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VIP- News 

premium ›› Vol. 118 ›› OCTOBER 2009 

McGowan’s Musings: 

It looks as though our Indian summer is 

coming to an end, the sun is still shining, 

but as I sit here putting this edition of the 

News together I realise that I may have to 

turn the heating on, still half way through 

October isn’t bad. 

But, although I’m officially declaring autumn, 

season of mists and mellow touring 

schedules, news and reports from 

the festival season appear to dominate 

this edition. This, however, is not really 

surprising, considering how increasingly 

important festivals are, not just to the live 

music industry, but also to many other 

concerns, regional and national development 

and touring, culture and trade 

authorities, sponsors, retailers etc. The 

2009 season seems to have shown that in 

the main, festivals have proved recession 

proof – there have of course been casualties 

and failures, but these as a percentage 

of the whole business seem to have 

been no more than what might have 

been expected at any trading period, in 

any business; fears that the sector would 

have been badly harmed by the effects of 

the recession have not been justified. 

Allan McGowan 

Whilst in Hamburg for the Reeperbahn 

Festival, I chaired a panel as part of the 

first Reeperbahn Campus (see report below) 

with the quirky title of ‘Festolution’ 

(not my invention!), this addressed the 

development and the diversification of 

these events and the roles now assumed 

by organisers. The whole sector, as befits 

enterprises which build operate and disassemble 

the equivalents of small, and 

in some cases medium sized towns over 

a week or so, becomes more and more 

organised and sophisticated, taking on 

many of the problems encountered by 

their more permanently situated neighbours. 

Organisations such as Yourope 

and more recently AIF help to disseminate 

experience and expertise. 

Festivals are no longer just ‘big gigs’, promoters 

who once presented acts in fixed 

venues of varying size began to present 

festivals in the summer, traditionally the 

quieter touring period, before going 

back to their ‘usual’ business, now multiple 

events are becoming the norm, in 

Germany, Folkert Koopmans company, 

Scorpio, is now responsible for 11 festivals 

each year! Festival events once considered 

an annoying breach of the peace 

by local authorities and residents alike 

are now essential partners in bringing 

economic and tourism benefits to regions 

and countries (see AIF report in this 

issue), major companies also see them as 

partners, providing huge audiences, onsite, 

on-line and often screen. Showcase 

events like Eurosonic, The Great Escape, 

Liverpool Sound City and the Reeperbahn 

Festival are now considered City Festivals 

and along with their green field cousins 

are very much part of the A &R process, 

developing acts to sustain future events. 

More and more open-air events, such as 

Ilosaarirock in Finland, Rock Ness in Scotland 

and the Reeperban Festival include 

industry events as part of their planning. 

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VIP- News - October 2009 

Colophon ›› 

VIP-News is published by: 

VIP-Booking 

26 York Street 

London W1U 6pZ 

Managing Director: 

Ronni Didriksen 

rd@vip-booking.com 

General Manager: 

Peter Briggs 

pb@vip-booking.com 

Also (I’m on one of those rants now!) 

festival organisers are becoming multi 

media producers as greater varieties of 

entertainment and diversion become 

essential to satisfy omnivorous audiences 

– you can’t just get away with 

music now you know! 

Right, that warmed me up, – what else? 

Oh yes, talking of organisation and professionals 

coming together to share 

knowledge, there seems to be a mobilisation 

in the small to mid size venue 

and promoter area. Network Europe has 

been around for some time, and now 

the UK based we:LIVE, who presented a 

couple of very informative panels at the 

Live UK conference event, The Summit, 

in London earlier this month looks set 

to put some order in to this vital breeding 

ground for the industry. 

At the top end of the industry the big 

boys plans for further organisation and 

world domination took a knock when 

the UK authorities delivered a disapproving 

report on Live Nation and Ticketmaster’s 

merger plans, but Manfred 

Tari will tell you more about this in the 

Business News in this issue. 

So, this month’s message seems to be 

– keep warm, and in the words of the 

song, ‘Let’s Work Together’, although 

a bit of healthy competition’s not a 

bad thing either! I’m off to see The Bad 

Shepherds, so till next month, Ladies & 

Gentlemen, here is the News. 

