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PreMIuM ›› VOl. 137 ›› JuNe 2011

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So there I was, crossing a wide and fast flowing river on bridge that looked per-fectly solid from the river bank but began to sway from side to side in a strangely disturbing fashion when supporting the weight of a man in full Scottish highland dress playing the bagpipes and being followed by a trail of music industry folk looking forward to the first drink of the evening. I was however temporarily dis-tracted from concerns about the stability of the bridge by the sight of the man up to his chest in the centre of this rushing river unconcernedly wielding a very substantial fishing rod and also wearing a highland ‘bunnet’ while he attempted to catch fish on their way to the one and only Loch Ness. Scottish seagulls were of course hanging around looking for a chance to steal any-thing he caught! No, I wasn’t dreaming or under the influence, I was of course in In-verness at this year’s edition of Go North, a fine event!(See report in this issue)

The Festival season has kicked off with the weather again playing its leading part; in the UK the Isle of Wight Festival had a sunny Saturday but suffered from heavy rain and low temperatures on the Sunday, but by all reports high spirits prevailed, with the reformed Pulp scoring a big hit.At the other end of the meteorological scale across the Atlantic at the Bonnaroo

Music and Arts Festival in Manchester, Tennessee, temperatures stayed in the 90s (F), 30s (C) for almost the whole four days of the event, with reports of about 1,500 of the 80,000 attendees being treated for heat-related illnesses. Two deaths were reported, whether or not these were as a result of the heat was still to be confirmed. Lets hope the rest of the season wherever festivals takes place, stays free of such un-fortunate casualties, and that the weather gods are kind.

In other festival news the irrepressible Vince Power, the man who set up the Mean Fiddler in the 1980s, is going public with his festival interests; Benicassim in Spain, the Hop Farm Music Festival in Kent and the first Feis Festival in London, (I’m off to see Bob Dylan there tonight - as I write)

collectively known, strangely enough, as Music Festivals. Encouraged by a Hop Farm sell-out with Prince, extending this year’s edition in July by a day, Power has filed the application for Music Festival’s admission to Aim, the London Stock Exchange’s inter-national market for smaller growing com-panies, which will raise £6.5m. (See Busi-ness News in this issue) Although there are some worries being expressed about the fortunes of many of this season’s events with Reading tickets selling for less than face value on the secondary market and audiences being spread thin by a combi-nation of a lack on new acts on the bills and increased competition (there were 715 events last year in the UK alone) other festivals and businesses have already been marked for Power’s expansion – watch this space!

Talking about making money from music - there was a time when lots of people did you know! – I see that Forbes, the US mag-azine that concerns itself with the fortunes (literally) of the rich and famous has pro-duced a new list of the highest earners in the music business (we’ve included the list just in case you’re interested or might be thinking of calling on someone to borrow a few dollars, pounds or Euros!). The first thing that is obvious is that, even though there have been drop offs in concert ticket

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McGowan’s Musings:

Allan McGowan

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buying, these days the best way to make big bucks in the music business is tour-ing. The lists of the top earners are very similar to the lists of top grossing tours - U2, Bon Jovi, Lady Gaga and Michael Bublé are all in the top five. How accurate these figures are is of course in question, but according to Forbes, they represent pre-tax income earned from May 2010 to May 2011, before subtracting agent and manager fees (they’d be interesting to see!). As well as compiling data from Pollstar, RIAA and others, apparently lawyers, managers, concert promoters, agents and, in some cases, the musi-cians themselves were interviewed – so the figures must be completely accurate – right?! 68 year old Granddad Paul Mc-Cartney’s in there, but so is that young whippersnapper Justin Bieber – what do you do with those millions when you’re 17? The Americans are as usual ahead of the game with 17 of them in the list - although hang on, one might be Cana-dian…

Well, I’d better bring this to a close and let you all get on with making your mil-lions – but only after you’ve read this is-sue of The News! We won’t be here next month, but we’ll be back in August, so seriously I wish you all sunshine and suc-cess in the next few weeks!

Forbes list of the world’s 25 highest-paid musicians

1. U2 2. Bon Jovi 3. Elton John $100 million 4. Lady Gaga $90 million 5. Michael Buble ($70 million) 6. Paul McCartney ($67 million) 7. Black Eyed Peas ($61 million) 8. Eagles ($60 million) 9. Justin Bieber ($53 million) 10. Dave Matthews Band ($51 million) 11. Toby Keith ($50 million) 12. Usher ($46 million) 13. Taylor Swift $45 million) 14. Katy Perry ($44 million) 15. Brad Paisley ($40 million) 16. Tom Petty & the Heartbreaks ($38 million) 17. Jay-Z ($38 million) 18. AC/DC ($35 million) 18. Sean “Diddy” Combs ($35 million) 18. Beyonce ($35 million) 18. Tim McGraw ($35 million) 18. Muse ($35 million) 23. Rascal Flatts ($34 million) 24. Kenny Chesney ($30 million) 25. Rihanna ($29 million)

Trade event roundupAllan McGowan am@vip-booking.com

Just as the Summer Festival season is

upon us we find ourselves being regu-

larly reminded that the round of Confer-

ence and showcase events continues.

We report on VIP’s visit to last week’s

(June 9/10) Scottish event GoNorth,

and follow up with news on the events

planned for September and October in

Germany, France and Finland:

Go North 2011

goNORTH 2011was launched in 2001 to

provide a platform for artists from the

north of Scotland to showcase for mu-

sic industry and media representatives

on their own patch.

Originally hosted in several venues on

Aberdeen’s Belmont Street, the event

briefly relocated to Dundee, before set-

tling in Scotland’s most northerly city,

Inverness. The event has since widened

its remit becoming a Creative Industries

Festivals, covering Screen and Broad-

cast to Designer Fashion and Publish-

ing. goNorth delivers a programme

of panels, workshops, film screenings,

training opportunities, Q&A sessions,

camera equipment and special effects

showcases and live music showcases

featuring over 50 bands in 9 city ven-

ues. Alongside the Scottish acts this

year’s programme also presented art-

ists from England, Ireland, Belgium,

Norway, Latvia and Australia.

A change this year, after five successful

years of programming a goNorth stage

at the RockNess Festival, is a return to

the event’s roots by supporting emerg-

ing talent at five independent festivals

in Scotland: Belladrum Tartan Heart

Festival, The Wickerman Festival,

Loopallu, Summer In The City 2011

and Wizard Festival.

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All acts selected to showcase at goNORTH

2011 had the opportunity to showcase at

one or more of these independent festivals

featured on the goNORTH Festival tour.

The panels, some of which were organised

and chaired by Olaf Furniss of Edinburgh’s

Born To Be Wide, featured a high level of

panellists and chairmen – including a ses-

sion on Modern Management chaired by

yours truly. I was impressed, as I have been

at Scottish events in the past by the en-

thusiastic attendance and involvement of

delegates - people seem more prepared

to gather information and to ask ques-

tions than at some other events. Although

I thought I was reasonably aware, I learnt a

lot more about the workings of Public Per-

formance Ltd – PPL for instance, and I rec-

ommend artists and managers to find out

more as you may well have money waiting

for you!

Keynote interviews with Feargal Sharkey of

UK Music (who did for a change get to talk

about his Undertones days as well as his

present position as head of UK Music!) and

Alex Knight, founder of Brighton based Fat

Cat Records were also well attended and

enthusiastically received.

VIP-News asked organiser Shaun Arnold

what he thought about this year’s edition.

