VIP NEWS > MAY 2013 VIP NEWS PREMIUM > VOLUME 157 > MAY 2013 2 16 9 4 9 20 2 24 12 21 10 15 17 14 4
Mar 28, 2016
VIPNEWS > MAY 2013
So now we get to that time of the year when
all my international music business friends
come to see me, rather than me having to do
all that tiring travelling! Well to be absolutel y
accurate they come to attend The Great
Escape , the UK Conference and Festival event
that takes place in Brighton – which as you
know is where I and all my seagull enemies
live. I’m writing this on the opening night
and this edition has completely sold out, but
by the time you read this I will have been to
panels, moderated a session and seen bands
and spoken with many people, which will be
referenced in the report in this issue.
However I have been travelling as usual,
I made my first visit to the Spot Festival in
Aarhus, Denmark. I’ve intended to go many
times, but finally made it and I’m glad I went
as you will be able to tell from my report. I also
paid a flying visit to Paris to discuss this year’s
October 16-18 edition of the MaMA event.
Whilst there I called my promoter friend Ber-
nard Batzen of Azimuth who invited me to
see a show at the Divan du Monde venue in
Pigalle. The act was the excellent Rebekka
Karijords and her band, originally from
Norway , she is now based in Stockholm, on
meeting her afterwards I discovered that she
was due to play The Albert pub in Brighton –
just round the corner from where I live 3 days
later – it’s a small world!
Sad to hear about the death at the age of
74 of Ray Manzarek, keyboard player with
The Doors. I was a fan of the band and was
at the UFO club at London’s Roundhouse for
the band’s only UK performance in 1968. RIP.
As we’re moving inexorably (been looking for
an excuse to use that word for a while!) into
the Festival season, it’s interesting to note that
a recent survey conducted by MSN, indicate s
that the average age of a UK festival goer is
now 36, and that the average age of festival
headliners is 39. It seems that Mumford and
Sons are the only UK Festival headliner – at
T-in the - Park in Scotland – to have released
their first album in the past five years. Also
60% of 18-24 year olds can’t really afford
to go to festivals. Well, what with the long
range weather forecast not looking good, it’s
not really a very jolly prospect is it? However
– let’s see what actually happens..
Other things that caught my eye whilst trying
to avoid alcohol poisoning at The Great
Escape , include the news that Sigur Rós
have composed a piece of music especially
for an upcoming episode of The Simpsons.
Apparently the band is also set to feature as
animated characters in the show – now, how
did that come together? – Then, more irony –
well I see it like that – with the announcemen t
that New College Nottingham is to be the
first university in the UK to offer students the
opportunity to study a foundation degree in
heavy metal – can you teach heavy metal, or
am I just being paranoid? Then in this little list
of items that I find humorously reassuring is a
report stating that Shane MacGowan of The
Pogues is looking for a dentist, so he can star
in a Hollywood film. Just so you know Shane
and I are not related – different spelling – I
once pointed Shane out in a TV documentary
to my Mother, on hearing his name she
asked (in her Glasgow accent) “Is he related
to us?” when I replied in the negative , she
breathed a sigh of relief, saying , “Thank God
for that!”
Right, chuckles over and done with – Ladies
and Gentlemen – The News!
McGowan’s Musings
COLOPHON >
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VIPNEWS > MAY 2013
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VIPNEWS > MAY 2013
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MIDEM ReschedulesAllan McGowan [email protected]
Reed MIDEM announced on May 13 that the dates of Midem 2014
have been rescheduled to 1-4 February. Learning of the strong chance
that the Grammy Awards will take place on the 26 January 2014, so
as not to overlap with certain key sports events, Midem organisers
decided to anticipate and reschedule the date of the 2014 international
music business trade event that is Midem.
Bruno Crolot, Midem Director, comments, “We didn’t want to take
the risk of overlapping with the Grammy Awards as many of our
client s attend this important music industry event. After checking with
a great number of our attendees that they were favourable to this
change, we decided to reschedule Midem 2014 to 1–4 February. So
that people can re-organise their agendas we are announcing the new
dates as soon as possible.”
®
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VIPNEWS > MAY 2013
It’s been a good month for Denmark. Various
international music industry luminaries visited
the Jutland City of Aarhus from May 1-4, for
the 19th edition of The Spot Festival, then
on May 18th the country’s entry triumphed
at this year’s Eurovision Song Contest, held
in the Swedish city of Malmo (Where VIP’s
General Manager Peter Briggs lives – just
so you know!). The favourite Emmelie de
Fores t, 20, won with 281 with her song Only
Teardrops .
Anyway – back to Spot! As I said above, this
was my first visit, and I found this to be a far
more relaxed event, even cosy as the organis-
ers say themselves, than many of the others
that I attend. Aarhus is a very attractive city
– the sort of place you can imagine living in –
it has a really good Art Museum by the way,
and is close to the sea. All the venues are in
the centre of the City and 125 acts ( I didn’t
see as many bands as I should have, but I
was particularly taken by Danish three piece
Baby In Vain.) played in the 4 main locations
which house multiple stages – I liked the fact
that the two large stages in the Scandinavian
Congress Centre are called This and That…
Gunnar Madsen, head of the SPOT Festival
hailed the 19th SPOT festival a success,
though not a sell out, saying, “With just
450 tickets of the 3800 left and more than
1000 industry people, around 4500 music
lovers wandered the many stages, halls and
places that make up SPOT Festival. This year,
sold out equals break even, so we are a littl
under . But we can live with that. It has been
a really great festival this year. I have only
received positive feedback from especially
industry people. Just as last year the interest
from international industry people has been
great.” (The honesty of this statement
regarding the figures almost won Gunna r
an Award at the YMCA’s (Yearly Music
Conference Awards) at The Great Escape!
See report in this issue.)
The Conference itself takes place in the
Musikhuset (always a good sign when a
city has a music dedicated building!). The
Agenda covered Publishing, Brands, China
and South East Asia, and localised issues
with the Nordic Playlist. I was there to chair
The Exporters’ Tool Kit to the German Music
Industry – this was an ambitious three hour
session, covering all aspects of Denmar’s
huge neighbouring territory and brought in
some very good professionals, although I was
surprised at one point to find more Germans
in the room than Danes!