Dubai Sound 

City Announces 

Acts 

Allan McGowan am@vip-booking.com 

Claiming to be ‘The World’s Hottest 

Winter Music Festival’ Dubai Sound 

City, a brand new music business conference 

and festival will take place from 

November 5th to 7th 2009 across five 

venues in the city – Irish Village, Alpha, 

Chi@ The Lodge, 360 and Le Meridien 

Village. Dubai Sound City has been established 

to celebrate and develop the 

regions burgeoning music scene and 

industry 

Ian Brown headlined the launch party 

on October 1st, Dubai Sound City, and 

The Happy Mondays and The Human 

League and Liverpool legends Echo & 

The Bunnymen are amongst the 50 acts 

confirmed to play at the event’s inaugural 

3-day outing. Co-organiser Dave 

Pichilingi, Liverpool Sound City festival 

director, also plans to bring over 50 industry 

speakers to the city 

The event has been organised by Dubai’s 

entertainment and nightlife company, 

New Dawn in conjunction with 

music conference. Dave Pichilingi said, 

“The aim is to draw in business from countries 

such as South Africa, Australia, Japan 

and other areas within three or four 

hours’ flying time of Dubai. The city is a 

hub for the rest of the world. It’ll be similar 

to the way we’ve done it in Liverpool. By 

day, we’ll discuss the issues affecting the 

industry, and by night we’ll put on amazing 

parties and events.” 

Writer and editorial: 

Allan McGowan 

am@vip-booking.com 

Writer: 

Manfred Tari 

mt@vip-booking.com 

For advertising enquiries pls. contact 

Peter Briggs pb@vip-booking.com 

or +44 870 755 0092 

Lay-out: 

Pekaye Graphics, Phuket – Thailand 

info@pekayegraphics.com 

The Happy Mondays 

2 



German Conferences 2009 

– A Continuing Tale of Three Cities 


As reported in our last couple of issues 

the cancellation of this year’s edition 

of Popkomm initiated great activity 

amongst the other conference events in 

Germany and highlighted the competition 

amongst German cities to secure 

the position of cultural hotspot and spiritual 

home of the music industry. Both 

Cologne’s c/o pop and Hamburg’s Reeperbahn 

Festival instituted efforts to make 

the most from the temporary (?) absence 

of Berlin’s bigger trade market, with the 

introduction of Reeperbahn Campus 

alongside the festival in Hamburg. In the 

meantime concerned members of the 

Berlin music business community decided 

that they should not be left without an 

event of their own and came up with a2n 

(all2gethernow). 

VIP feels that all of these conferences are 

fine events with markedly different characters 

and that perhaps a territory the 

size of Germany should be able to sustain 

them all. We featured a Manfred Tari report 

from c/o pop, so to address the balance 

we present reports from the Berlin 

and Hamburg events. We couldn’t make it 

to Berlin, and it took place as our last issue 

went on line, so we asked Sam Heineman 

to provide us with the following report, I 

attended the Hamburg event and present 

my report after this. 

a2n (all2gethernow) Berlin ’09 

Sam Heineman 

Sam Heineman has a long history of producing festivals, 

concerts, touring and promotional events in the US and Europe. 

He was hired by Sony Music as Director of International 

Touring in the US and remained there for six years. After the 

mass record company down-sizing, one of his Sony vendors, 

Rock-It Air Charter asked him to open their European office in 

Berlin, Germany, a city that he had always wanted to live in, 

at least temporarily. After a couple years the recession made 

private jets a rarely sought commodity, Rock-It consolidated 

back to the US but he chose to remain in Europe to continue 

his main career; producing international events. 

