CATCHING UP WITH ROSKILDE AND THE NEW HEAD OF PROGRAMME ANDERS WAHRÉN READ MORE ON PAGE 14 GET IN YOUR INBOX EVERY MONTH FREE – SIGN UP AT VIP-BOOKING.COM ® vip-booking.com THE NO 1 INFORMATION RESOURCE FOR THE LIVE ENTERTAINMENT INDUSTRY VIP-MAGAZINE EDITION #15 AUGUST 2014 VIP NEWS VIP 15#SPOT FOLKERT KOOPMANN FKP Scorpio Announces New Conference… Read more on page 13
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CatChing up with Roskildeand the new head of pRogRamme andeRs wahRén Read moRe on page 14
Get
in your inbox
every month free
– SiGn up at
vip-bookinG.com
®
vip-booking.com
The No1 INformaTIoN resource for The LIve eNTerTaINmeNT INdusTry
Vip-magazineedition #15
august 2014
VipNEWS
Vip 15#spot
folkeRt koopmannfkp Scorpio announces
new conference…
Read more on page 13
welCome to the Vip-magazine
This magazine contains some of the best news from
the recent editions of our monthly, online vIP-News.
Please lean back and read about a New music conference,
take a trip to creative hamburg, get some points of view on
Ticketing and on youtube as a Tactical Player.
We distribute this magazine for free at the major industry events,
so as you are reading this it is most likely that you are attending one of these,
and we invite you to come and talk to the vIP-Booking team
about the services we provide.
until we meet again…
the Vip team®
vip-booking.com
#3Vip-magazine 15/2014www.vip-booking.com
#4Vip-magazine 15/2014www.vip-booking.com
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Contents:
18
05 Waves Vienna Meets Bratislava Music Conference
06 (CE)ETEP latest results
08 BBC announce Music Awards
10 IMMF Moves to Strengthen the International Voice of Managers & Artists
12 Industry Profile
13 FKP Scorpio Announce New Addition to the Conference Showcase Calendar
14 Catching up with Roskilde
18 The Socialization of Ticketing
22 Survey Reveals Problems of Tent Dumping at Music Festivals
24 Artist Avails
25 MIDEM to Change Dates
26 YouTube – A Tactical Power Player
28 Tales of the City… A Trip to Hamburg
Vip-magazine 15 #2014
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to reserve your ad call +44 (0) 870 755 0092 or send an email [email protected]. read more online www.vip-booking.com
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#17Vip-magazine 15/2014www.vip-booking.com
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mobile devices. For example, a few years ago as e-commerce started
on the European markets, the Netherlands were already selling eighty
percent of the tickets online, while in Germany still over forty percent
of the tickets were sold via retail stores. I don’t think the technology
lags in Germany; the consumer behavior is different if you compare it
to the Netherlands or the US. Buying on mobile devices will become a
common way of buying tickets in Germany in 2015.
“Big Data” is a buzzword in terms of the exportation of
consumer and consumer behavior data. What kind of data
is really useful and how do you evaluate it, or how does the
promoter evaluate it?
– I think the most important thing is, if you are in a direct relationship
with the consumer (the fan), you can get more and more information
on how they behave and how they make decisions as well as how they
are buying their tickets. If you see that a consumer is always buying
tickets on the first day you’re on sale, then you know what kind of
consumer that is. If you can connect this data to his social environment
and you see that he is engaging with your event or even alerting others
to your event, then you can call him an ambassador or an influencer .
No, there isn’t a revolution going on but it seems a sort
of a progressive evolution is under way as ticketing
benefits from new technologies and consumer trends.
VIP News spoke with Jan Willem van der Meer, CCo
at the ticketing service provider Paylogic , a company
which is part of the stock market listed EDM-Imperium
SFX Entertainment.
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Every brand, especially event brands, are being pushed a lot by these
influencers. Now, if you get in touch with these people and offer
additional incentives, for example a sense of exclusivity, you connect
them on a stronger level to your brand or your event. That is what we
call customer ownership. If you give them some extras and they can
share it, then they might actually sell the tickets for you. Like with a lot
of things in this world, if people are promoting what they have paid
for, it has a much stronger effect that a promotion by someone who
is just selling it. About eighty percent of the people who are going to
an event are going there because someone they know is going too.
So, who is the first one who makes the decision? If you find out who
these people are and how they make decisions, you can connect to
these people and connect them to your brand. This is very important.