Baby-in-Vain
The Spot FestivalAllan McGowan [email protected]
Jacob Bundsgaard,Major of Aarhus Gunnar Madsen, Spot
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VIPNEWS > MAY 2013
Two of the German panellists commented on
the event:
Stephan Thanscheidt – Head of Festival
booking & Local Dept FKP Scorpio
Konzertproduktionen GmbH.:
It´s always a pleasure to be at SPOT Festival
in the lovely City of Aarhus, where we´re also
partner of the NORTHSIDE Festival. So, for
me it´s the right combination of meeting my
Scandinavian business partners and having
the chance to discover some great fresh
talent . We promote quite a lot of Danish acts
on tour and/or on our festivals in Germany
and other territories, which is why it always
makes perfect sense to spend this weekend
in Denmark.
Florian Brauch – SPARTA Booking GmbH
& Co.KG:
Again, this year´s edition of SPOT was a
perfect place for making new business
contacts and meeting good friends. We
discovered exciting new bands, though I’d
appreciate to get a wider musical range of
bands next year.
Other international delegates also
commented:
Pablo Gonzalez Batista – Radio 3, Radio
Nacional de Espana (The largest radio
station in Spain):
I am very surprised that the musical level is
so high in Denmark. Every concert you go
to, you can trust that you are going to see
something good.
Kieron Tyler – Music Journalist from
Mojo Magazine (UK):
…something like SPOT, which has a pretty
well-defined and exclusive booking policy,
is a great opportunity to do that (find new
bands, ed.). You know over all that there
is going to be no rubbish here. But more
specificall y you know there is going to be
some really, really great things.
Keynote-speaker Keith Harris (PPL – UK)
commented on the panels and keynotes
at SPOT and what the festival can do for
Danish music:
I think that SPOT gives people a lot of
information , if they attend the panels and
stuff. They get a lot of information, which
is actually otherwise quite difficult to access ,
because Denmark is a relatively small countr y.
International expansion is actually pretty
importan t and SPOT is quite central to help
develop outside Denmark as well.
Spot is arranged by ROSA- The Danish Rock
Council in collaboration with MXD – Music
Export Denmark and the City of Aarhus.
Spot opened with a welcome from Gunnar
Madsen and an address from the Mayor of
Aarhus, Jacob Bundsgaard, who told VIP
News:
“The SPOT Festival’s excellent reputation
and great popularity have received a lot of
international publicity – and the festival has
grown to be of great significance to the
image of our city – because it reflects what
we would like to be known for in Aarhus:
International ambitions, innovation and
interesting experiences. And at the same
time, Aarhus is ‘Denmark’s Liverpool’ – a
city that has been characterised by an
internationally orientated music and cultural
life in many ways.
Denmark and Aarhus have many cultural
qualities to offer – and this is why Aarhus has
been appointed European Capital of Culture
in 2017. As Mayor of Aarhus, I am very proud
that the SPOT Festival as a concept has been
among the first movers in Europe in the field
of music when it comes to music industry
festivals. Today, the SPOT Festival is a strong
brand – and in Aarhus and Denmark, we
are delighted and pleased that the festival
this year was able to attract more than three
hundred international industry people.”
SPOT on Tour:
Spot doesn’t just confine itself to its home
base. After last year’s event SPOT on Denmar k
took Danish acts to the Montreux Festival in
Switzerland, Cologne and Vienna. This year
SPOT will head for Cologne for the third year,
and Paris for the first time since 2009, with
a couple of other locations in the planning.
Comments to the event “SPOTFESTiVAL”
Stephan Thanscheidt Florian Brauch Pablo Gonzales Batista Kieron Tyler Keith Harris
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VIPNEWS > MAY 2013
The Great EscapeAllan McGowan [email protected]
This year’s Great Escape sold out in advance ;
with some 16,500 punters buying tickets
offerin g access to 350 acts over 30 venues .
As for UK delegates and international
professionals attending I don’t have the
figures , but it appeared to me that over three
very full on days I ran into or ate, drank or
conferenced with pretty much everyone I
run into at the reasonable numbers of these
events I attend around the world. The weathe r
forecasters must have been disappointe d with
their performance, but the GE organisers and
those attending were anything but as the sun
shone and drops of rain were as infrequent
as pitchers of beer on the tables at this year’s
YMCA Awards – however let’s not be churlish
– you’re looking at, if you could actually see
me – a winner! Yes, in front of me sits the
Great Escape YMCA’s 2013 Hall of Fame
Award! – The list of other – probably more
deserving winners is contained in this report.
Brighton was definitely at it’s finest, as well
as the beautiful music industry roaming the
streets, the Brighton Arts Festival was in full
swing, with everyone from street performers
to well dressed transvestites promenading!
If I had a quid from everyone that told me
how lucky I was to be living in the City I could
afford to move somewhere else! – I’m not
seriou s, I do like Brighton and it is a good
place to live I assure you …
As it grows from year to year The Great
Escape is inevitably and definitely taking on
aspects of SXSW – too many people trying
to get into the same shows – conferences
competing with more and more parties (you
certainly won’t go hungry or thirsty during
the day, and you needn’t put your hand in
your pocket!), - morning discussions about
what you didn’t see the night before etc, etc!
However – it is definitely the place to be for
aspiring acts and aspiring businesses. As usual
there were many acts I didn’t see and should
have. Acts being talked about following
their shows included The Orwells, Parquet
Courts and Youngfathers amongst others
of course, but I was impressed by the Swiss
act Peter Kernel. And by Tom Odell, who
played in the imposing and extremely high
St. Bartholomews Church – my childhood
Catholic inhibitions found me being a little
disturbed by the Mama Group logo taking
pride of place above the crucifix on the altar!
Brighton seemed to have handed all of its
churches over to the Great Escape this year.
The Conference Agenda presented panels
connected by specific and generally
internationally themes. Three sessions
focussed on taking new talent into new
markets . Live Opportunities In Emerging
Line in front of a Venue at The Great Escape
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VIPNEWS > MAY 2013
CLICK-A-GIG.COM enables artists to MAIL their music to more than 6.000 venues and agencies worldwide…
Markets presented representatives from
China , India, South Africa and Poland
discussing the challenges and opportunitie s
for takin g new talent into these regions,
and the partnerships that can be struck up
to help make things happen. Many of the
panels took place in the two cinemas that
now occupy the upper floors of the Komedia,
so it was very convenient to go straight to the
screening of a very interesting documentar y
covering the British Council supported tour,
arranged by Split Works, of four British
bands of the outer reaches of China for the
UK Now festival last year. Archie Hamilton of
Split Works discussed this project and touring
British acts in China in general.
A Focus on Music Marketing included two
sessions looking at building profile and
engaging media in new markets, the latter
presented in association with PPL. The sessio n
investigated how music media operates in
various territories, and how open they are
to new international talent, with the help of
panelists from Australia, Japan, the US and
Poland. Poland was the featured country for
Great Escape 2013.