Our tenth anniversary last year was partic-

ularly strong, but I am delighted to say that

goNORTH 2011 proved our most success-

ful event to date. This year’s programme

was the most ambitious we have delivered

and boasted more cross creative industry

activity than ever before. Furthermore,

from the data we have managed to recon-

cile thus far, we are thrilled to confirm that

attendance figures for our seminar sched-

ule were also up on last year’s impressive

turnout. The volume of submissions we

received for our 2011 campaign was up

by forty percent on 2010, and we feel it

was perhaps our strongest live showcase

schedule to date, again generating a huge

buzz around the city and a fantastic public

response. Having introduced the goNORTH

Festival Tour for 2011, we are also placed in

a fantastic position to offer all the artists

selected to showcase some great oppor-

tunities throughout the season.

VIP-News also asked three of the delegate/

speakers for their opinions:

Sat Bisla - President/Founder A&R World-

wide & MUSEXPO.

Go North 2011 showcases the rich musi-

cal heritage of Scotland, the UK and the

world. This year’s event delivered a smor-

gasbord of captivating sounds and very

talented acts. The caliber of artistry at this

year’s event reinforced Go North’s place as

one of the UK’s premier new talent launch-

ing pads. Congratulations to Shaun Arnold

and his team for delivering a stellar event! I

look forward to Go North 2012.

»This year’s programme was the most ambitious we have delivered and boasted more cross creative industry

activity than ever before«

- Shaun Arnold

Julia Jones – Music Hub - UK

My inaugural visit to Go North proved

to be one of the most valuable network-

ing events I have attended this year. The

standard of guest speakers and perform-

ers was exceptional and it gave me the op-

portunity to catch up with business associ-

ates from around the world. I will certainly

be returning next year.

Adam Lewis – Planetary Group - US

I thought that this years Go North Event

was really strong. The panels were stream-

lined into one big panel at a time – so

made for good attendance. The bands that

I saw were strong, with the highlight being

Scotland’s Kid Canaveral’s packed show at

The Flames. Also Modi from Norway really

impressed with his quirky pop. This is my

third year at the event and I wouldn’t miss

it. Small. Good music. Good people that

you are actually able to network with. I felt

that this year’s version was the best yet.Shaun Arnold organiser goNorth

Panel at goNorth

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PopkommBerlin, Tempelhof 7-9 September:

Paul Cheetham is in charge of the show-

cases and the live element of Popkomm

– he brings VIP-News up to date on this

year’s plans:

The key to Popkomm showcases this year is

for us to get right into the roots of making

opportunities happen for artists. We want

results for them. We want to see them get

the deals they are looking for and we want

to see them become the buzz bands of the

following 12 months. We will present acts

that we know are worthy of the attention of

decision-makers from the music business

and place them in fully-equipped, small

venues at Tempelhof during each after-

noon of Popkomm. Our main role will be to

spend the weeks leading up to Popkomm

promoting each artist to delegates and

people in the music business in a way that

could be described as “match-making”. We

experimented with this concept last year

and had good success so we will build on

this as a unique aspect of what Popkomm

can deliver. We will continue to have shows

and events in the evenings but these will be

absorbed entirely into Berlin Music Week

and promoted to the public mainly through

that channel. Berlin Festival continues to be

part of Berlin Music Week and we will carry

on our relationship with the sister event by

presenting a handful of Popkomm acts on

the festival line-up.

In addition to the Popkomm showcases

taking place at the same time as the net-

working and meeting events at Tempelhof,

we have organised a “live music business”

conference on the last day of Popkomm/

first day of Berlin Festival which includes a

set of panels to discuss aspects of the live

segment of the industry. The full line-up is

to be announced shortly, but we have con-

firmed Melvin Benn of Festival Republic

as our keynote guest for that day. Melvin

is a man I find fascinating and incredibly

engaging so we are delighted to have him

as our guest.

More info will be found at:

www.popkommlive2011.com

Paul Cheetham

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reeperbahn CampusHamburg - 22 to 24 September:

Following the cancellation of the music in-

dustry event Popkomm in 2009 the overall

situation for German music conferences

changed somewhat. In Cologne c/o pop

filled the gap left by Popkomm’s move

to Berlin in 2004. The annual alternative

music convention Pop Up in Leipzig had

unfortunately to cancel its 10th edition its

exhibition this year.

The hottest newcomer in this area is the

Reeperbahn Campus, added as the B2B

contribution towards the Reeperbahn Fes-

tival in Hamburg, and located in the famous

red light district. Since the debut of the

Reeperbahn Campus in 2009, the industry

event has in particular addressed the live

music business and music publishers.

VIP-News spoke with Detlef Schwarte,

head of the Reeperbahn Campus about

this year’s settings and the environment of

this convention.

VIP-News: Germany now ranks as the third biggest music market for recorded music in the world. Does this fact have any im-pact on Reeperbahn Campus, do you ex-pect more international visitors?

Detlef Schwarte: Yes, we are expecting

more international guests, but this is pri-

marily due to the growing importance of

the Reeperbahn Festival as a spring board

for new international acts and as platform

for industry people to meet and network.

However the consideration that Germany

now seems to be biggest market in Europe

might give even more tailwind.

VIP-News: What about German visitors, who are they and from which part of the music industry do they come from?

Schwarte: We are cooperating closely with

some of the most important organizations

of the music industry in Germany, e.g. the

Association of German Promoters (bdv)

and the Association of German Publish-

ers (DMV). So besides lots of label people,

managers and agents these fields will be

well represented.

VIP-News: Who else makes up the partner network of Reeperbahn Campus?

Schwarte: There are dozens of partners

who take the opportunity to be part of

the Reeperbahn Campus and to present

themselves to the rest of the music and

live biz industry or just to meet internally.

There are international organizations like

IMMF, Yourope or Network Europe who

are having meetings at Reeperbahn and

several Music Export Offices will attend

and present showcases. Other partners

like SXSW or the European Broadcast Un-

ion will have receptions within the scope

of the Reeperbahn Campus.

VIP-News: Who are the main target groups for Reeperbahn Campus?

»We are expecting more than 1500, about one third being

international guests from more than 20 nations«

- Detlef Schwarte

Schwarte: Delegates are mainly from the

music and live entertainment industry and

media. We are expecting more than 1500,

about one third being international guests

from more than 20 nations.

VIP-News: Can you already tell us what are this year’s main conference issues for Reeperbahn Campus?

Schwarte: As in the previous years we

will again try to cover the most important

and immediate topics that are currently

moving the music and live entertainment

industry and not to lose ourselves in too

much general talking. So we will have

discussions about trends at Festivals and

Ticketing, Keynotes and presentations

about how to monetize music in the future

and - as a national focus - we will review

how politics might support Pop in Ger-

many. And as in the last years a highlight

will definitely be Ray’s Reeperbahn Revue

- three shows nonpareil in Europe.

VIP-News: Reeperbahn Campus is linked with the Reeperbahn Festival. How does that work and what should we know about the Reeperbahn Festival?

