to the acquisition costs for

Ticketcorner and See Tickets Ger-

many and legal consultancy for the

ongoing arbitration case with Live

Nation. Without these additional

costings the EBITDA would have

been 60 million Euro and the EBIT

53 million.

The Ticketing unit of the company

archived a revenue growth of 29.5

percent from 95.7 up to 123.9 mil-

lion Euros before consolidation.

CTS Eventim declared that revenue

growth is driven by the organic

growth of its European subsidiaries

and their highly profitable online

sales. Furthermore recent acquisi-

tions have started to contribute

positively to the results.

Online sales rose by about 30 %, due

to the company selling 10.7 million

tickets instead of 8.2 million via its

portals. But due to the mentioned

acquisitions the EBITDA remains at

34.7 million Euro instead of 30.7 in

2009 and EBIT of 24.9 compared to

25.9 million Euro.

The Live Entertainment business

division even was even able to in-

crease its revenue results. This is

almost surprising due to the lim-

ited number of touring top artists

this year and the overall economic

climate in Germany. Revenue went

up from 236.4 to 253.8 million Euro

while the EBITDA for this part of CTS

Eventim increased from 19.8 to 20.8

million Euro The EBIT results grew

from 18.1 to 19.4 million Euro. While

the results for Q3 haven’t been re-

ported yet, CTS Eventim declared

that Q3 results are affected by in-

vestments of 1 million Euros in

the exhibition Tutankhamun. The

complete business report will be

released on November 25.

The CTS Eventim share price went

up since the beginning of Septem-

ber from 35 to 42.90 Euro.

CTs eventim Improve results Again:Preliminary company results for the first nine months underline growth

16

VIP-BOOKING.COM

The 16th edition of WOMEX closed on Sunday, 31 October, after

five full days of intense networking, inspiration and music. Held in

Copenhagen, Denmark, for the second year, WOMEX has proven,

once again, to be the hub of world music professionals from all

over the globe. 2440 delegates from 94 countries attended the

event, that began with 200 delegates in Berlin in 1994.

This year’s Trade Fair figures confirm the high importance that

WOMEX delegates invariably attach to the exhibition part of

WOMEX: 650 companies and organisations from 57 countries pre-

sented themselves at 260 stands in the new daytime venue Fo-

rum Copenhagen placing WOMEX right in the heart of Denmark’s

capital.

More acts than ever before – 59 – from 38 countries performed at

the WOMEX Showcase Festival featuring five nighttime stages at

the spectacular DR Koncerthuset and one Daycase Stage at Forum

Copenhagen. In honour of WOMEX’s current home region, one

stage was entirely dedicated to artists from the Nordic countries.

Each of the three nights at the offWOMEX Stage highlighted a par-

ticular country/region: Spain, Québec and Wales.

A special, exclusive event was organised for the WOMEX 10 Open-

ing: Three of the finest bands on the contemporary Korean music

scene presented “The Chaosmos of Korean Music: Heaven, Earth

and Human” revealing innovative renditions of traditional Korean

music. The project was supported by the Ministry of Culture, Sport

and Tourism of the Republic of Korea; Korea Arts Management

Service; and the Embassy of South Korea in Denmark.

Corresponding to the broad range of music industry branches

represented at WOMEX, the Conference covered four major topics

focusing on the value of the “experience”: More than 60 speakers

from 21 countries shared their professional know-how with WOM-

EX delegates in 20 Conference Sessions centring the The Live, The

Recorded, and The Digital Experience, as well as the “Vision Be-

yond”. Along with a special session on sub-publishing, the new

curated Matchmaking service for (sub-)publishers, supported by

the UK and German music publisher associations MPA and DMV,

enjoyed considerable popularity among the music rights’ dealers

at WOMEX.

The second newly introduced – and also fully booked – format

at this year’s Conference was Country Speed-Dating offering the

opportunity to meet festival promoters, agents, managers, labels

etc. from Brazil and Canada. Delegates looking for individual ad-

vice were served by the Mentoring Sessions: private 15-minute

consultations with any of seven industry experts from various

fields and occupations.