The debut of the a2n (all2gethernow) music and culture conference 

in Berlin September 16 – 18 was initiated primarily due to 

Popkomm’s absence, not as a trade show but rather due to the 

seemingly glaringly obvious need to address issues concerning 

the music business and, more importantly, contemporary music 

culture as a whole. Put together in basically under a month, 

a2n hosted more than seventy ‘barcamps’ over two days at the 

Münze (German for ‘mint’, a disused coin manufacturing factory 

turned event space in the middle of Berlin) that culminated in a 

third day of conference sessions summarizing the most popular 

topics gleaned from those camps. a2n was the brainchild of diverse 

group of music business and culture professionals including 

Tim Renner (Motor Entertainment), Martin Brem (kleinundplaecking), 

Andreas Gebhard (newthinking network), Jochen Sandig and 

Folkert Uhde (Radialsystem). I was asked to design and produce 

the event layout, logistics and scheduling. 

find potential – facing forward to take issues head-on and create 

results. This shared attitude was a refreshing contrast to the typical 

and tedious trade show conference feel. People really came to 

talk, listen and interact while constantly rethinking every existing 

business model. There was a sparse smattering of trade booths in 

one large ‘partner’ room but these were secondary to the actual 

event intention and atmosphere. However, as meaningful as the 

meetings were, there was still enough evening joviality to make 

one a bit bleary-eyed the next morning especially thanks to an 

amazingly moving late-night performance by Amanda Palmer. 

Discussions are already underway about next year’s event, which 

will be part of a potentially packed week of music happenings in 

Berlin. The Berlin Music Commission is already talking about what 

might take place during ‘Berlin Music Week’ and a2n will certainly 

be a key event sometime during September 10 – 18, 2010. Plans 

are in the works and concepts are being discussed to make the 

next a2n meetings as useful, forward thinking and as substantive 

as possible. 

More than 1,000 participants attended the a2n meetings based on 

a ‘tableau rosa’ concept to identify objectives, exchange ideas and 

Sam Heineman and Andreas Gebhard 

3 



Reeperbahn Festival & Campus 


The fourth edition of The Reeperbahn 

Festival, took place in Hamburg from 24- 

26 September, and for the first time, the 

Reeperbahn Campus, a communication 

platform for music business professionals 

ran alongside Germany‘s biggest club 

festival’ 

The Festival attracted more than 17.000 

guests – a new record – and featured some 

150 bands, including The Editors, Reverend 

& The Makers, Dinosaur Jr, Deichkind 

and Biffy Clyro in 20 plus clubs, Hamburg 

has some very good venues,. I don’t know 

whether it was a particular aim of the booking 

policy, but there seemed to be a high 

percentage of female acts, certainly no 

bad thing, I went out on the Friday night 

with no particular plan in mind and saw 

5 acts, all good, and all female, or female 

fronted, including the remarkable Janelle 

Monae (US), a female version of Prince, and 

the Katzenjammers. 

Danish Radio DR and four NDR radio 

programs covered the event resulting 

in 35 live recordings of Reeperbahn Festival 

concerts, which can be accessed 

internationally via the European Broadcasting 

Union (EBU) and will be broadcast 

during the weeks and months to 

come. Broadcast dates are available at: 

www.reeperbahnfestival.com 

Particularly considering that it was put 

together at short notice following the 

cancellation of Popkomm, and following a 

slow start at the the registration tents he 

Reeperbahn Campus worked; as with all 

of these types of events the first edition 

usually invites guests to supplement those 

that pay to register, however a very creditable1000 

accredited professionals and 

journalists attended 27 special events. 

Hamburg sees itself as a creative metropolis, 

and Mayor Ole von Beust stressed this 

in his opening address. During his speech 

he renewed his commitment to Hamburg’s 

strategy of supporting the creative 

industries and using their charisma in the 

interests of the location. The City seems 

totally prepared to cooperate with the 

music industry as indicated by the photo 

shoot following his keynote, showing him 

standing shoulder to shoulder with live 

music veteran Karsten Jahnke and Warner 

Music Group’s Benedikt Loekes 

Hamburg’s St. Pauli neighbourhood is to 

say the least an atmospheric area, live music 

venues stand next to live sex venues, the activities 

of the world famous red light district 

continue undisturbed by a music festival in 

its midst, and great architecture, churches, 

parks and the nearby docks and the river 

add to a pretty unique atmosphere. 