Schwarte: The Reeperbahn Festival con-

sists of three elements: Music, Campus

and Arts. Concerning music you should

know that it is the biggest Club Festival in

Germany with about 180 international acts

playing in 25 indoor venues. For many acts

the Festival served and serves as gateway

to the German market. The Campus we’ve

discussed, and the Arts program involves

Europe’s biggest rock poster convention,

several exhibitions and guided tours. All

that happens in St. Pauli, the harbour

district of Hamburg. Everything is within

walking distance. So forget shuttle buses

or taxis.

www.reeperbahncampus.com

Detlef Schwarte

Reeperbahn Campus

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MaMA event Pigalle-MontmartreParis 21 & 22 October:

This will be the third MaMa Event, the

second in Paris. MaMA was instigated in

response to the fact that although France

is the fifth largest market in the world and

the third in Europe behind Britain and Ger-

many, there was no cross-sector platform

in France that combined networking and

showcases, such as The Great Escape - UK,

Eurosonic - NL, Reeperbahn – DE, SXSW

– USA, Canadian Music Week etc. So, the

MaMA music and convention festival for

the international music industry offers a

gateway to the French music market.

The Program features: live, acoustic gigs,

international meetings, conferences, work-

shops, talks, speed-meetings, networking

lunches and drinks in the red-light district

(seems to be a bit of a theme this – what

with Reeperbahn being in a similar envi-

ronment! – Ed.) of Pigalle & Montmartre..

The first themes of MaMA 2011 have just

been announced and will address: Live

2025: The future of Live Music: Does Music

still have Value?: The Relationship between

Politics and Music.

First artists and announced are: Caravan

Palace, The Bewitched Hands, Monogre-

nade (CA) and Rodeo Massacre (SE-UK-FR).

More than 500 applications have been

received for this second Paris edition and

submissions are now closed, although

there is apparently one more chance to be

part of the 2011’s line up to be announced

in the next newsletter on-line at:

www.mama-event.com

MaMA 2011 launched on June 20th; del-

egate passes are now on sale.

c/o Pop and MaMA are partners for the

2011 edition, so if you are reading this in

Cologne from 22.-25.June MaMA will be

happy to meet you there.

There are now, you may have noticed, a

plethora of these events, and the chances

of them coinciding increase every year

– you may also have noticed that MaMA

and Music and Media take place at the

same time – a dilemma for some I am

sure, but they are both extremely worth-

while events and there are enough of us

to make sure that both are well attended

I’m sure!

Music & MediaTampere, Finland 20-23 October:

As announced in our last issue Music &

Media Finland has confirmed an interview

with legendary concert promoter and pro-

ducer Harvey Goldsmith as its first speaker

and a Celebrity Guest of Honour for this

year’s 22nd edition of the event. The event

has now added Martin Mills, Chairman of

The Beggars Group and champion of the

independent record company sector, to

the Programme.

Martin Mills has worked with numerous

world class artists including Radiohead,

The White Stripes, Pixies, Interpol, Cat

Power, Basement Jaxx, The Prodigy, Vam-

pire Weekend, TV on the Radio and Adele.

He was instrumental in setting up the In-

dependent Music Companies Association

IMPALA in 2000, and more recently the

Worldwide Independent Network WIN.

Among many of his industry activities,

Mills has been the Vice Chairman of AIM

and Chairman of IMPALA as well as a board

member of WIN and A2IM in the USA,

while also participating in the British gov-

ernment’s Music Industry Forum.

The Music & Media Finland conference will

be accompanied by the Lost in Music Festi-

val presenting 100 Finnish and international

acts during the three conference days.

Registration is open at:

www.musiikkimedia.fiHarvey Goldsmith Keynote Speaker at Music & Media

Elysée Montmartre Mama Event

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The Italia Wave Love Festival will celebrate

its 25th birthday under the sun of Puglia,

Italy from 14th to 17th July in the elegant

town of Lecce for the first time. The Festi-

val is organized by the Arezzo Wave Italia

Foundation powered by the Puglia Region-

al Authority, Provincial Authority of Lecce,

the Municipality of Lecce, the Chamber of

Commerce of Lecce and the Local Tour-

ism Board, within the frame work of Puglia

Sounds, the program of the Puglia Region

for the development of the regional music

system.

The four day event will include concerts,

exhibitions, movies, comics, installations

and workshops in one of the most beau-

tiful regions of Italy – Salento. Bands will

play from 10 a.m. till night and the festi-

val will include exclusive performances in

Italy by Paolo Nutini and Kaiser Chiefs; plus

an unseen concert by Giovanni Lindo Fer-

retti at dawn, and the first performances in

Italy by the Moroccan Oudaden and Emel

Mathlouthi, a Tunisian singer; The Serge

Gainsburg Experience from France and the

Vivendo do Ócio from Brazil.

The Main Stage is situated inside the “Via

del Mare” football Stadium will also present

Lou Reed & band with the new ‘Sweet

Tooth’ show, Jimmy Cliff, the Joy Formi-

dable from England, (selected through

the ETEP (European Talent Exchange

Program)) and the Verdena, Bud Spencer

Blues Explosion, Sud Sound System, Zina

from Italy and all the artists who will per-

form on Sunday July 17th for the closing

evening of the festival : Daniele Silvestri,

Mau Mau, Modena City Ramblers, Cristina

Donà, the naked music by Petra Magoni &

Ferruccio Spinetti, Fausto Mesolella, Marta

sui Tubi and Paolo Benvegnù.

Tickets for the Main stage are among the

cheapest in Europe : on Thursday 14th July

the ticket is 15 euro, on Friday 15th July 23

euro, on Saturday 16th July 25 euro. Sun-

day 17th July, the Italian day celebrating

the birthday of the festival, is free thanks

to Puglia Sounds that will give away 20

thousand free tickets. Instructions on how

to get these will be available on the Italia

Wave Love Festival web site.

Other highlights will feature DJ’s at Elet-

trowave 2011, and at Ostello del Sole area

situated in San Cataldo di Lecce, a few kil-

ometers from the town centre all the win-

ner bands of the “Italia Wave Band” contest

will perform.

A few meters from the concert area will

be the CultWave space, the cultural frame-

work of Italia Wave, at the Lido York, on

the beach. From 5 till 7 p.m. the audience

of the festival can take part in meetings,

interviews and readings, including the

celebration of the well-known comics pro-

tagonist Dylan Dog.

Italia Wave we will give a great visibility

to the artists of Southern Mediterranean

Countries. The MedWave stage (main

stage, July 14th) will present creativity

from the countries situated South of Italy,

and discuss Mediterranean, sounds and

noises produced by the Mediterranean

new wave with Giorgio Ficarelli, official of

the Directorate-General for Development

and Culture of the European Commission,

Silvia Godelli, Councilor for Cooperation

with the Mediterranean Countries, Peace

and Culture of the Puglia Region.

The whole program of Italia Wave is on-

line at www.italiawave.com.

Italia wave love Festival 2011Allan McGowan am@vip-booking.com

The consultation regarding the perform-

ance rates charged for Popular Music

Events by UK Collection Society, PRS for

Music closed on the 31st December 2010.

The Society received 53 responses in total

and state that it has been reviewing each

response in detail, learning from the infor-

mation and views that have been shared.

It is the intention to share a summary of

these responses publicly in the near future.

For now no decisions have been made re-

garding changes to either Tariff DP or Tariff

LP, but PRS for Music confirms that neither

tariff will change (apart from the usual in-

flationary increases) in 2011.

A communication to all of those who have

expressed an interest in the consultation,

which many expected to precede a sub-

stantial hike in the rates charged, affecting

the overheads of promoters and venues

alike, states that the Society recognises the

importance of the live music industry, and

each of its constituent parts. PRS intends

to share the summary and to continue to

work with the industry to further under-

stand the topics raised within the consul-

tation document, and those raised in the

responses. As part of this process, it will

ensure that there will be reasonable no-

tice for customers of any changes that are

made to the tariff (if any) , and concludes

that, “…we are aware that budgeting for

shows can take place well in advance of

the show occurring.