WOMEX also featured an international platform for world music in

audio-visual media: 14 Film Screenings, mainly music documen-

taries, and a dedicated Conference Session were programmed

by WOMEX’s long-term partner IMZ International Music + Media

Centre, Austria.

Numerous world music networks from all around the globe held

meetings at WOMEX: European Broadcasting Union’s World Mu-

sic Workshop; ACP Music Festivals; European Forum of Worldwide

Music Festivals; Global Music Education; Nordic World and Roots

Music; North American; Asia Pacific; and African Music Export Of-

fice network members all gathered in Copenhagen to discuss cur-

rent issues.

Four Awards were presented at the Award Ceremony on Sunday

marking the end of a successful WOMEX edition.

The WOMEX 10 Award for Artists went to Danyèl Waro, the un-

compromising maloya hero from Réunion Island. Philippe Con-

rath, whose Cobalt label has released Danyèl Waro’s music for the

past years, states: “It is [...] with emotion that Danyèl Waro receives

this award as a form of reward for a course without compromise,

the path of an artist tirelessly committed to the celebration of a

superb language, the Creole that sings the words so well.”

fRoots Chief Editor Ian Anderson, UK, received the WOMEX 10

Award for Professional Excellence on behalf of the independent

press. WOMEX Founding Director Ben Mandelson notes: “Since

1999 we have given the WOMEX Award to extraordinary art-

ists and professionals from its community deserving of special

praise but we have never ever awarded the media. And yet the

independent media play such a crucial role for our kind of music

business, part of us, supporting us and providing a vital forum for

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, buy-ing and selling notices, inquiries or alike. Announcements should be emailed to noticeboard@vip-booking.com

VIP- News - A u g u s t 2 0 0 5

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VIP- News - N o v e m b e r 2 0 1 0

wOMeX 10 COPeNHAGeN: Full of life and Music

17

VIP-BOOKING.COM

topics that otherwise would fall through the grid or answer only

to big-media-corp interests. With the Internet bringing change to

all traditional business models, offering the media world its own

urgent challenges, now, more than ever is the time to show our

support for an independent media.”

The winner of the WOMEX 10 Top Label Award, a joint project of

World Music Charts Europe and WOMEX, is world village / harmo-

nia mundi with branches in France, USA, UK and Spain. The selec-

tion was made using the charts of 50 radio broadcasters from 24

countries collected over 12 months.

For the second year, WOMEX hosted the presentation of the

Roskilde Festival World Music Award honouring the Dhow Coun-

tries Music Academy, Tanzania. The project receives the Award

for its work on maintaining and developing the musical tradi-

tions in an area where cultural development is relegated to the

background in many cases because of more basic challenges. “It’s

often with good intentions that cultural projects are launched in

third world countries. But it’s harder running the projects over a

longer period so that they can make that difference that was the

aim to begin with. The Dhow Countries Music Academy draws

attention not only because of its purpose and level of ambition.

It’s also a professionally working organisation that has proven its

worth and managed to make a difference in its area,” says Peter

Hvalkof, booker of world music at Roskilde Festival, about the

background for the choice of the Award winner. The prize includ-

ed 30,000 euro. (For more information contact Peter Hvalkof at

PeterH@roskilde-festival.dk)

WOMEX has a three-year partnership with World Music Fair Co-

penhagen, an organisation created by several key cultural players

from Denmark to host WOMEX in Copenhagen from 2009-2011:

First and foremost Roskilde Festival, Copenhagen Jazz Festival

and Wonderful Copenhagen. The other principal members com-

prise the Danish Center for Culture and Development (CKU/DCCD),

Global Copenhagen and World Music Denmark in cooperation

with Welcome Meeting Management. WOMEX 10 was supported

by the City of Copenhagen, the Capital Region of Denmark, Oti-

con, the Danish Arts Council and Wonderful Copenhagen.