You can have statistical data about how many women, how many men
or, how many people are coming by public transport; that’s interesting
data and I’m sure you can use that information. But it is more interest-
ing for the planning of an event; if you want to know how to boost
the event, how to sell more tickets and get sell out earlier , you need
to know the influencers and connect to them.
How much is social ticketing only
a buzzword or already reality ?
– Well, social ticketing is a buzzword. That doesn’t mean however
that it is not something I think of. I don’t think that social ticketing
is only on Facebook, I think Facebook is a tool like many other social
networks are tools. You should implement those tools in your entire
strategy to establish a relationship with your visitors. What I call social
ticketing is to assure that people can take their relations and friends
to the same event and that they share experiences together. You can
facilitate this in a digital way, so that could be social ticketing; it could
be a group buying process. If people buy a ticket and they have the
possibility to tell their friends/,”Hey, I bought a ticket for this event,
would you come with me?”, that is part of social ticketing. But you
should not concentrate on only one platform. A user on Facebook is
a Facebook-user in the first instance, not a user of your brand.
Do you remember the first big social network from the US? It was
Myspace, and after Myspace collapsed, there were about thirty or
forty bands that completely went out of business, because the only
access to their fans was through Myspace. So they lost their fan base
completely because they didn’t realize that they were so dependent
on Myspace. I think it is important that you use Facebook, but it
should not be to only platform you use to connect to your visitors.
What kind of plans and innovations do you have in mind,
technically or strategically, for Paylogic in 2014?
– I think the main focus for us is to be able to create strategies for
event organizers to get better connections to more people, using
a lot of different technologies in order to connect. But it’s similar
what we discussed about social ticketing, we want to connect and
understand our costumer. Together with our customer we make a
strategic plan in which we point out a list of dates and moments
in which we make the right contact points with the visitors to get
them connected to the brand. That plan is established for the ticket
sales, for pre-registration, for different kinds of contact moments.
Everybody wants a special product and everybody wants special
conditions for it. I think that, by letting our customers understand
that with the tools of Paylogic you can have so many more contact
moments, and so many more ways to get people connected to the
event, you can do much more than just putting the tickets on sale.
We did this from the start, but now we feel that our customers are
really getting it and they like it. As I said at the ILMC, it’s much more
important to become a strategic partner to your customer than just
an online cash register.
Another thing we are currently looking into is connecting in many
different ways to RFID (Radio Frequency Identification). We believe it
is important to not only know what consumer behavior looks like on
their device, it is also important to know the behavior of consumers
at the event. When you know what the consumers are doing at
the event you can be much more successful, it can bring much
more feedback and it can influence the entire event. I think mobile
becomes more and more vital. We talk a lot about a “Mobile first”
approach, which means that whatever you think of in your strategy,
you position the visibility and usability on mobile devices first after
which you roll it out to different devices.
We also want to help our customers making it possible for people
to buy different products on one website, either being music,
either being it a ticket or something else. Right now it still looks
Jan Willem van der Meer
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like you promote an event on your website and you direct people
to the website of, let’s say, CTS Eventim or Ticketmaster and the
people have to buy their tickets there. This is a little bit old fashioned ,
because buying a ticket is a very simple process and there is no reason
to buy it on a separate platform. So, actually it has to be available
everywhere. The role that Paylogic plays in there is something like
“Intel inside”, it’s not about us. You should just be able to sell and to
buy the ticket on every platform.
okay, but the reality in these days seems that if you have
tickets available on various platforms, promoters end up
having a couple of terminals or printed data-lists at the door,
trying to figure out where the visitor bought the ticket.
– I think what we do is exactly what solves this problem. What
happens right now is that you work with one consumer brand
ticketing platform like Ticketmaster, Ticketonline, CTS Eventim or
anyone else. This brand has the goal to find audiences for you as
an event organizer. So you sell seventy percent of the tickets there,
but then you decide to sell tickets on Facebook or on Songkick or
wherever . What we try to explain is that we are not a destination
platform or a consumer platform, you don’t buy tickets by
Paylogic. com or on our mobile app. We are the technology in
between the consumer, the event organizer and any platform
that they want to partner up with. We give them access in one
standardized technological way, to make sure that everybody has the
best service; the consumer, the event organizer and the promoting
platform. The event organizer and the promoting platform should be
able to easily make a deal together. For example; Songkick gets one
euro for every ticket sold or fifty percent of every ticket sold in the
final week before the event when the need is higher. This should all
eventually be facilitated by technology.