Alexander Schulz, MD of Reeperbahn 

Festival GbR, said, “International artists, 

music industry people, advertisers, IT-workers, 

trainees, award winners and journalists 

from all over the world experienced a 

wonderfully multifaceted, new event full of 

charming guerilla activities with the Reeperbahn 

Campus, Hans - the Hamburg Music 

Prize, the Kiezkongress Hamburg and the 

Reeperbahn Festival in St. Pauli. I appreciate 

the international praise, I am proud of 

our inquiring audience and happy about our 

wonderfully smooth cooperation with all the 

initiatives which allowed to create this synthesis 

of the arts in Hamburg!” 

»It was nearly impossible to 

choose just five bands for each of 

my three shows - I simply wanted 

to get all of them« 

- Ray Cokes 

An innovation, which may suggest ideas 

for other showcase and trade events, integrated 

the Reeperbahn Festival and 

the Reeperbahn Campus. Former MTV 

presenter Ray Cokes was asked to choose 

acts from the Festival line up, who he then 

interviewed live on stage following unplugged 

sets during the day. This allowed 

audiences to ‘discover’ acts and attend 

their gigs later in the evening. Ray Cokes 

said “It was nearly impossible to choose just 

five bands for each of my three shows - I simply 

wanted to get all of them!” 

A rock concert in a bank was another 

surprising feature; Estuar’s concert was 

staged in a branch of Hamburg’s Savings 

Bank Haspa on the Reeperbahn. 

Reeperbahn Festival 

Panels and discussions featured in the 

Reeperbahn Campus included venue 

owner Monika Bestle (See story in last issue) 

who raised a petition to support her 

taking up a case objecting to the practices 

of German Collection Society Gema, 

explaining her point of view in public for 

the first time. Also Prof. Dieter Gorny of the 

Federal Association of the Music Industry, 

disputed the stance on free downloads 

championed by Jens Seipenbusch of the 

4 



Pirate Party Germany. Other sessions examined 

the future funding of the music 

industry, the evolution of Festivals (See 

McGowan’s Musings) and official regional 

and national support for Pop Music. 

Some of these discussions will shortly be 

available as podcasts and video streams 

on the Reeperbahn Campus website www. 

reeperbancampus.com 

Detlef Schwarte, Project Manager of the 

Reeperbahn Campus commented, “Starting 

this weekend was for me, one of the 

most diverse, inspiring and therefore most 

important events of the year for the music 

industry in Germany. Combining a live- and 

a business-event creates a brand new quality 

for festival visitors as well as industry representatives. 

Only Hamburg can do so with 

the Reeperbahn Festival and Reeperbahn 

Campus. We will purposefully expand this 

strength in the future.” 

Plans are already in hand for the 5th Reeperbahn 

Festival and the 2nd Reeperbahn 

Campus for September 23rd to 25th 2010. It 

will be interesting to see how Reeperbahn 

Campus shapes up as an international 

event, it certainly has the potential due to 

the setting and the strength of the Reeperbahn 

Festival, but the return – or otherwise 

– of Popkomm may be a factor that has 

some bearing on its development. 

VIP-News asked some of this year’s international 

participants for their opinions: 

Patrice Hourbette - Director London Office 

Bureau Export French Music Office: 

Patrice Hourbette 

“I was at Reeperbahn Festival two years 

ago but this edition was much better! Reeperbahn 

is growing and is now a very well 

attended public and professional event in 

Germany. The artistic prrogramm was excellent 

! Because of Reeperbahn I didn’t miss 

Popkomm. The panel I attented was also of 

great value for me because of the quality of 

the participants.” 

Pål Dimmen - Communication Manager 

Music Export Norway: 

“The Reeperbahn festival definitely has a vibe 

like no other, due to the location. I thought 

the concert programme was great and the 

venues very suitable in general. With regards 

to the Reeperbahn Campus, there were quite 

a few interesting panels. There should be 

more panels in English, though, if the organizers 

want the Campus to become a bigger 

international event.” 