We will provide further updates as discus-

sions progress.

Prs for Music Performance rates ConsultationAllan McGowan am@vip-booking.com

Lou Reed headline Italia Wave Love

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european Music Festival studyNames Oxegen Best FestivalAllan McGowan am@vip-booking.com

According to a study carried out by lead-

ing brand engagement network Havas

Sports & Entertainment, Ireland’s Oxegen

Festival is the best in Europe,

The company’s summer 2011 European

Music Festival study analyses 64 large

music festivals, collecting data via online

research and direct contact with organis-

ers and attendees. Festivals were ranked

on criteria including line-up, value and

organisation, with the aim being to of-

fer a guide to festivals for consumers and

brands.

It says Oxegen comes out as best festival,

followed by the UK’s Glastonbury and V

Festivals, with Belgium’s Rock Werchter in

fourth place. Oxegen has the best line-up

for 2011, according to Havas research, fol-

lowed by the V festivals, Rock Werchter,

Belgium’s Pukkelpop and Glastonbury.

Live Nation chief ops officer John Probyn,

who’s also Oxegen’s festival director, says

this year’s Oxegen has got most of the

artists headlining the UK’s major festivals

on one bill. “We have definitely pulled

out all the stops to deliver our best ever

line-up. A tremendous amount of work

also goes on behind the scenes to ensure

that every aspect of the festival meets the

very highest standard,” he said. “Oxegen

has a really strong bond with its fanbase

and the feedback we receive from them

allows us to improve the festival experi-

ence year on year.”

The acts at Punchestown racecourse for

this year’s Oxegen Festival July 8-10 in-

clude Coldplay, Foo Fighters, The Black

Eyed Peas, Beyoncé, Arctic Monkeys, The

Strokes, Paolo Nutini, My Chemical Ro-

mance and Plan B. The other European

festivals to make the Havas Top 10 were

Roskilde (Denmark), Exit (Serbia), Sziget

(Hungary), Coke Live (Poland) and Oya in

Norway.

Oxegen Festival

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Summerjam is a classic event and one

of the very first festivals in Germany

that attracted visitors from abroad.

Initially dedicated primarily to reggae

music, the promoter Contour Festival

Organisations has since expanded into

other black music genres such music,

hip hop or world music.

VIP-News spoke with Klaus Maack

about those matters that concern suc-

cessful festival promoters.

VIP-News: How easy was it to compile this years Summerjam line-up?

Klaus Maack: Quiet easy, because in

the past years we’ve had big successes

and that always helps to get good acts,

because everyone wants to play the

festival.

VIP-News: Have the artist-fees risen over the last three years?

Maack: Yes, sure. This is one of the not

very good things about it, if it’s inter-

nationally known that the festival is a

big success, the managers and agents

know that there are a lot of people,

there must be a lot of turnover, then

they ask for more money and it’s hard

to negotiate.

VIP-News: You’ve got 1Live and Rock-palast as media-partners on board. Are you pleased with these or do you wish you could have a little bit more?

Maack: No, I couldn’t wish for more be-

cause for the area of Cologne it’s ideal

to have partners in the radio stations

like 1Live. Also Rockpalast is a legen-

dary thing, the people know what

they’re doing, they are into the music

and it’s not under such commercial as-

pects as if you have a private TV station

involved. No, I’m a hundred percent

happy with this.

VIP-News: Besides the fees are the art-ists requests becoming more difficult too?

Maack: Yes, this year I had more dif-

ficulties as part of the booking proce-

dures to sort out broadcasting rights.

Even though it is sometimes easier if

The 26th edition of summerjamManfred Tari mt@vip-booking.com

The news that Rock Am Ring wasn’t

sold out this year was a bit of a sur-

prise. This year’s edition only attract-

ed 84,100 visitors. Tickets for last

year’s festival had already sold out

in March, producing a visitor record

of 86.500.

The Melt-Festival however has re-

ported that the upcoming edition

of the festival in July sold out in

record breaking time. The site can

accommodate about 27.000 people

while the event itself is increasingly

regarded as one of the best festivals

in Germany and is also gaining more

and more of an international reputa-

tion.

According to a police report The

Hurricane Festival gained 75.000

visitors. The event, promoted by FKP

Scorpio, the German festival market

leader, proceeded peacefully for an

event of its its size. The sister event

Southside Festival this year drew

50.000 visitors.

Rock Am Ring and Hurricane Festival

both announced next year’s headlin-

ers shortly after the festivals finished.

In 2012 The Toten Hosen will play at

Rock Am Ring, while Die Ärzte will

appear at the Hurricane Festival.

News from German FestivalsManfred Tari mt@vip-booking.com

Rock Am Ring

Klaus Maack

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you deal directly with artists or with man-

agers, it becomes different when you have

happening acts like Joy Denalane, Mad-

con, Culcha Candela or Patrice. For some

of these acts, where many people are in-

volved in the business-affairs, it is not so

easy to find out who is responsible, who

is the decision maker; normally everybody

wants to have a word in this, so, yes, it is

difficult to sort out permissions and broad-

casting rights.

VIP-News: Do you have also to invest more in health and safety-measures than be-fore?

Maack: Yes, this increases every year. We

have a very good relationship with the

city-council and the departments who

are locally involved. So, months before

we actually start to plan the festival we sit

together and we discuss last year’s festi-

val edition and if there is something that

should be done better we try to improve

this for the following edition. But also due

to the tragedy of Loveparade, everybody

officially involved now looks at things in

more detail, which of course creates high-

er efforts to fulfill all the requirements.

VIP-News: Did you read the results of the study on festival-tourism by UK-Music?

Maack: If you have a festival which has the

same billing in Germany and nearly the

same billing in the Netherlands or nearby

in the European country then the tourism

element isn’t so strong. But if you have an

event that has a billing which is very origi-

nal and which is not happening elsewhere

in Europe then you attract festival-tourism.

We have such a billing, therefore we have

many visitors even coming from Denmark,

from Holland, from England, from France –

we even sell about 5.000 tickets in France

via record store chain FNAC. So, yes, with

this mind we also benefit from festival-

tourism but I assume it is not the same

as in the UK, where the people just travel

because of the festival and the event, they

don’t mind if they see nearly the same bill-

ing at the festivals, they travel because

of the event itself. I don’t see this in Ger-

many.

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Take That

In March this year the Hamburg District

Court ruled against Viagogo on the resale

of tickets for the German Take That dates

promoted by MCT, as a result of the inter-

im injunction filed against the operator of

the ticketing resale platform by the Ger-

man promoter in December 2010.

In mid June the court issued a press re-

lease detailing the reasons for its deci-

sion to take action against the second-

ary ticket platform. In order to prevent

secondary ticketing MCT via its ticketing

partner Smart Tickets sold only personal-

ized tickets and created very strict terms

and conditions attaching these tickets.

Without mentioning Viagogo in the

press release by name, the court never-

theless argues clearly why it refused ar-

guments made by the law firm Latham

& Watkins on behalf of Viagogo, which

of course appealed against this interim

injunction.

Among other conclusions the court

considers that the secondary ticketing

platform operator infringed competi-

tion regulations through not respect-

ing measures against the resale of these

tickets whilst being aware of these terms

and conditions. As these tickets are sold

personalized the promoter will only vali-

date tickets after production of an ID-

card by the holder. This being the case,

the secondary ticketing platform should

have alerted sellers and buyers of the

tickets they traded, informing them that

the promoter considered these invalid.