WOMEX thanks all production staff, volunteers, enthusiasts, pro-

fessionals and fans; along with our production partners at World

Music Fair Copenhagen and all our financial supporters; plus Fo-

rum Copenhagen and DR Koncerthuset.

WOMEX 10 was a production of WOMEX – the World Music Expo,

in cooperation with World Music Fair Copenhagen.

The next edition of WOMEX will be held in Copenhagen from

Wednesday, 26 to Sunday, 30 October 2011.

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, buy-ing and selling notices, inquiries or alike. Announcements should be emailed to noticeboard@vip-booking.com

VIP- News - A u g u s t 2 0 0 5

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VIP- News - N o v e m b e r 2 0 1 0

Peter Hvalkof

18

VIP-BOOKING.COM

AbbA THe sHow has had its world pre-

miere back in September 2001. It was in Ib-

senhuset in a city called Skien in Norway.

From day one it was a HUGE success. The

Norwegian newspapers wrote spectacular

reviews in the following days.

Headliners as:

1. Mama Mia, ABBA is still alive!

2. Brilliant ABBA Show!

3. ABBA Clones!

4. ABBA-Fans never denies!

5. Going by the time machine back to the

seventies!

Since 2001 the show has toured USA, CAN-

ADA, FINLAND, ESTONIA, NORWAY, SWE-

DEN, DENMARK, HOLLAND, GERMANY,

AUSTRIA, LUXEMBURGH, SWITZERLAND,

ENGLAND, SCOTLAND, WALES, IRELAND,

NORTHERN IRELAND, SPAIN, ITALY, INDIA,

JAPAN, THE PHILIPPINES, KAZAKHSTAN,

MALTA, CYPRUS, MOROCCO, FAROE IS-

LANDS, CZECH REPUBLIC, SLOVAKIA, PO-

LAND & CROATIA. Whereever the show has

been it ALWAYS come back and play the

same venues again!!! Germany and Hol-

land was introduced to the show in the au-

tumn 2003 and it was such a great succes

that a new tour was immediately booked

for spring 2004. In USA & Canada the show

toured every year since 2002.

Everywhere the show has played it has

been welcomed very much and it has cre-

ated another ABBA fever. The audiences

is going mad and are really truly enjoy-

ing themselves. One cannot help singing

and dancing in the aisles when ABBA THE

SHOW plays some of the greatest ABBA

hits from 1969 and untill 1981.

3 fantastic and spectacular shows must be

mentioned. First the show was performed

in the new and fantastic Saku Arena in

Tallinn Estonia (March 2001) in front of a

nearly sold out crowd of 6,500 people - it

was just one month prior to the Eurovision

Song Competition in 2002 unfortunately

ABBA THE SHOW could NOT participate in

the competition......

The second show to be mentioned was

when The Official International ABBA

Fanclub saw the show 3 october 2003 in

Maastricht Holland together with more

than 5,000 other “crazy” spectators. The

chairman of the Fanclub, Helga van de

Kar, was extremely (over) excited after

the show and said afterwards to the

producer Kenneth Svoldgaard: “For sure

the best coverband/show we saw so far

! Some moments really would make you

think you are looking at ABBA. What re-

ally made me happy was to see all those

5000 people enjoying the show; danc-

ing and singing along! This makes ABBA

still alive! I myself sang along with all the

lines, couldn’t help doing so.

The people in Brighton were thinking

about having Bj?Again but as soon as I

heard that I said why not ABBA THE SHOW,

this is so much better. And of course the

ex-ABBA musicians is also an extra attrac-

tion. To be very honest that was for us the

reason to come and see your show! ... I’m

glad we did as it was a very nice experi-

ence! We sure recommend this show to

everyone else in the future!”