Linnéa E. Svensson - Øyafestivalen 

Robert Hacker Jessett of the UK band, 

Morton Valence: 

“Apart from a great weekend of music, being 

at the Reeperbahn Festival and having 

the privilege of sharing a panel with folk 

that I would regard as legendary was both 

a pleasure and an education as well as perfect 

groundwork for the upcoming Morton 

Valence Germany tour as our project goes 

from strength to strength, thanks for this opportunity.” 

Linnéa E. Svensson - Market Advisor, Environmental 

Manager Oya Festival: 

”I found the Reeperbahn Campus an interesting 

initiative and I am looking forward to 

see how this can develop in the future. I liked 

the concept of the Festival part very much 

- booking unknown acts. I saw several new 

bands that I liked and several unusual and 

inspiring venues.” 

5 



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6 



Second Sonic Visions Conference for Luxembourg 


Although the tiny country of Luxembourg, 

located between Belgium, France and Germany 

is not generally famed for its impact 

upon the world of popular music, but one 

of its exports certainly had an impact on 

many of my generation who risked parental 

disapproval by concealing transistor 

radios under our pillows at night to listen 

to Radio Luxembourg, at the time the only 

broadcaster of the sort of music that excited 

and interested us. Many of those who 

built the music industry in Europe received 

at least some of their musical education 

and inspiration from what they heard; 

therefore I feel we owe it something! 

The second SONIC VISIONS continues the 

aim of creating a platform for professionals 

from all areas of the music industry as 

well as for the international audience from 

what they refer to as the Greater Region. 

On November 27 and 28, professionals will 

discuss the future of the music industry on 

panels and forums, and many new bands 

will take to the stage to present themselves 

to an international audience in Luxembourg’s 

Rockhal venue. This year, Sonic 

Visions will collaborate with Italia Wave 

Love Festival (Italy) and the SPOT Festival 

(Denmark) to focus on these two countries 

and some of their best pop/rock bands 

Following last year’s consideration of The 

Digital (R)evolution, this year’s two day 

conference program will focus on current 

changes and their economical consequences 

within the music industry, trying 

to find answers to the burning question 

close to all our hearts, “Where is my 

money?”. 

The Keynote speaker will be Carl Leighton- 

Pope, well known as an agent of long experience, 

and famous for his opening sessions 

at the ILMC. (Carl must be a happy 

man at the moment as I note that one of 

the acts that he represents, Michael Bublé, 

has gone to number one in the US album 

charts. – Ed.) 

For a conference only in its second year, 

Sonic Visions and organizer Olivier Toth 

display some courage I feel in including 

the topic, ‘Do we need Music Conferences?’ 

As I will be moderating this session, 

and as both the panelists and myself derive 

at least part of our income from this 

sector, I hope that we can confirm that we 

do indeed need conferences, otherwise 

we shall all be even more concerned by the 

“Where is my Money?” Sonic Visions focus! 

For further information go to: 

www.sonicvisions.lu 

Olivier Toth - Photo by Rockhal 

Quart Festival Goes Bust - Glastonbury 2010 Sells Out 


For the second time in two years Norway’s biggest summer music 

festival has gone bust. District Court records show that the organizers 

of the Quart Festival have filed for bankruptcy in the southern 

coastal town of Kristiansand where the festival takes place. 

Following the cancellation of the 2008 festival organizer Arild Buli 

told the commercial network TV2 that Quart is 15 million kroner 

($2.6 million) in debt after this year’s festival which took place 

June 30-July 4 featuring former Guns N’ Roses guitarist Slash as 

the headliner, sold just 67,000 tickets, less than half what organizers 

anticipated. 

The 2010 festival will take place June 23-27: no announcement 

has yet been made about the bill (the line-up is traditionally announced 

nearer the time of the event), although rumours have 

been circulating that Andy Williams (?) and U2 will be among the 

headliners. 

Indicating the polarisation of success levels in the European festival 

market, at the other end of the economic scale the 2010 Glastonbury 

festival sold out within 12 hours of tickets going on sale. 