Finance and new talent funding was also a
main theme, and included an interview with
Remi Harris about a new research report on
access to finance she is authoring for Music
Tank. Also the Arts Council took the occasion
of The Great Escape to officially launch the
Momentum Music Fund, with the Chief
Executive of the Arts Council, Alan Davey,
delivering a keynote speech. The Fund will
make half a million available to help develop
the careers of artists and bands. Grants of
£5000 to £15,000 will be available via the
scheme, which will be administered by PRS
For Music Foundation.
Alan Davey and Vanessa Reed, Executive
Director of PRS for Music Foundation also
contributed from the floor to a panel
exploring how government-funded initiatives
in music talent development operate in
Tom Odell played in St. Bartholomews Church, Brighton
Alan DaveyArchie Hamilton
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VIPNEWS > MAY 2013
other countries, with panellists from Poland,
Canada , Scotland and Norway, moderated by
a Brighton inhabitant of your acquaintance.
Alan Davey told VIP News: “Yet again The
Great Escape was an essential gathering
for anyone interested in new music from
around the world, and a brilliant showcase
for up and coming bands and musicians. It
was great to launch the Momentum Music
fund there - something that is a small
beginnin g but which will do great things for
artists in this country. I was proud to be there to
launch something that I really believe will make
a difference . And what better place to do it.”
Vanessa Reed added, “I’m really pleased
that we were able to launch our new
Momentu m artist development fund at The
Great Escape because it’s now attracting
such an exciting range of bands and music
industry representative s from the UK and
overseas. There was a real buzz this year and
that helped us and Arts Council England to
get our message across to a very receptive
audience , including Billy Bragg who
endorsed the opportunities we’re offering ,
to younger bands at the beginning of their
career s. It was also great to have the chance
to hear from our colleagues in Norway ,
France, Canad a and Scotland about their
longer standing experience of funding
music expor t and talent development . We’re
alread y plotting what we could contribute
to this discussion next year.
Great Escape Music Convention Awards: YMCAS:The showcase festival and music convention season just ending
was celebrated with the Yearly Music Convention Awards at The
Great Escape. At a reception on Saturday afternoon , reps from across
the global music industry were handed their awards by Great
Escape co-founder Martin Elbourne.
And the winners of the core categories were as follows:
Best Delegates Bag:
BigSound - Australia
Best Hotel/Convention Centre:
ITC Grand Central, Mumbai
(Nokia Music Connects - India)
Best Delegates Bar:
Breakout West - Canada
Best App:
Reeperbahn Campus - Germany
Best Export Office:
Swiss Music Export - Switzerland
Best Networking, Event,
Trip or Service:
Paris Venues Tour (MaMA - France)
Best Awards Show:
The Indies (Canadian Music Week - Canada)
Best Regional/Smaller Festival:
M For Montreal – Canada
Oh – and did I say there was
also a Hall of Fame Award…?
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VIPNEWS > MAY 2013
One of the best party and showcase events at The Great Escape
was presented in my local music pub, The Prince Albert. Estonia,
represented by Tallinn Music Week, and Latvia pooled resources to
provide a breakfast/brunch, including imported local delicacies, and
present four bands, including Ewart and The Two Dragons from
Estoni a, and Pr ata Vetra from Latvia. The fact that this event took
place and that acts from Eastern Europe are attracting attention from
Western companies and events owes a lot to the hard work of people
in the region, not least Helen Sildna of Tallinn Music Week and artist
manager Guna Zucika from Latvia.
Guna is seeing some success with her band, Prata Vetra. After becoming
a household name in it’s native Latvia, the band took a chance on
reaching out to audiences beyond the borders of their motherland.
During their career Prata Vetra have released albums in Europe and
Russia, supported bands like R.E.M., The Rolling Stones, Depeche
Mode, and others. As photographer Anton Corbijn has described :
“There is this beautiful thing that great bands have, something …
identity , and I think Prata Vetra has that..” The new album “Another
Still Life” was written and recorded in the historic town of Hudson, in
the Hudson valley upstate NY, and was mixed in a small studio beneath
Radiohead’s management office in Oxford, England. Prata Vetra last
summer toured native Latvia playing to 89, 500 people over 7 dates.
From autumn 2012 throughout 2013 the band tours Russia in support
of the album release in C.I.S. as well as playing The Great Escape Prata
Vetra will also play the following festivals this season: Glastonbury,
UK, Music Matters, Singapore, Nashestvije, Kuban and Red Rocks,
Russia , Summer Sound, Latvia, Watergate, Estonia and Culture Collide ,
USA. On 27th of June band will play a “Glastonbury” warm-up gig at
London’ s “The Garage”, promoted by MAMA.
Prāta Vētra
Allan McGowan [email protected]
Out of the East - Prāta Vētra
Guna Zucika
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VIPNEWS > MAY 2013
93 FEET EAST Wins Back LicenceAllan McGowan [email protected]
East London club 93 Feet East is coming back five months after
a police raid led to the venue having its licence revoked by Tower
Hamlets Council amidst allegations the business had not done
enough to combat the dealing and consumption of illegal substances
on the premises.
But late last week Thames Magistrates Court seemingly upheld an
appeal against the actions of Tower Hamlets Council, which means
the venue can now reopen with pretty much immediate effect.
In a statement on the club’s website, 93 Feet East management
said: “We are delighted to announce that on 17 May 2013, Thames
Magistrate s’ Court allowed 93 Feet East’s appeal against the decision
of Tower Hamlets Council on 7 Jan 2013 to close 93 Feet East. 93 Feet
East, which has been at the heart of Brick Lane’s evening economy
since the year 2000, is free to reopen immediately”.
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VIPNEWS > MAY 2013
When Analyses Produce Answers! An Interview with Agent Rob Chalice Manfred Tari [email protected]
The number of live music professionals that
can be asked about general developments
that concern the concert business is limite d.
Rob Challice is possibly too young to be
counted amongst the elder statesme n
and pioneers of the live music industry
but is nevertheless a well established,
respected , and experienced representative
of professional s involved with this business
since the early eighties.
Rob Challice is a founding partner of Coda
Agency, a UK concert company with 18
agents which employs almost fifty peopl e.
He is also the director of the Summer
Sundae Weekender festival and a member
of the booking team for Larmer Tree Festival .
Besides this Challice is also a board member
of the Association of Independent Festivals
(AIF) and represents this organisation on the
UK Live Music Group, which is part of UK
Music.
VIP News asked him, amongst other topics ,
about the shape of the festival business
and the lack of lobbyism in the live music
business .