Instead the court noted that the plat-

form operator informed their ticket buy-

ers that personalized tickets would not

cause problems for the holders as in

the Company’s experience there would

be no event control for actual identifi-

cation. Viagogo even guaranteed that

those particular tickets were considered

one hundred percent valid.

The court also refused the Viagogo argu-

ment that a ban of the commercial resale

market is invalid, as it would discrimi-

nate against primary buyers. The court

considered that restraint of the resale

of tickets in order to prevent exorbitant

ticket prices is the promoter’s legitimate

interest

The ruling is not sentential yet, for a re-

appeal the Hanseatic Appellate Court

has to be approached. Currently Via-

gogo is still offering Take That German

concert tickets without a notice warning

that they are personalized and the resale

is prohibited.

Hamburg Court Forbids resale of German Take That TicketsManfred Tari mt@vip-booking.com

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A truly marathon record attempt is being made this summer

when my friend and colleague music business journalist Greg

Parmley will try something never done before: visiting 26 festi-

vals across Europe in just 30 days.

Travelling on a 1200cc BMW motorcycle (an R1200R Classic) in

pursuit of a new world record, Parmley plans to visit 13 countries,

travelling over 5,500 miles in the process. He starts at Glaston-

bury on 24 June before riding all the way to Croatia and back,

returning on 23 July. This is the first record attempt ever related

to a music festival and Guinness World Records has opened a

new category for the trip: ‘Most Festivals Visited in 30 Days’.

After long weeks of training and preparation, and faced with

travelling up to a gruelling 400 miles per day, Parmley, who ed-

its the leading live music industry publication IQ magazine, will

be taking in the UK, Belgium, Luxembourg, Germany, the Czech

Republic, Poland, Slovakia, Hungary, Serbia, Slovenia, Italy and

Switzerland on his unique Euro escapade.

He says: “I was trying to think of an excuse to get out of the office

and onto a motorbike for a few weeks, and then I started joining

the dots around festivals in Europe. No-one’s ever attempted to

visit this many before, although there may well be a good reason

why not! I’ve always been a huge festival fan but I may have gone

a little overboard this time…”

Music festivals are now playing an ever-important role each

summer. In the UK alone, they account for over 25% of all con-

cert tickets sold, with a total audience spend of £546million*.

The German festival market is estimated at €340million** while

including local events, France now boasts a staggering 3,800

festivals annually.

The trip is being supported by RFID and access control special-

ists Intellitix. Company MD and veteran concert promoter Serge

Grimaux adds: “Intellitix is thrilled to be sponsoring this brilliant

idea. I think this is the beginning of a trend; next year I bet sev-

eral people will be joining Greg or simply following the path he

Festival Motorbike Marathon Man to set new Guinness world recordAllan McGowan am@vip-booking.com

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will open this summer. Intellitix is all about innovation and great

ideas so I wanted to get involved. I can’t wait to start reading

the blog!”

Greg is available for radio, TV and press interviews before and

during the trip. He will also be blogging and documenting the

trip as he goes via www.facebook.com/RidetoLive2011 and

other outlets.

The list of festival dates are below and for more information,

please contact Greg directly:

All at VIP wish him a successful and safe adventure!

ride to live 2011

June

24. Glastonbury Pilton UK

24. Hard Rock Calling London UK

25. Graspop Metal Meeting Dessel Belgium

26. Rock a Field Roeser Luxembourg

28. Pennenzakkenrock Mol Belgium

30. Rock Werchter Werchter Belgium

July

1. Summerjam Fuehlinger See Germany

2. Rheinkultur Bonn Germany

3. With Full Force Leipzig Germany

4. Rock for People Hradec Králové Czech Rep

5. Malta Poznań Poland

7. Bažant Pohoda Trenčín Slovakia

8. Heineken Balaton Sound Zamárdi Hungary

9. EXIT Festival Novi Sad Serbia

11. Metalcamp Tolmin Slovenia

12. The Garden Festival Petrcane Croatia

14. Umbria Jazz Perugia Italy

15. Moon and Stars Locarno Switzerland

16. Montreux Jazz Montreux Switzerland

17. Gurtenfestival Gurten Switzerland

18. Live at Sunset Zurich Switzerland

19. Paleo Festival Nyon Nyon Switzerland

21. Secret Garden Party Huntingdon UK

22. Redfest Redhill UK

23. I’ll Be Your Mirror London UK

23. High Voltage Festival London UK

* Source: UK Music report Destination: Music

** Source: BDV (German promoter’s association)

Greg Parmley

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Rich Beeston – (vocals/piano) gives us some

background on the band:

All Mankind is from a small town called

Eastwood in Sydney, Australia. The band

consists of 2 brothers, Rich Beeston & Dave

Beeston, together with childhood friends

Gavin Perkins & Dorny. The band was

formed in 2008. Since forming, the band

have gained a loyal fan base in Australia,

but have had an international outlook

from the very beginning. The band put

together 2 EPs between 2009-2010. Songs

from the EPs found their way onto radio

stations across the globe (Indie 103.1FM

Los Angeles, WRXP New York, MotorFM

Germany, KNRK-FM Portland, OR, ABC Ra-

dio Australia) while also gaining fans such

as Mike Walsh, Music Director Xfm (UK).

A number of tracks from the EPs also fea-

tured in prime time Australian & US tel-

evision shows. “Open Your Eyes” was fea-

tured as the theme song in the TV promo

for Emmy Award-winning ABC TV show

“Jamie Oliver’s Food Revolution.” In addi-

tion, their tune “Hollywood Tonight” has

been heard regularly on MTV’s “The Hills.”

The band’s song “Can you hear me” was

also featured in number 1 Australian show

‘Winners and Losers’.

The band have recently completed their

debut album, ‘Simple Desire’. The first sin-

gle from the new album, ‘Break the Spell’,

has recently been released independently

in the US, UK & Australia. Initially intended

as a soft, promotion-only release, the sin-

gle has had unexpected success captur-

ing early spins on tastemaker radio and

tv stations on three continents including

Australia (ABC, Channel V, MTV, RAGE,

Nova, 2Dayfm, FOX, B105, SAFM, 929 Perth,

MMM), USA (KROQ L.A., KNRK Portland

OR, KTCL Denver, WCNR Charlottesville

VA, plus CHMA, KCRW, KFMA, KPNT, KTCV,

WEQX, WNRN, WXPN), Europe (Absolute

Radio, MotorFM, Flux FM, Delta Radio Ger-

many), as well as stations in South America

and Asia.

With attention from video games giant EA

Sports, ‘Break The Spell’ will soon be fea-

tured in a top-selling game being released

later in the year.

Some comments from around the world

include:

Australian radio personality (and former Xfm

UK DJ) Byron Cooke from Australia’s Auster-

eo (MMM, 2DAYFM): “Meet Sydney four-piece

All Mankind. I’ve just been played five tracks

from the band’s forthcoming debut album.

These guys are legit. They mean what they

sing. The songs are huge and the album is

deep with radio singles. Expect them every-

where, sooner than you think!”

US-based blogger Arjanwrites says, “With

‘Break the Spell,’ this Sydney quartet delivers

a grand, emotive sound that easily matches

The Artist speaks! Allan McGowan am@vip-booking.com

All Mankind – Halfway Around the world and Back

VIP-News always attempts to present a

wide spread of views, experience and

opinions in it’s reporting on the live

music industry, but perhaps the least

heard voice in this and other business

to business publications is that of the

most central figure – the artist. In par-

ticular we feel that it is interesting to

hear from artists that are in the early

stages of building their careers, what

are their views of their interaction with

our industry as they take to the stage

in their own countries and abroad as

they strive to become noticed in this

incredibly competitive and over sub-

scribed music business.