Tickets for the U.K. event at Worthy Farm, Pilton, Somerset went 

on sale Oct. 4 at 9am BST, but at 9pm, the festival’s official Web site 

posted a message announcing that all the tickets had gone. 

Arild Buli - Quart Festival 

7 



The Association of Independent Festivals Release 

Reports 


The Association of Independent Festivals which was conceived 

by Bestival promoter Rob da Bank and Graphite Media’s Ben 

Turner, and set up in 2008 has released reports on its activities 

and achievements in the last year. 

The current membership ranges from Northern Ireland’s 1,000 

capacity Glasgowbury to the 40,000 capacity Creamfields in Liverpool, 

AIF enables the promoters of some of the UK & Ireland’s 

most innovative and successful festivals to speak with one voice 

when addressing the wider music business and government. 

Operating as an autonomous division of the Association of Independent 

Music. The AIF was instigated as a not for profit body to 

represent independent music festivals in the UK and Ireland, the 

Association’s aim is to establish best practice for festivals in a variety 

of areas such as security, the environment and beyond, provide 

a knowledge base for festival promoters, and create collective 

purchasing and marketing opportunities for its members. 

The association’s founder members included Belladrum Tartan 

Heart Festival, Bestival, Bloom, Cornbury Festival, Creamfields, 

Evolution Festival, Field Day/Underage, Glade, Loud Sound, Secret 

Garden Party, Shambala Festival, Summer Sundae Weekender 

and WOMAD. 

Rob Da Bank - Founder of AIF 

8 



AIF Reports Festival Boost for Local Economies 

The Association of Independent Festivals 

(AIF) have published the results of a survey 

of people who attended their members’ 

festivals and have crunched some 

numbers to show the huge contribution 

to both the UK and local economies that 

festivals make. 

The survey of over three thousand festival 

goers includes some eye catching statistics: 

In 2009 AIF member festivals (which include 

Big Chill, WOMAD, Bestival and Glade) attracted 

340,000 people, who spent in excess 

of £139 million (ticket, travel, food, 

drink), £16.3 million of which was spent in 

local towns and cities; the non camping 

festival Evolution is estimated to boost the 

economy of the twin cities of Newcastle and 

Gateshead by £2.9 million and Bestival generates 

around £600,000 in extra revenue for 

Ferry companies every year as 30,000 people 

travel to and from the Isle of Wight. AIF 

member festivals, which range in size from 

the 1,000 capacity Glasgowbury to 40,000 

at Creamfields, generate on average £1 million 

for local economies. 

A recent report estimated that the Isle of 

Wight Festival was worth £15 million to 

the local economy and a survey carried 

out by South Mendip District Council in 

2008 found that the 177,500 capacity Glastonbury, 

turns over £25 million itself and 

contributes a further £75 million into Somerset’s 

economy. 

AIF member Hugh Phillimore, founder of 

the Cornbury Festival said “Not only do 

we fill every B&B, pub and hotel within a 

10 mile radius; lots of local shops stay open 

to benefit from the extra custom. Cornbury 

not only makes a huge contribution to 

the local economy but also supports fundraising 

for local schools, brownies, and 

scouts”. 

The AIF survey also looked at the diversity 

of entertainment on offer at festivals 

and discovered that for many, music is just 

a small part of the festival experience. In 

the case of the Secret Garden Party, 70% 

spend less than half their time watching 

bands! 

Finally the survey looked at the environmental 

impact of festivals and how better 

use of public transport and greater car 

sharing should be encouraged to further 

reduce the events’ carbon footprint. With 

audience travel being the greatest source 

of festivals’ greenhouse gas emissions, 

attention was also paid to the modes of 

transport used by festivalgoers. 60% of respondents 

travelled by car, of which 44% 

were travelling with three or more sharing 

the car journey - a figure festivals’ are keen 

to improve on. 

Claire O’Neill, AIF general manager and 

co-founder of A Greener Festival said: “It is 

clear that independent festivals make a significant 

contribution not only culturally, but 

also to the local and UK economy” reinforcing 

the point that with over 300 festivals 

taking place in the UK each summer, the 

economic impact on areas of the UK that 

might otherwise miss out is immense, especially 

in the current economic climate. 