In 2011 Michael Eavis predicted the end
of Glastonbury festival. In reference
to high fees for top artists that played
at the festival, he said: “I don’t see the
marke t will be there in the future.”
Would you agree with this?
– There’s no doubt that the current recession
has hit festivals hard, but then it’s also hit
other areas of the entertainment and leisure
industries. I think we are going through a
period of re-adjustment. For 10 or more
years everything was healthy in festival
land; festiva ls sold out, new festivals were
starting every year and artist fees increased
accordingly . Now people can’t afford to go to
as many festivals and they are not necessarily
looking for the same festival experiences.
Meanwhile the festival season has extended
to half the year and festivals expect more and
more exclusivity from the bands they book. I
understand this development, but I can see
why some arena size acts consider it more
financially viable to play their own headline
tours than to play festivals. I bet that Michael
Eavis did not predict in 2011 that he’d get
the Rolling Stones this year!
However, the festival market in recent
history became a business segment of its
own within the music industry. Is this a
positive development?
– They are a separate segment. Festivals are
more than a list of artists and they are very
different than a one-off headline show by an
artist. A successful festival is often a weekend
event involving a year round commitment
from the organisers. That makes them very
different to other parts of this industry.
At ILMC 2013 you emphasized that the
live music market contributes more
towards the income stream of artists
than for instance the record industry.
But you also mentioned, that within
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VIPNEWS > MAY 2013
13
VIPNEWS > MAY 2013Guna Zucika
the music industry this aspect still isn’t
appropriatel y considered. Can you
please explain your point of view on
this?
– I don’t think enough attention is given
to live career planning outside agent/
managemen t conversations. Labels don’t
always think beyond the next release, be
it album or single , from an artist. That’s
understandable , but it’s a depressing
consideration if you want to see an artist
have a career that last 5-10 years or more.
Who is more conservative, the record or
the concert industry?
– Neither, both sectors take risk, but to survive
you also have to know when to consolidate
and play it safe.
You are also a board member of AIF.
Compared to other industries, the live
music industry does not invest huge
amounts or efforts into lobbying. In
terms of political networking almost
every bakery or butchery association can
move more and also with organisations
such as IFPI the record industry is better
organized than the live music industry.
Isn’t this a bit short-sighted in times
where punters are getting ripped off
on so called secondary ticket platforms
or new official burdens due to tougher
safety regulations?
– I represent AIF on the UK Live board and
UK Live is part of UK Music. UK Music has
been effective at lobbying, so I refute your
point (also I had to google IFPI to find out
who they were!).
UK Live has only been a part of UK Music for
a relatively short amount of time and it’s true
that the live music industry does not invest
“huge amounts” into lobbying. AIF took a
stand on secondary ticketing and I was given
the opportunity by Jo Dipple to speak to the
UK Music board on the subject. People across
the industry are changing their preconceived
ideas on secondary ticketing. Ticket touting
is not very fashionable. The issue could be
possibly be resolved if government did look
at legislation regarding the resale of tickets.
However politicians don’t want to take that
on and the implication is that the live music
business has to sort this out. The elephant
in the room is that some artists are fleecing
their own fans with secondary ticketing
deals. That does not do us any favours if we
want to see this practice eradicated.
Change and development within the
music industry is an ever ongoing
process . What kinds of developments
raise your concerns and which do you
particularly appreciate?
– I am not a fan of ticket agent fees. It
appears to be acceptable to add ridiculous
booking fees to ticket prices. That income
is not going back into sustaining live music
and you can’t tell me that punters are not put
off by these charges. We live in the digital
age, why does it cost £5 (say) to buy a ticket
online? I appreciate the efforts of innovative
companies like Music Glue and Songkick;
they are pioneering ways in which bands and
fans relate to each other.
On the web site of Coda Agency it says
that the set up of the agency, “allows us
to launch, sustain and enhance an Artist’s
career.” How much is such an argument
worth in times where, particularl y in
key markets, corporate companies re-
define a once individual ownership and
entrepreneur driven set up of the live
music industry?
– Let’s be clear, as agents we work hard
for our artists and endeavour to give them
the best representation possible. We do
business with the corporate companies
you are referring to, but we also present
opportunities to artists from all corners of the
live business. It is in an artist’s best interests
to have ownership of their own live careers.
This is the bedrock of artist representation ;
change that and you set the business back
50 years.
For more information please check:
www.codaagency.com
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VIPNEWS > MAY 2013
ETEP & CEETEP Results for 2013Allan McGowan [email protected]
Here’s the 2nd results of ETEP in 2013, 219 shows in ETEP and 14 shows in CEETEP!
In ETEP: 219 confirmed shows by 73 artists from
18 different European countries.
In CEETEP: 14 confirmed shows by 12 artists from
9 different European countries.
Skip&Die
Djaikovski
15
VIPNEWS > MAY 2013
Jake Bugg live at Eurosonic Noorderslag 2013Photo: Sander Baks
15
VIPNEWS > MAY 2013
Jake Bugg UK 11
Skip&Die NL 10
Kodaline IE 9
Palma Violets UK 9
AlunaGeorge UK 8
Efterklang DK 8
Villagers IE 8
C2C FR 7
Netsky BE 7
Bastille UK 6
Chvrches UK 6
Melody’s Echo Chamber FR 6
Mø DK 6
Rangleklods DK 6
Balthazar BE 5
Rudimental UK 5
Frightened Rabbit UK 4
Highasakite NO 4
Jacco Gardner NL 4
Little Green Cars IE 4
Anna Von Hausswolff SE 3
Ásgeir Trausti IS 3
Blaudzun NL 3
BRNS BE 3
Concrete Knives FR 3
Ewert and The Two Dragons EE 3
Indians DK 3
Juveniles FR 3
Mikhael Paskalev NO 3
Andy Burrows UK 2
Cashmere Cat NO 2
China Rats UK 2
Dakhabrakha UA 2
Disco Ensemble FI 2
Fenster DE 2
Girls Names IE 2
Karin Park SE 2
Laura Mvula UK 2
Monophona LU 2
Noisia NL 2
Rebekka Karijord NO 2
Rubik FI 2
Temples UK 2
Za! ES 2
-M- FR 1
Baby Guru GR 1
Bombay Showpig NL 1
Daily Bread NL 1
DJ Fitz IE 1
Dope D.O.D. NL 1
Eva & Manu FI 1
French Films FI 1
Ghostpoet UK 1
Gnučči SE 1
Honeybird & the Birdies IT 1
Huoratron FI 1
Lau Nau FI 1
LCMDF FI 1
Liesa van der Aa BE 1
Lukas Graham DK 1
Mmoths IE 1
Mutiny on the Bounty LU 1
Orelha Negra PT 1
Phantom FI 1
Roosevelt DE 1
Roscoe BE 1
S O H N UK 1
Sea+Air DE 1
Soul Sister Dance Revolution NL 1
Talbot EE 1
Trixie Whitley BE 1
Will and the People UK 1
Young Dreams NO 1
ETEP RESULTS AS PER MAY 13, 2013 ETEP RESULTS AS PER MAY 13, 2013
Djaikovski MK 2
Shutka Roma Rap MK 2
Afterphurikane SK 1
Grand Mexican Warlock HU 1
Moveknowledgement SI 1
Repetitor RS 1
Skyline CZ 1
Très.B PL 1
Vlasta Popi HR 1
CEETEP RESULT PER MAY 13, 2013
And now for the fun part, the score per ETEP artist, followed by the CEETEP results.