People often compare us to CTS Eventim or Ticketmaster because
they think we have the same goals. But we don’t. We don’t want to
have our own relationship with the consumer; we don’t want to be
the promoting party. We are the technology facilitator; we want to
make sure that in the entire e-commerce system these three different
roles can work perfectly together. No issues at the entrance of an
event, no issues with selling out on one platform but still have tickets
available at the other. We make sure the technology works. And also
we make sure that everybody gets paid. When we collect the money
from the visitor of the event, also the platform like Songkick will get
paid immediately and we do not have to involve the event organizer.
We distribute that money with our technology. With this B2B market
place as we are creating it, ticketing platforms as we know them will
change. It might take a little while, but we think that is what the
market wants.
Choosing the SAP Arena in Mannheim, your event will have access to 8 million potential customers drawing more than 30 cities within 100 kilometers radius.
MannheiM: Smart hotspot in the middle of Europe
#22Vip-magazine 15/2014www.vip-booking.com
the Love your tent campaign and
buckinghamshire new university have
published the results of a survey of
festival- goers about the waste left
by punters on festival sites, an
increasingly big issue for the festival
sector with logistical , environmental
and commercial ramifications , and
something previously highlighted by
the a Greener festival organisation.
Juliet ross-kelly has set up the Love your
tent initiative on the back of environmental
work she has done with the isle of Wight
festival , and aims to discourage an
increasingly common practice amongst
festival- goers in the uk and beyond,
buying a dirt cheap tent for attending a
festival, with the intention of just leaving
it in the camping field at the end of the
event. So that someone else has to dispose
of it. isle of Wight festival organise r
John Giddings has talked about the tent
problem at various festival industry events
over the past years.
in the survey of 1200 festival-goers from
multiple countries, 60% admitted to
discarding tents at the end of festivals,
with a third then saying they intended
to continue doing so, and another third
unable to say for certain they wouldn’t
do it again in the future. this despite the
suRVey ReVeals pRoBlems of tent dumping at musiC festiVals
Bo Kaspers orkester territory: World wideperiod: by requestagency: Lifeline entertainmentagent: michael henrikssone-mail: [email protected]: www.lifeline.se
THE oRCHESTRA starring Elo former members territory: Worldwideperiod: 2014-2015agency: World entertainment associates of americaagent: John regna - artist agent/managerphone: +1 407-993-4000e-mail: [email protected]: www.theorcheStraonline.com
Alan Parsons live Project territory: Worldwideperiod: 2014agency: World entertainment associates of americaagent: John regna - artist agent/managerphone: +1 407-993-4000e-mail: [email protected]: www.alanparsonstourpromo.com
oRBITAl ñ 25th year anniversary tour in 2014territory: the World excluding uSaperiod: may onwardsagency: value added talentagent: Dan Silverphone: +44 207 704 97 20e-mail: [email protected]: www.vathq.co.uk
Stanley Jordan +Teodore Enacheterritory: europeperiod: Late october + november 2014agency: DeniS vauGhan manaGementagent: Denis vaughane-mail: [email protected]
glasvegas
Jedward territory: europeperiod: october & november 2014agency: Denis vaughan managementagent: Denis vaughane-mail: [email protected]
Resetterritory: Worldperiod: 2015agency: Scandinavia event aSagent: thomas borgvange-mail: [email protected]
Dionne Warwick territory: Worldwideperiod: 2014-2014agency: World entertainment associates of americaagent: John regna - artist agentphone: 407-993-4000e-mail: [email protected]: www.DionneWarwicktourpromo.com
#25Vip-magazine 15/2014www.vip-booking.com
midemto Change dates
for many years music business professionals flocked to the South
of france in January to attend what was for most of those years
the industry’s biggest trade event, and hopefully for blue skies and
sunshine. but things have changed, numbers have dropped off for
midem, and often the weather seemed to take a turn for the worse.
however all is to change, as the event is to push back 6 months to
5-8 June 2015.
there will be other changes, miDem Director bruno crolot: “miDem
2015 will have a new look, new content and a new atmosphere, as
well as being partially open to the general public. We believe the
result of the changes will be a bigger, more vibrant miDem, with
more participants from more countries. all of this and a move to a
June date when cannes is at its best”.
now it seems pretty certain that the sun will shine, but what of hotel
availabilities, and high season prices for what was always the most
expensive of events, particularly in the bars? We shall see…