AIF Security Task Force Enjoys Successful Debut Season 

The AIF Security Task Force was launched 

some months ago and is already reporting 

significant results in their campaign to 

combat crime at festivals with several key 

arrests disrupting serious criminal activity 

this summer. 

Central to the initiative’s success has been 

the development of a ‘community policing’ 

strategy whereby security personnel are 

billeted to specific zones over the course 

of the weekend allowing them to concentrate 

on their areas and spot potentially 

criminal activity. Tried out at Rock Ness at 

the start of the summer, this strategy was 

an immediate success with reported crime 

down a staggering 95%. 

Encouraging as these results were, security 

managers became concerned that a clamp 

down on crime on-site would encourage 

those involved to move their operations 

to the surrounding areas. To counter this 

threat a secondary team was set up to concentrate 

on the areas around festival sites 

and it was this move that led to several key 

actions against criminal elements. 

Over the summer several counterfeit wristband 

operations were disrupted outside 

festival sites and gathered at each festival 

led to even more positive results at the 

next. By the end of summer the police, acting 

in conjunction with security teams, had 

made several key arrests, in one instance 

apprehending a gang leaving the area of a 

festival in possession of stolen property. 

These early results have proven that not 

only can different security firms work 

closely together but that when festival 

promoters, the police and relevant authorities 

work together unilaterally it is possible 

to deal a major blow against this small 

minority whose sole purpose of attending 

festivals is to commit serious crimes. 

With the intelligence and knowledge 

gained this summer and the successful 

identification and profiling of known 

criminal elements, AIF expects this year’s 

spectacular results to carry through to 

next year when promoters will be even 

better placed to ensure that festival goers 

are able to relax and enjoy their weekends 

in peace and (un)quiet. 

Said Jim King, director of Loud Sound and 

AIF board member, “the number of reported 

crimes per festival capacity has been reduced 

across all the shows that we manage 

this year which has been an excellent result. 

Greater focus on sharing of information 

between festivals, police forces and security 

companies does produce results and the 

work must continue.” 

AIF founder Ben Turner told VIP-News, 

“The security issues that our task force tackles 

were one of the main reasons for launching 

AIF in the first place, so its rewarding to 

see such progress. We hope to bring many 

more festivals into this network to help protect 

our consumers.” 

www.airforg.com 

9 



Fan Funded Music 


One of the topics discussed at Reeperbahn 

Campus was the future funding of music. 

Obviously with the record companies being 

far less able to finance the development 

of new acts then artists and their 

managements are having to look elsewhere 

for the money to support the start 

up and the future of their careers. 

In Hamburg Robert Hacker Jessett of the 

UK band, Morton Valence described how 

he had set up a Joint Venture scheme, 

which enabled ‘friends’ of the act to invest 

in the band’s recording and live projects. 

At a time when it is claimed that one of 

the main factors damaging the music industry 

is the fact that the present generation 

views music as a free commodity, and 

are reluctant to pay for anything, it seems 

strange that these are the very people being 

approached to invest money in artists, 

even stranger ‘fan-funding’ appears to a 

growing and working business model. 

Marillion were probably the first act to 

successfully call on their fans to pay for the 

production of their album in return for a 

variety of special returns, and many others 

have come up with variations on the 

theme. Companies such as Artist Share, 

SlicethePie and Sellaband have set up 

businesses based on the idea and working 

with multiple acts. 

SellaBand launched in Europe in 2006 and 

has recently signed a deal with their first 

established act, Public Enemy, to facilitate 

the fan funding process for the band’s new 

album aiming to raise $250,000 in increments 

of $25.00. Fans will not only receive 

an exclusive, numbered copy of the album 

but will also share in the revenues from this 

upcoming recording. “SellaBand’s financial 

engine model goes about restructuring the 

music business in reverse,” says Public Enemy 

front man Chuck D. “It starts with fans 

first, then the artists create from there. The 

music business is built on searching for fans 

and this is a brand new way for acts to create 

a new album with fans first, already on 

board.” The deal also signals Sellaband’s 

official entry into the US market 

Pledge Music, with a rather different approach 

to those mentioned above, is one 

of the newest Companies to move into this 

sector of the business. The Company has 

been set up by experienced record busi- 

Benjii Rogers - Pledge Music 

ness professionals who will offer continuing 

career guidance to bands whilst advising 

on how best to use the funds ‘pledged’ 

by fans. Pledge Music will take a percentage 

of monies raised but will not ask for 

shares in other revenue streams such as 

live earnings. 