We will attempt to address this from

time to time by offering a forum to

artists from various territories to tell

their stories in their own words.

I became aware of the Australian act,

All Mankind when they appeared at

The Great Escape in Brighton, and

then I ran into them again in Inver-

ness at goNorth. I was interested in

what was the motivation and what

was involved in travelling around the

world to play small-scale venues in

the UK. I asked the band for some in-

formation of how their career stands

at the moment and for their take on

the experiences of this trip. I’m grate-

ful for the informative and interest-

ing responses which follow:

All Mankind

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the atmospheric qualities of Keane and the

propulsive, arena-sized anthems of Cold-

play.”

England’s Record of the Day states, “All Man-

kind has the sound of being Australia’s next

biggest export.”

Comments on our trip;

Including: our experiences touring, and

observations as a young band looking to

expand our international fan base (cover-

ing coping with a long journey, differences

from Australia, overall impressions of start

up level touring, has it been worthwhile,

successes to report, looking forward to

coming back).

Rich, Dave, and Gav all have UK passports,

with parents who were born in the UK.

From early on, the band saw the UK as a

key place to get to. All Mankind’s sound is

strongly influenced by a large amount of

UK bands.

In early 2011, songs from our upcoming

album ‘simple desire’ were shown to a

booking agent in the UK. The booking

agent, Ben Hylands from IAA Touring, im-

mediately contacted our management,

and suggested setting up the band’s first

UK tour, with a view to more tours in the

future if things went well.

»We were really keen to just get on the road, play to as many people as possible, and see if the UK crowds

liked our music«

- Rich Beeston

We were aware that the first tour was al-

ways going to be smaller shows than we

are used to, but that is exactly how we had

to start in Australia as well. We were re-

ally keen to just get on the road, play to as

many people as possible, and see if the UK

crowds liked our music. We saw the tour as

a sort of test - if the reaction from crowds

was positive, then we knew the UK would

be a good place for us to focus our atten-

tion longer term.

We were booked into 3 festivals - the

Great Escape in Brighton, Liverpool Sound

City, and Go North in Inverness, Scotland.

Alongside these were smaller club shows

in London, Birmingham, Manchester, and

lots of other places. We also had a small

side trip to Berlin, to see how the German

crowds responded to us.

One of the important things in the band is

that we knew each other as friends before

we became a band. So, when we began the

long slog of travelling around, and staying

in no-star hotels, it was pretty smooth sail-

ing amongst the four of us.

The reaction from crowds in the UK has

been a little different to Australia. I think

that because the UK has such a long, rich,

musical heritage, people are really well

educated in pop and rock music history,

and they have a really great appreciation

of songwriting and live shows. They can be

more critical if you get it wrong, but if you

get it right, they are really nice at letting

you know you’ve done a good job. They’ll

also come up and talk about things like

songwriting, and discuss vintage guitars

and amps, and at times it felt like everyone

in the UK owned a guitar, because people

just knew so much about music and instru-

ments.

During an overnight stay in London, our

tour van was broken into. Fortunately for

us, we had taken all of our guitars and

other expensive gear inside for the night,

so nothing of much value was taken. The

main problem with the break-in was that

our GPS was stolen. The GPS was our best

friend and closest companion on our tour,

because otherwise we were getting com-

pletely lost amongst all the numbered

roads and one-way streets. So we went

straight out that morning and bought a

brand new GPS, otherwise the rest of the

tour would have been a nightmare.

Some of the venues we played were ac-

tually pretty impressive. The sound guys,

and the level of gear at a 250 capacity

venue like the 02 Academy 3 in Birming-

ham, or another smaller room like the

Classic Grand in Glasgow really blew us

away. There were a number of these kinds

of venues, where the quality of production

was far superior than we would have ex-

pected for such small venues. It really was

a great pleasure to play in these venues.

One of the shows was at a tiny little room,

which probably couldn’t hold more than

50 people. The sound desk & cabling was

not exactly perfect. At first we lost sound

from the keyboard, then the bass amp went

down. Next the vocals disappeared, and fi-

nally the acoustic guitar went silent. All of

this happened very quickly, and could have

caused a complete meltdown. Dave (drums)

and Dorny (lead guitar) were the only ones

unaffected, so they just kept riffing, and

while they kept the audience entertained

on their own, the sound guy switched out

all these cables, and managed to get the

sound back to full strength for us to finish

the song, and complete the set.

As part of Liverpool Sound City, we were

invited to play an acoustic set in the Presi-

dential Suite of the Hilton Hotel, along-

side a couple of other Australian acts,

Cloud Control & Seekae. When I was a kid

learning piano, the teacher would often

set aside a Saturday morning, where all

the kids and their parents came to the

teacher’s house. The kids had to play a All Mankind

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song or 2 each, in front of all these peo-

ple. This gig was a little like that, but with

amazing views over Albert Dock and the

water. We had a lot of fun playing that

show in the end, as the crowd really got

into it. Fortunately my fears of screwing

up the song mid-way and having to start

again (like I did sometimes at piano recit-

als), were unfounded.

some of the outcomes from the tour:

- Having about 50 pieces of press, featur-

ing the band in lots of regional press

across the UK.

- Getting the attention of a major UK pro-

moter, who is now working with us on a

return tour.

- Making the playlist on England’s largest

national commercial radio station, Abso-

lute Radio, as well as on Q radio.

- Loads of new fans, who are keen to help

promote the band on return tours.

- Getting heard by a major European pro-

moter when we played in Brighton. They

are now booking us for a European tour

in a few months time.

- Some great reviews of the single and re-

views of shows in the UK press & online.

We are really pleased with how well the UK

tour has gone. We were expecting much

less than what we got, and were really

blown away by how positive the audienc-

es were at each show. We plan to return

to the UK to tour a number of times in the

next 12 months, and really build up our

fan base, and our live touring experience

across the UK & Europe.

Dave Beeston - (drums/backing vocals)

The Go North festival, I found, I was totally

refreshing. Firstly being set in Inverness,

a place I’d never heard of before we had

been booked to play there, was just beau-

tiful. It was small but had a lot of character.

With the river running right through and

all the great buildings and restaurant and

pubs everywhere, the place was buzzing. I

found myself thinking this could be a great

area to raise a family and trust me, that’s

the first time I’ve ever thought that! I can

honestly say that of all the places that we

played on our tour and all of the towns we

have seen, Inverness is personally in my

top 5. I loved it. Go North was a great festi-

val too. There was a real vibe about it that I

enjoyed. The fact that it is a smaller confer-

ence in a small but beautiful town led to

a really relaxed atmosphere that seemed

to really put good focus on the music. Our

show at Hootenanny’s was one of the high-

lights of the tour. The venue was fantastic,

the audience was really great and enthu-

siastic and it all came together to make a

really great show. I can’t say enough about

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how much I loved our time at Go North

and Inverness.

Observations of a young band looking to

expand their international fan base and of

course their experience.

Our tour of the UK in May - April was hard

work but definitely a worthwhile trip. As a

band from Australia with no real presence

in the UK it was daunting to be going out

to venues all over England and Scotland

and playing to people who have never

heard of you and in some instances didn’t

at all care that you were there - though

we find this a good challenge to rise to.