16
VIPNEWS > MAY 2013
Mapped Out – New UK Music Touring Network Allan McGowan [email protected]
Music Development Agency Generator,
in partnership with Liverpool Sound City
(LSC), Higher Rhythm (HR), Music South
West (MSW) Community Music East (CME)
and Clare Edwards (West Midlands), have
established a national contemporary musi c
touring network, ‘Mapped Out’ (MO) that
will link high quality emerging talent to
promoter s and areas of low engagement
over the next 3 years. It will build audiences
by developing the intrinsic potential of 12
MO promoters.
Partners have identified two venues and two
promoters; the first in a city well serviced by
high quality live music provision; the second
in a nearby town where professional live
musi c experiences are limited and
infrastructure to support this activity is weak.
In the South West the venues are Exeter
Phoenix and Mr Kyps, Poole. The programme
in the South West will be mentored by Music
South West.
The MO network model will be completed by
links to six booking agents, who will supply
the headline artists.
In developing this six-point partnership a
simple tiered structure of support will connec t
venues, promoters and agents enablin g
a positive step change in collaborative
workin g. The tour will set the parameters for
a central promoter development and support
package that will be structured in such a way
that expertise and knowledge filter down
from established to developing promoters to
refine existing practise.
MO will directly improve promoters’
ability to attract high quality talent and
secure audience loyalty. The development
opportunities and audience-building activity
will develop the infrastructure to build music
‘scenes’ in areas of low engagement.
The First Mapped Out TourFeaturing: Night Engine http://www.nightengine.net/ plus regional and local acts supporting in each area;
Sun 9th Poole Mr Kyps
Tues 11th Exeter Phoenix
Wed 12th Leamington Spa The Zephyr
Thurs 13th Birmingham Hare and Hound
Fri 14th Liverpool Kazimier
Sat 15th Whitehaven The Civic
Mon 17th Newcastle The Cluny
Tues 18th Hartlepool The Studio
Fri 21st Sheffield The Leadmill
Sat 22nd Harlow The Square
Sun 23rd Scunthorpe The Redbourn Club
Mon 24th Norwich Norwich Arts Centre
Night Engine
VIPNEWS > MAY 2013
30 Years– From Altar Boys to Shareholders!Manfred Tari [email protected]
The story of Haldern Pop reaches back to 1981 when a group of altar
boys apparently arranged to play some records at a place in the middle
of nowhere known as Haldern Rees. Somehow what originated as a
well visited DJ-event in the green, quickly turned into a festival.
Altar boys know how to collect money. And as the church and
capitalism has a very long lasting historical relationship, by 1984
the boys became proper bankers by initiating a shareholder model,
convincing 54 youngsters to become investors, each purchasing
shares worth 500 German Marks, then using up most of the initial
investment in the early years of the event.
However the real return, as mentioned on the website of Haldern
Pop, was to experience the vibe of being proper concert promoters.
What remains is the shared memory of a fairy tale story that gave
birth to a distinctive live music event destined to stand alongside all
the major festivals in Germany...
VIP News spoke to Stefan Reichmann, pop passionist and managing
master of ceremonies representing 134 shareholders about the official
insistence on tougher health and safety issues and ideas for the 30th
edition of the Haldern Pop festival...
How do you intend to celebrate the 30th anniversary of
Haldern Pop?
– With respect and patience.
What do you mean by that?
– We will try to create a little more atmosphere at the festival.
Everybody is expecting the big names, but we saw that all the festivals
around have already got these big names and we respect this, but we
want to create something new.
We will invite André de Ridder and his Stargaze Ensemble and we
would like to surprise people with some new collaborations in the
studio, in the church, and hopefully on the stage. We don’t expect
U2 but we are looking for wonderful stuff. Peter Broderick will play,
Buke and Gase and artists like Owen Pallett with his band. I think
these are more in line with the atmosphere we’re aiming to create for
the festival. I know that a lot of musicians are very happy to see other
musicians at the festival, but we really don’t know at the moment
what actually will happen on this weekend. It will be a surprise for
us too.
We stayed in London last weekend and we met André de Ridder,
Nico Moody Glen Hansard and Conor O’Brien from the Villagers and
everybody is looking forward to it. We will create something special
and that is the main objective for this year’s festival edition.
Are you going change the set up of the festival?
– Not really, we will open the festival on Thursday in the church and
also in the bar, the Mirror-tent (Spiegeltent) and an extra outdoor-
stage in front of that. Then we will do the Friday and the Saturday as
in previous years with shows in the tent and on the main-stage.
But basically on the site you only have the tent and the
main-stage plus the Vodafone-stage?
– Yes, but the Vodafone-stage will only work on Thursday. We have
a problem with a shortage of space in the tent on Thursdays when
all the people are arriving.. So we decided to put on one smaller
outdoor-stage, so people can decide between indoor and out-
door. But when weve got a show indoors, we will also have a show
outdoors for everybody.
That means, you have a free show outside the festival-area?
– No, that is not possible as a result of the circumstances at the Love-
Parade it is no longer allowed to host a free stage; we have to control
17
VIPNEWS > MAY 2013
Stefan Reichmann
18
everybody who comes to the festival, now it is not even permitted to
have a beer-garden with free entrance.
So exactly how much has the tragedy of the Love-Parade
affected the health & safety regulations for the event?
– A lot. We have a lot more of pressure regarding safety-aspects. In
the first step it makes things much more expensive than before. We
have to install lights on the camping-ground, this is just one resul t
of the love-parade disaster. And then there is no longer even the
possibility for us to invite people from the local village for free to our
beer-garden, to add a little bit more atmosphere to the festival.