A few weeks after the show in Holland, the

producer Kenneth Svoldgaard, received

an email from the chairman of the Fanclub

saying “Here is our thoughts and feelings

about ABBA THE SHOW written down in

short quotes”:

Absolutely the best ABBA since ABBA

It truly feels like ABBA is still Alive

It truly feels like ABBA lives on

It truly feels like you are looking at ABBA

It truly feels like you are hearing ABBA

The true ABBA experience

The one and only ABBA since ABBA

Kind regards,

Helga van de Kar

Last but definitely not least the third

show worth mentioning was at the World

Famous Hollywood Bowl where 18,000

(nearly sold out) joined the ABBA fever

July 5 2004. The complete crowd were

waiting and screaming anxiously for Danc-

ing Queen which of course was one of the

very last songs performed. When the intro

of the songs was played Hollywood Bowl

was about to explode in joy - what a night,

what an audience, what an experience.

Hollywood Bowl was and still is the high-

light of ABBA THE SHOW’s history!!!

This show has for sure surprised many

many people worldwide - and it intend

to keep doing so. Keep a close eye on the

tourlist of this website and Do NOT miss

the next ABBA THE SHOW opportunity -

looking forward seeing you at the next

ABBA THE SHOW performance.

Monthly featured artist ››

origin: Swedenstyle: PopTour period: Call for availabilityTerritory: Worldwide

Agency: CSB Island Entertainment ApSName: Kenneth Svoldgaardemail: kenneth@csb.dkphone: +45 75 16 67 22

VIP- News - A u g u s t 2 0 0 5

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VIP- News - N o v e m b e r 2 0 1 0

ABBA THe sHOw

ABBA the Show

19

VIP-BOOKING.COM

in this section we offer members of vip-booking.com some space to present their company to vip-News readers. if you would also like to present your company please contact peter briggs at pb@vip-booking.com

MeMber presentation ››

in this section we offer members of vip-booking.com some space to present their company to vip-News readers. if you would also like to present your company please contact peter briggs at pb@vip-booking.com

®

vip-booking.com

VIP-BOOKING.COMVIP-BOOKING.COM | 26 York Street | UK - London W1U 6pZ | Phone +44 870 755 0092 | Fax +44 870 622 1953 | e-mail: vip@vip-booking.com

19

About Our Company

VIP-Booking’s core product is the Internet’s oldest and largest data-base for the European Live Entertainment Industry www.vip-book-ing.com developed as a tool for industry professionals. Since it’s launch in the year 2000, we have consistently offered our subscrib-ers 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 – inclu-ding VIP-News, VIP-Booking, VIP-Book and VIP-Contract.

Please visit vip-booking.com for further information.

Your comments and suggestions are always appreciated.

VIP- News - N o v e m b e r 2 0 1 0

Cult Concerts Agency GmbH

Since 1993, we have booked more than 3000 shows for national

and mainly international artists in Switzerland and Europe. Cult

Concerts Agency and Black Lamb Productions have now become

one of the main Swiss booking agencies for festivals and tours.

Our clients include The Metropop Festival, Sound Arena, Baregg

Festival, AVO Session, Open Air Gampel, Outside Zürich Festival,

Bex Rock Festival, Balélec, Out-in-the-Green festival, Open Air St.

Gallen, Paléo Festival, Gurtenfestival, X-Tra Limmathaus, Kaserne

Basel, Fri-Son, Bierhübeli, AlpenRock House and many others.

The Tours and off-dates:

We act as local promoters for international acts performing in

Switzerland, either on the promoters requests or on agent¹s re-

quest. Our job is to look for artists for the clubs/venues/promot-

ers/special events/festivals or to look for places to play for the Art-

ists on tour.

We also are exclusive booking agents for several Swiss and Inter-

national acts.

The Festivals, corporate and special events:

We have exclusive deals with some of the most important festi-

vals in Switzerland as well as with a growing number of corporate

events. What we do for them varies from case to case: it goes from

the making of the program to the coordination of the overall or-

ganisation, Production Management, Artist Relations, Backstage

management (dressing rooms & catering), Artist Transports, Press

Office, Security, etc.

Management & publishing:

We are managing and taking care of the publishing of some art-

ists

Future developments:

We intend to consolidate our position on the Swiss market in

terms of festivals and corporate bookings as well as developping

our booking activities for Swiss and International acts in Europe.