At every show we had the mindset to play

the best we could, to put as much energy

into our set as we could and win people

over. It felt like we were constantly able

to do this everywhere we went and I am

proud of the fact we were on our game

for every show.

As we went from venue to venue I was

struck between the difference of Austral-

ian venues and UK venues. So many of the

venues in the UK are put together with the

intention of being a live music venue. This

might sound obvious but most of the plac-

es we have played in Australia are pubs

first and then someone has thought “let’s

put a PA in the corner and get bands to

play so we can sell more beer”. A lot of the

time this does not lead to vibrant, exciting

places to play. Most of the places in the UK

felt like the thought was “lets set up a great

venue for bands to play and also put a bar

in the corner”. A total reversal of thinking

and it was really exciting to see places like

this; I wish we had more in Australia.

Another thing that has struck me about

the UK and how they like their bands is

that people want bands to be cool. It al-

most seems like they look at bands and

their image and decide if it’s cool and then

they listen to the music. In my mind it’s al-

ways just been “do I like this song/album

or not?” So it’s been a bit of an adjust-

ment personally. What I do think people

respond to is authenticity. We were able

to bring this to everything we did in the

UK and people responded well and I think

in the long term being authentic is what

will keep people engaged. On the whole

the tour was great! We all had a good time

and all though some shows were downers,

the majority were fantastic and we can’t

wait to head back to the UK in August and

do it all again. Hopefully this time we will

have more friends coming to more of the

shows!

Dorny (guitar)

It was exciting to play at so many venues

where so many great bands started play-

ing and visit town’s were great musicians

grew up. We come from a small town in

Sydney know for producing the Granny

Smith apple but not for great music!

Visiting Birmingham thinking about a

young Ozzy Osborne roaming the streets

seeing the things he would have seen

and what influenced him. Playing the

Bull’n’Gate and Dublin Castle and thinking

about all the great bands that have played

there and would have loaded in the same

way we did and taken a wizz in the same

toilets with the same smell! Bands would

have driven the same routes we drove

from London to Brighton right up to In-

verness and stayed in the same hostel we

stayed in and eaten at the same roadside

diners.

»It was exciting to play at so many venues where so many great bands started playing and visit town’s were great

musicians grew up«

- Dorny

Thinking about how they dealt with all

these situations from the high’s of having

people come up saying we were one of the

best things they had seen in a long time

and sound guy’s saying mixing us was a

pleasure to the lows of the van being bro-

ken into and our crap being stolen, night

after night of sharing beds and having

to make sandwiches for dinner cause we

can’t afford to eat at Weatherspoons.

I can honestly say I wouldn’t change a

thing from this tour and feel so lucky to

get the chance to go to country with such

a rich musical history and future to play

songs that we created together in an old

church in the suburbs of Sydney.

VIP-News will keep you informed on All

Mankind’s future progress in the UK and

Europe, and we wish the band all the best!

As a follow up to this it could be good to

find a UK or European act going to Aus-

tralia and we’ll get their comments. Let us

know if you’re working with a band with

such a tour in the planning.

All Mankind

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IPO for Music Festivals PlC at AIM

£ 6.5 million is the assumed mar-

ket capitalization for the IPO (Ini-

tial Public Offering) of the Music

Festivals PLC on the Alternative In-

vestment Market (AIM) at London

Stock Exchange (LSE). For industry

veteran Vince Power it is his come

back as CEO of a stock market listed

company that will be listed on LSE

on June 28.

While the official website supposed

to be www.musicfestivalsplc.co.uk

is so far not accessible, the business

prospect displayed at the stock ex-

change website says that the com-

pany intents to acquire five compa-

nies “which own and operate music

festivals”.

The festival portfolio consists of

Festival Internacional de Benicas-

sim in Spain, the Hop Farm Music

Festival in Kent and the Feis Festival

in Finsbury Park. Two more festivals,

both located in the South East of the

UK will be added to the company

list, one of which will be dedicated

to classical music the other one to

popular music.

The first emission price will be 65

pence, another £3.5 million should

be raised through the issuing of

convertible loans bringing 8 per-

cent.

update on eTeP

The news that the European Commis-

sion has agreed to support ETEP with a

funding of 2.7 million Euro for the next

three years for the European Talent Ex-

change Program (ETEP) can be consid-

ered quite a coup. Popular music and

the European Commission are definite-

ly two very different things. The forms

necessary to apply for funding at the

European Commission already requires

massive efforts and a very great under-

standing of bureaucratic demands.

Since its launch in 2003 ETEP has de-

livered a very valuable contribution

towards the European ideal. While the

program received financial support

from the European Commission in its

beginning, when the first funding peri-

od expired it became clear how difficult

the European Commission is to deal

with as regards popular music. So far

the commission only have one project

that is dedicated to popular music; the

European Borders Breaker Award, orig-

inally invented by the music journalist

Emmanuel Legrand and the European

Music Office in Brussels, is now run by

the European Commission and is pre-

sented at Eurosonic Noorderslag, the

artistic gateway for ETEP.

VIP-News spoke to Peter Smidt, head

of project at ETEP and the spin-doc-

tor who helped to navigate the latest

developments that accompany new

financial backing of ETEP through the

bureaucratic labyrinth of Brussels.

Peter Smidt: What has changed is

that we are now able to add more fes-

tivals. We have a long waiting list of

events and so, in the coming years, we

can slowly add more until we reach a

hundred participating festivals. That

is basically the most important thing

that has changed. We can enlarge the

programme and we have of course

also raised the contributions to the fes-

tivals. In this way of course we expect

to have a lot more acts benefiting from

the program.

But I think that most people in the

Rock ‘n’ Roll-Business don’t realize the

number of paperwork and adminis-

tration and controls involved when

you receive a European grant. This de-

mands particular care and understand-

ing because it is taxpayers money, so

the commission wants to be sure that

there is nothing remiss happening with

the handling of the money – but there’s

a lot of paperwork and a lot of rules. Es-

pecially all the rules in the application

make it more time consuming.

VIP-News: Can you please explain the settings and conditions for Cetep?

Smidt: Cetep is basically a programme

in which we would like to create better

connections between Central-Eastern-

Europe and Western-Europe. So, one

of the things is that we have added a

number of festivals from the Central

Eastern region and we are working to-

gether with these festivals to have a cir-

culation of repertoire from this region,

Music In shares

Business NewsManfred Tari mt@vip-booking.com

Peter Smidt

21

VIP-BOOKING.COM

dub syndicate(feat. Adrian sherwood and style scott)Territory: EuropePeriod: November - December 2011Agency: Paperclip AgencyAgent: Rob BerendsPhone: +31 24 323 9322E-mail: rob@paperclip-agency.comHomepage: www.paperclip-agency.com

FirehouseTerritory: EuropePeriod: 1/5/2012 - 31/5/2012Agency: ARM EntertainmentAgent: Dana StrutzPhone: +1 651 483 8754E-mail: ds@armentertainment.comHomepage: www.firehousemusic.com

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Groove ArmadaTerritory: Europe / Worldwide Period: Worldwide 2011 Agency: WME - William Morris Endeavor Entertainment Agent: Steve Hogan E-mail: SHogan@wmeentertainment.com Homepage: www.groovearmada.com

21

artist avails ››

MORe ARTIST AvAILS On:WWW.vIP-BOOKIng.COM

POST yOuR ARTIST AvAILS On:WWW.vIP-BOOKIng.COM

VIP- News - J u n e 2 0 1 1

both within the region and eventu-

ally coming to Eurosonic. We feel

that if you look at the ETEP results,

there are not enough acts coming

from this region represented in the

results and we want to boost that.