We have to invest much more into security efforts and we have many
more security-meetings upfront of the festival. I think, at the end of
the day it will cost us about 50.000 Euros.
This must be difficult as you only have a capacity of around
6500 people…
– Yes, and I think at least these two points give us some concern.
We have problems with these significantly higher costs for security
measures and besides this we face much more higher expenses
for GEMA (performance royalties) which have increased rapidly of
late.
Regarding the whole situation of health- and safety regulations ,
there are many new requirements, but nevertheless the general
impression is that the officials who are in charge are actually
not very well informed or experienced?
– That’s the thing. I have the impression that the decisions regarding
the new regulations and structures come from the headquarters in
Düsseldorf or wherever, and that those authorities are not interested
in individual solutions. Nobody investigates just what kind of event
or festival it is. They have just instituted new blanket regulations for
festivals, which means that you as promoter just have to obey. They
don’t ask for reports on what has happening in the last 27 years or
what kind of audience you expect or what kind of music you put on.
The only thing that matters that there are 6500 people and that this
could be dangerous. In the end it’s a lot of money for us, so we have
to raise the ticket price. Of course our festival visitors are not happy
about this and we have to explain that we have no choice in order to
comply with official health & safety requirements.
Do you have any contact with the appropriate ministry officials
in charge in Düsseldorf?
– Not really, we talk only with our district government in Kleeve and
the regional one here in the city of Rees. The cooperation between
them and us runs very well. We are fine with them but they get their
instructions from higher ranked authorities and they have to do their
job. Discussing things with your local police-officer gets you nowhere.
The Love Parade trial will take place soon. It is already known
that only one person from Love Parade is indicted, while
the others are representatives of public institutions. This
indicates that it is mainly these people who have to fear the
legal consequences for what happened in Duisburg. However ,
one of the main consequences is that many promoters in
Northrhine Westphalia (NRW) are now facing the imposition of
questionable health & safety regulations...
– Well, the Love-Parade in 2010 was part of the European Culture
Capital that took place in the Ruhr District. The declared goal was
VIPNEWS > MAY 2013
The tragedy of the Love-Parade has affected the health & safety regulations for Haldern Pop Festival
VIPNEWS > MAY 2013
19
to support the cultural and creative-industry in this region. Now we
can say that it has resulted in the complete opposite of this intention.
It kills a lot of small events because they don’t have the money to
institute all the safety-requirements. Haldern Pop started with the aim
of introducing music we like to people. That’s the thing that makes
this festival individual. It is our taste, it is our music choices that we
like to present, bringing it closer to people and enabling them to
discover this music. This is inspiring and wonderful. That is the main
thing and that is the reason why the festival is growing step by step
and that’s what we now call Haldern Festival.
Haldern Pop has always been completely different to the Love Parade.
I never understood the processes of the Love Parade. When it was in
Berlin it was a real festival, created by people who had a vision, they
had an idea about Techno-Music and Electronic Music and there was
a spirit. But what we saw in the last years here in NRW was an idea
that was driven by business-people aiming to make money with this
vision, but it didn’t achieve this.
But surely it also shows that, there is not sufficient lobbying
taking place on behalf of the live-music-industry in NRW to
create official awareness and understanding?
– Yes, that is right. Many creative and cultural things, music events,
concerts or companies or whatever have now gone to Berlin. Okay,
we have a little bit of c/o-pop now but I don’t know anything about
politic directions or activities to improve the situation, I simply can’t
say anything about it. In fact, in reference to Haldern Pop it is a
problem that nobody really knows what’s happening here on this
weekend and nobody has time to get an individual view of other
events and then decide on safety-requirements for the particular
events. I think it’s a problem of responsibility, it’s a problem of
our society; in German you would say “Der Verlust des gesunden
Menschenverstandes ”. (The loss of common sense).
Are you affected by secondary-ticketing?
– Not really, at the moment. So far it looks like we have sold out
very quickly. We still have smaller numbers of tickets to be sold
but currently there are no tickets on secondary-market. But since
ticket-sales have officially ended, we will see what happens in the next
couple of weeks. Probably people expected more announcement s of
headliners for the festival, but fortunately we don’t have the same
pressures as other festivals.
Are you going to continue the collaboration with WDR-
Rockpalast ?
– Yes, but we will also invite a lot of film-people to cover the festival
on our behalf, so we will create a documentary of the last 30 years
of the festival.
VIPNEWS > MAY 2013
20
VIPNEWS > MAY 2013
That will be released afterwards as a DVD?
– Yes, probably as DVD, maybe small films. We will cover this year
because so many things will happen, Connan Mockasin will play, as
will so many special artists. Probably something special will happen
regarding the collaborations and we have seven or eight own
camera-teams , all very motivated and creative people. They’re really
looking forward to cover the festival here.
It is the first time we’ve invited David Jones from England, he will run
around the festival and collect sound files like a journalist. It could
perhaps be the sound of a campfire or he will ask Conor O’Brien
for a guitar-riff. He will collect sounds from other people, bands and
anybod y who will be around at the festival. By night he will add these
to a mix of some songs in the studio. He will also play live on Thursday
evening, just before Brandt Brauer Frick.
That is a kind of a new development, we will see what can happen
and this is one of the new ideas we create for Haldern Pop 2013.
For the future we will work more on collaborations and encouraging
musicians to inspire each other on the festival. We don’t even know
ourselves what will happen over this weekend.
As you have to invest much more money in the health- and
safety measures, is there any money left to improve the
environmental settings of the event?
– You mean the green thing? Oh, in the past a lot of people have been
very interested in what we are doing here to run an environmentall y
friendly festival. It works very well; we realized that when we invest in
the people, then we’re automatically invested in the green measures.
You know, everybody who will be on this weekend in Haldern has got
the feeling, that it is his own festival. That is the best basis on which
to create a green festival.
Well, that is one thing, but what about the culinary aspect?
– Yes, we started that last year with our friend from Amsterdam and
other local shops, to serve local food from the region. Last year the
food underwent a wonderful step up to a really wonderful quality. The
feedback from the festival last year was that our food is fantastic . The
vegetarians were disappointed about the barbecue, which offered a
hog roast – they’ve hated us for that. But on the other side, there was
so much more good food on the festival than we ever had before.
We will be working a little bit more on this, this year, but it will not be
such a big step up as in 2011 to 2012.