Together with our partners Sziget

Festival and Exit Festival we devel-

oped a programme where we feel,

and we will have to see it in the com-

ing years, that we are able to help

acts from the Central Eastern market

to cross borders, like I said, both in

the region itself and beyond to the

western part of Europe.

VIP-News: What happens to the po-litical impact of ETEP, does it change your work a lot, does it mean you have to go to Brussels more often? And is the perception of ETEP in Brus-sels a different one than before?

Smidt: I can’t say that at this moment

because we are currently working to

establish some of the new items, so I

cannot judge that yet.

VIP-News: What about other music-industry partners, such as music publishers or the record-companies. Do they ever approach you to say that they are pleased with the results of ETEP?

Smidt: Hmm…actually no! Well, if

I were a record-company, I would

stay very close to the results of ETEP

because basically the ETEP-program

does a lot of the things that usually

a record-company would undertake.

And I’m surprised that no record-

companies are working on this.

VIP-News: Do you think that may change in the future?

Smidt: I have no clue. One more

thing, that is interesting, we’re

guarded as regards the political im-

pact but its too early in time to tell

right now. But what I hope is that in

Central Eastern-Europe, because of

the fact that ETEP is running with the

festivals at the moment when some

of the acts began to have some suc-

cess, then I think it’s time to involve

governments and copyright-collec-

tion societies in this area and say,

hey, this is what is happening, this is

what we are doing, it might be some

advantage in you joining and help-

ing. But it’s too short now, you know,

we can only do that in two years time

or something like that.

VIP-News: Until now it’s the case that the live music industry is not organized like CESAC for copyright collection societies or the IFPI in the recording-industry and there is no joint European body that looks af-ter the political interest of the live music industry. Could you imagine that ETEP could be a helpful tool in helping to develop such an organi-sation?

Smidt: Well, ETEP reflects just a very

small part of the live music-business.

All the venues in the world putting

on shows everyday, arenas putting

on shows everyday, all the festivals

– it’s such a large market and ETEP

is a very small item in this very large

sector. So no, to be honest, I don’t

think so.

The current eTeP Top Twenty

Artist/County/ No. of bookings

Anna Calvi (GB) 12

James Blake (GB) 11

Crystal Fighters (ES) 10

Selah Sue (BE) 7

Agnes Obel (DK) 6

White Lies (GB) 6

The Joy Formidable (GB) 5

Cocoon (FR) 4

James Vincent McMorrow (IE) 4

Junip (SE) 4

Kvellertak (NO) 4

Moss (NL) 4

Pulled Apart by Horses GB 4

Stromae (BE) 4

Adept (SE) 3

Dry The River (GB) 3

Francis International Airport (AT) 3

Mount Kimbie (GB) 3

Retro Stefson (IS) 3

22

VIP-BOOKING.COM

Today, North Sea Jazz and Buma Cultuur announced their coop-

eration to promote jazz music from the Netherlands. By joining

forces, both parties hope the give Dutch jazz artists an extra boost

during Jazz Day and North Sea Jazz. ‘Your Guide To Dutch Jazz at

North Sea’ symbolizes the co-operation.

Buma Cultuur, promoter of Dutch music copyright in the Nether-

lands and abroad, kicks off two weeks of jazz in Rotterdam with

their fifth edition of the Jazz Day. The event, taking place on Friday

June 24, consists of a conference and a festival program. The latter

program, consisting of 24 showcases by Dutch jazz artists, is part

of North Sea Round Town. “ By also working together with North

Sea Jazz, Buma Cultuur hopes to expand its reach even further

and to bring jazz from the Netherlands to the attention of inter-

national professionals and visitors.”, according Ikaros van Duppen,

manager jazz music at Buma Cultuur.

Jan Willem Luyken, director North Sea Jazz, is also happy with the

cooperation. “Together with Buma Cultuur we are going to bring

Dutch Jazz under the attention of our visitors and the internation-

al music industry, who will be present at North Sea Jazz in large

numbers. Next to this, Jazz Day moving to Rotterdam is of great

value for North Sea Round Town and our festival. We can’t wish for

a better start of the jazz season.”

guide to Dutch Jazz

By using a special guide, both parties hope that they make shows

of the Dutch artists stand out in between the immense program

of North Sea Jazz. By spreading Your Guide To Dutch Jazz at North

Sea among the international professionals and media during

North Sea Jazz, taking place 8 – 10 July, the artists will get extra

attention.

Should you require further information please contact:

boudewijn.hagemans@bumacultuur.nl / +31 (0) 35 672 74 00

Should you require further information about north Sea Jazz

please contact:

Junior van der Stel / J.van.der.Stel@mojo.nl / +31 (0)15 212 19 80

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

22

VIP- News - J u n e 2 0 1 1

North sea Jazz and Buma Cultuur co-operate for the promotion of dutch jazz

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

noticeboard@vip-booking.com, including name and email address.

Please shorten your message to the extent possible, to make room for

as many notices as possible.

23

VIP-BOOKING.COM

We are planing dates for Mary in October 2011, please let us

know your level of interest for Mary.

For the last quarter-century, singer Mary Black has been a domi-

nant presence in Irish music, both at home and abroad. She has

shared stages, tv shows and recording studios with some of the

most revered performers of her time. She has also played a front-

line role in bringing Irish music, past and present, to an increas-

ingly appreciative and ever-growing global audience. The San

Francisco Chronicle has described her as “One of the best inter-

pretative singers around”.

At a time when less adventurous performers preferred to stick

exclusively to the well-worn ballads from Ireland’s rich music

heritage and the more obvious hits from contemporary writers,

Mary explored the best work available from new composers and

mined the rich seams they offered. That commitment to fresh

material, combined with her unique interpretations of the songs

she chooses, saw her release numerous albums that achieved

platinum sales status and spawned countless hits. Indeed, one

of Mary’s albums - No Frontiers- spent more than a year in the

Irish Top 30!

Monthly featured artist ››

Origin: IrelandStyle: -Tour period: October 2011Territory: Europe

Agency: Sport Star Managementname: Carsten Hilding Larsenemail: chl@sportstarmanagement.dkPhone: +45 4071 7722

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

23

VIP- News - J u n e 2 0 1 1

MArY BlACK

Mary Black

The VIP-Booking european live entertainment BookAdvertising in the VIP Book will make you visible to 10.000 business

professionals all over europe. You will find no better place to expose your

company to the whole european live entertainment Industry.

›› reserVe YOur Ad NOw ON www.VIP-BOOKING.COM

24

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 | 145-157 St John Street | UK - London Ec1V 4PW | Phone +44 870 755 0092 | Fax +44 870 622 1953 | e-mail: vip@vip-booking.com

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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 - J u n e 2 0 1 1

Christopher entertainment

Christopher entertainment is a Danish owned management,

promotor and booking agency, established in 1986.

Christopher Entertainment has over the years presented some of

the world’s finest artists such as: Whitney Houston, Tina Turner,

Santana, Boyzone, The Corrs etc.

As a booking agency Christopher Entertainment has delivered

artists to major festivals such as: The Roskilde Festival, The Midt-

fyns Festival, The Langeland Festival, The Skanderborg Festival,

The Jelling Musicfestival etc. Christopher Entertainment is man-

agement for mostly Danish artists: Stig Rossen, Gudrun, Jacob An-

dersen etc and we represent Andrew Strong and Barrage in Scan-

dinavia. For more info please see www.christopher.dk