For more information please check www.haldern-pop.de
21
VIPNEWS > MAY 2013
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VIPNEWS > MAY 2013
Berlin Festival Extends with ‘First We Take Berlin!’ Allan McGowan [email protected]
Berlin Music Week is to to launch a
club and showcase Festival on 4th
and 5th September : The event is to
be called, ‘First We Take Berlin! ’ It
will be located in Berlin’s hotspot
Friedrichshain-Kreuzberg, and is
intended to be the ‘earliest’ show
case event for festival bookings for
the following year, apparently in a
direct response to the advancement
of festival programming deadlines
over the last few years.
More than 80 export ready international
and national acts will perform on over ten
stages, showing their skills to the public and
representatives of the music industry, giving
promoters and bookers a chance to review
the following year’s touring artistes in good
time to book their events and the artists
the necessary time required to strategise
successfully or the following year. Several
co-operation s with local, national and in-
ternational partners, companies, labels
and agencies have been confirmed already
and will be announced shortly. In addition,
First We Take Berlin! will be committed to
ensuring key programmers, agents and
bookers are in attendance and on the scout
at the event.
The Kulturprojekte Berlin GmbH, promoter
and organiser of the Berlin Music Week, for
the first time, commissioned Melt! Booking ,
the Berlin-based agency responsible for
successful events like Melt! Festival, Berlin
Festival as well as splash! Festival alongside
numerous other tours, to take over the
planning process of ‘First We Take Berlin!’.
“Establishing newcomers and promoting
new products is one of the Berlin Music
Week’s main goals,” Björn Döring comments
on behalf of the Kulturprojekte Berlin GmbH.
“No other location is more appropriate to
introduce up and coming artists than Berlin.
Here you find an eager, young audience that
anticipates and coins international trends
and styles. No other city has a more vibrant
scene of artists, acts, start-ups as well as
music, media and technology companies.
We are proud to give our full support to this
showcase festival, which saw its inception
last year, as an event for the music industry
as well as for the public.”
“With our club and showcase festival, we
found yet another thrilling format to establis h
the Berlin Music Week on an international
level,” says Paul Cheetham, who’s responsible
for the Berlin Music Week’s international
The Event’s Press Release states:
22
CLICK-A-GIG.COM enables artists to MAIL their music to more than 6.000 venues and agencies worldwide…
business activities, and, as Berlin Music
Week’s co-curator, our contact for export
agencies and companies abroad. “As part of
‘First We Take Berlin!’, we will continue our
co-operation with The Great Escape amongst
others, offering a variety of showcasing
opportunities – from a newcomer slot at
Berlin Festival to a business reception at one of
Friedrichshain-Kreuzberg ’ s hotspots.”
The Berlin Festival GmbH & Co. KG will
function as main organiser of the event
with support from the chief partners ,
Matthia s Hörstmann (Hörstmann
Unternehmensgruppe / HUG) and Festival
Republic (LTD / Melvin Benn). As part of this
deal, holders of a Berlin Festival multipleday
Tickets will have free entry, provided that
festival goers registered via the official
Berlin Festival website prior to the event.
Accredite d visitors of the Berlin Music Week
will also have access to the events. Everyone
else will be able to purchase First We Take
Berlin! festiva l tickets for EUR 15 (+ booking
fee) only!
The organisers of Berlin Music Week and
Berlin Festival have been working together
closely since 2010, for example planning the
Berlin Music Week Stage’s line-up (now First
We Take Berlin! Stage) as part of the Berlin
Festival, which takes places on 6th and 7th
September at the former Tempelhof Airport.
Stefan Lehmkuhl, Hörstmann Unter-
nehmensgruppe ’s head of booking
comments : “Melt! Booking already is
numbe r one in Germany when it comes to
discovering and establishing international
acts. I’m excited to enhance our portfolio,
which already includes successful indoor
concert series like ‘Introducing’ or ‘Certain
People’ alongside the larger open air events,
with yet another event of international
importanc e. I’m looking forward to working
on this ambitious project together with the
Berlin Music Week over the next few years.”
“Apart from London, Berlin is one of the
most important career starting points for
many bands; and an essential part of the
festival landscape. I’m delighted to see
long-lastin g projects grow and develop, while
being an immediate factor in maybe helpin g
the next headliner to stardom,” Melvin Benn,
Berlin fan, head of Festival Republic, and
co-host of Berlin Festival since 2011, comments.
First names will be announced at the end of
June, coinciding with advance tickets going
on sale.
CONTACT INFO:
Project Manager:
Klemens Wiese (Event and Venue Director of
HUG)
Programme Coordination:
Julia Gudzent (Booking Manager of Melt!
Booking)
Art Director:
Natasha Haddad (Festival Republic, former
Head of Programming of the renowned UK
show case festival, The Great Escape, and
now Music Programmer for Latitude Festival
UK)
Melt! Booking Team:
Alexander Kralisch, Justus Mang
Berlin Music Week Contact:
Björn Döring
International Business Coordination:
Paul Cheetham
VIPNEWS > MAY 2013
22
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VIPNEWS > MAY 2013
CTS EventimProfit Booster Ticketing
There is no business like ticket business. As usual CTS Eventim again
reports growing revenue and profit results for its ticketing division.
For the first quarter (Q1) the company has been able to increase the
number of sold tickets by about 15 percent.
The revenue for this part of the company increased by 17.3 percent
and even compensated for lower revenue results within the Live
Entertainment segment of CTS Eventim.
The total turnover rose from 113.9 to 121.1 million Euro. The Earnings
before Interests, Taxes, Depreciation and Amortisation (EBITDA) rose
11.1 percent from 25.7 in Q1-2012 to 28.6 million Euro, the EBIT
from 20 to 23 million Euro.
The ticketing revenue climbed from 53.1 to 62.3 million Euro and
gained alone therefore EBITDA of 23.7 million Euro compare to 20.9
million one year ago.
The revenue within CTS Eventim’s Live Entertainment department
went down from 62.7 to 60.3 million Euros, a drop of 3.7 percent.
Since the beginning of the year the share price of the company went
up from 27.07 to 31.34 Euro.
Live NationA Different Story!
Yes, the revenue is rising, but the resulting profit can easily be
misinterpreted . Within the first nine months Live Nation has been able
to increase its revenue results from $4.198 in the same period last year
up to $4.381 billion. The company operating income also rose from
$85 to $104.7 million, while the diluted net loss per share is reported
with $0.02.
Anyhow Michael Rapino, CEO of Live Nation Entertainment concludes:
“For the quarter, global concert attendance is up 2 percent and ticket
sales for Ticketmaster increased 3 percent. We expect to have continued
growth in ticket sales in the fourth quarter, as compared to last year,
for both Concerts and Ticketmaster. As a result, we currently anticipate
growth across Concerts, Ticketing and Sponsorship & Advertising for
the fourth quarter and full year.”
In Q3 alone the revenue of the concert division was $1.4 billion
compared to $1.2 billion one year ago. For the 9 months period the
concert revenue rose 5.1 percent from $2.81 to $2.95 billion. The
ticketing department moved within the last nine months from $966.7
up to $1001.5 million, the department Artist Nation from $293.9
up to $298.6 million. Percentage-wise the biggest gain has been in
Sponsorship & Advertising which moved up 5.9 percent from $182.5
to $193.2 million.
VIPNEWS > BUSINESS > DECEMBER 2012 MUSIC IN SHARES
Music in SharesManfred Tari [email protected]
Go online - www.vip-booking.com
Need to know who istouring Europe
®
vip-booking.com
23
24
VIPNEWS > MAY 2013
DEAGRe-Consideration of Local Business In Berlin
DEAG announced that it would strengthen its business activitie s
for the regional concert business in Berlin. The company have
therefore re-activated the DEAG-subsidiary Concert Concept
Veranstaltungs-GmbH Berlin, which according to the company in
recent years promoted less shows due to collaboration with another
local promoter .
DEAG-CEO Peter Schwenkow founded Concert Concept in June
1978 and appointed his son Moritz Schwenkow as the new managing
director for the company.
VIPNEWS > BUSINESS > DECEMBER MUSIC IN SHARES
Moritz Schwenkow
C
M
Y
CM
MY
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CMY
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Anzeige_VIPMag_ProSky_X4.pdf 1 09.12.10 10:43
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Mercury Tide Feat. Dirk Thurisch
Dirk Thurisch – The voice of Angel Dust is back!After a break of ten years, former
Angel Dust vocalist Dirk Thurisch finally returns with his band MERCURY TIDE,
which once started as a project and now grew to a full-fledged band. The new
album “Killing Saw” is a natural progression from Dirk‘s last album “Why”.
Eventually the time has come that one of the most important German Melodic
Metal singers returns like a Phoenix, rising from the ashes!Dirk Thurisch has
closed the chapter “Angel Dust” once and for all. Several failed attempts to
revive Angel Dust only strengthened Dirk‘s wish to get started with MERCURY
TIDE on a grand scale. Contrary to the debut from 2003, Dirk and his band,
including drummer and producer Carsten Rehmann, bassist Chris “Dagger”
Pohlmann and keyboarder Sim Reaper, place value on a more traditional sound
that suites the band‘s stage persona. Great emphasis lies on the creation of a
diversified, consistent atmosphere.Magnificent melodies meet playful guitar riffs
and catchy choruses, to which you want to sing along immediately. The opener
and title track “Killing Saw” is a suiting introduction to MERCURY TIDE‘s musical
landscapes. With “Home”, Dirk gives a clear-cut statement. He is happy to be
back in the Metal scene and doesn‘t only look forward to meet up with his old
fans, but also to make new ones…
Read more about” Mercury Tide Feat. Dirk Thurisch”:
http://www.click-a-gig.dk/epk/209/bio
25
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About Our CompanyVIP-Booking’s core product is the Internet’s oldest and largest
database for the European Live Entertainment Industry www.
vip-booking.com developed as a tool for industry professionals.
Since it’s launch in the year 2000, we have consistently offered
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Today VIP-Booking offers a range of tools for the industry
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VIPNEWS > MISC > MAY 2013 MEMBER PRESENTATION
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The story of Barley Arts Promotion, leader for the organisation and
production of entertainment and music shows, revolves around the
figure of Claudio Trotta (b.1957 in Milan).
Following his college years passion for the link between “high” and pop
culture, he starts his career with Radio Montestella, then in 1975 he’s
at Canale 96, the very first news radio, organising the first live shows of
his life. In 1979 he graduates at the Civica Scuola di Arte Drammatica as
music operator, spending a training period at the Teatro alla Scala. The
same year he founds BARLEY ARTS PROMOTION (first tour: JOHN MAR-
TYN) whose name is a homage Trotta pays to one of his early passions,
Anglo-Saxon country and folk. Going through some TV experience
(TeleRadioMilano 2), he’s involved by Lucio Salvini (chairman at Ricordi
by that time) in his Country e Folk Label project and becomes the Italian
promoter for the artists in the roster. Later on, Salvini will entrust him
with Artistic and Marketing Direction of the Blues & Rock Project series
at Carosello. As one of his latest personal side projects, Trotta edited The
Milan Music Dictionary (1995), together with Paolo Zenoni. He’s one of
the Founders of the following Associations:
ASSOMUSICA
Italian Association of Producers and Organisers of Live Music
Entertainment (founded 1996): Board Director from the beginning.
YOUROPE
The European Festival Association (founded 1998): Board Director
1998-2001.
The company, which has been doing more than 3500 live shows,
festivals and special events since 1979, operates on many levels, e.g.:
1) Promotion of international artists in Italy
E.g. STING, PEARL JAM, BRUCE SPRINGSTEEN, TOM WAITS,
SHAGGY , AEROSMITH, THE CURE, LENNY KRAVITZ, AC-DC, PHIL
COLLINS, SLIPKNOT, METALLICA, STEVIE WONDER, RAY CHARLES,
BARRY WHITE, EARTH, WIND & FIRE, VAN MORRISON, B.B. KING,
PAGE & PLANT, KISS, IRON MAIDEN, YES, CHEMICAL BROTHERS,
DREAM THEATER, PRODIGY, LOREENA MC KENNITT, RAGE AGAINST
THE MACHINE, DEFTONES, PAUL WELLER, LIMP BIZKIT, DEEP PURPLE,
DAVID SYLVIAN , HOOVERPHONIC, DAVID BOWIE, SANTANA, FRANK
ZAPPA, LORD OF THE DANCE, SHAOLIN MONKS and more.
2) Promotion and production of Italian artists in Italy
(NEFFA, SOTTOTONO, LITFIBA...)
3) Production and co-production and Promotion of Festivals
MONSTERS OF ROCK, SONORIA, MILANO BLUES FESTIVAL, IRLANDA
IN FESTA, LAGHI LOMBARDI IN FESTIVAL, FLEADH, BALKANIKA,
MONZA ROCK FESTIVAL, PISTOIA BLUES FESTIVAL, COCA COLA
DANCE FESTIVAL…
4) Organisation, production and promotion of Italian artist’s concerts
and tours abroad (e.g. first international shows of Vasco Rossi, Eros
Ramazzotti, Sabrina Salerno...)
Barley Arts Promotion
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