MD Malcolm Dunbar has over 20 years experience, 

holding A&R Director positions 

at three majors and two leading independents 

including Island, Warners/East 

West, Mother/Universal, V2 and Sanctuary. 

With career sales in excess of 40 million 

units, Malcolm has been responsible 

for the signing and development of hit 

artists such as Lloyd Cole and The Commotions, 

Julian Cope, Orange Juice, The 

Christians, Tanita Tikaram, Longpigs, 

Bjork, Idlewild, Liberty X, The Datsuns, 

Dolores O’Riordan, The Rakes, Estelle and 

many more. 

CEO and Founder Benji Rogers is an independent 

musician from London England 

who has been making his own records 

since 1999. He will be releasing his 5th independent 

record through Pledge Music 

under the name Marwood. 

Other executives involved include former 

Rough Trade and Sanctuary marketing director 

Dan Symons; former Warner Music, 

London Records and V2 Records A&R coordinator 

Cecelia Lewis; A&R consultant Rich 

Lynne and A&R scout Ryan Lofthouse. 

Marillion 

VIP-News asked Founder Benji Rogers to explain 

the vision behind Pledge Music: 

10 



Pledge Music’s existence is a response to 

what I personally wanted to see from a music 

company. I never saw selling music and 

being a musician as particularly compatible 

especially as labels seemed to focus 

only on the ‘selling music’ element. After 

years of touring I realised that what music 

fans wanted was to be included, to be 

a part of the scene and close to the band 

and so we created Pledge Music to provide 

this service to both large and small bands. 

We don’t sell CD’s, we don’t sell Downloads 

or Product, we provide artists with 

the tools to let fans purchase exclusive 

content in exchange for their Pledge of 

support. So rather than seeing Pledge Music 

as a traditional fan funding, or crowd 

sourcing site, I see in it’s simplest form as 

a way for Artists to make their music how 

they want to, keep 100% of their rights and 

also to give them the ability to raise money 

for charity. 

Using their ‘Updates’ page, artists can reward 

fans who have Pledged with behind 

the scenes videos, demo MP3’s, photos and 

blog entries that can be either designated 

for Pledgers only or for all to see, or a combination 

of the two. Artists get to write their 

own exclusive menu of exciting incentives, 

from signed CD’s, to names in the album 

credits, to cleaning the tour bus and keeping 

what you find, to DJ’ing private parties. 

As long as it’s not illegal or impossible we 

are fine with that. In the end the artist can 

add value to the music that they make, and 

reward the fans in the process. 

Artists with live followings can maximize 

the exclusive element of the Pledge Model, 

by offering, sound check passes, the 

chance to announce the band from the 

stage, drink the bands rider (we like that 

one!) and exclusive tour merchandise. Also 

I always thought that bands could Pledge 

to make a live album. So their Project could 

read something like: 

“We’ve made a record and we want to 

come and play it for you! Pledge here to 

help us get out on the road, and you will 

receive a copy of our live record once we 

have recorded it, and we will donate a percentage 

of our tour profits to charity. This 

record will be available for Pledgers only 

and we will send updates, along the way 

for you to follow! Since we take no rights 

artists can sell their CD’s and make all the 

profit from these sales. So if they sell a CD 

at a show for £10 they get £10. 

This idea came into being in my Mum’s 

spare room, in the middle of a tour, during 

which I sold out of all my CD’s and T-Shirts, 

had a new record to make and no money 

to make it with. What I did have was fans 

and friends who supported me through it 

all and I was able to reward them with a 

ton of music, video, and photos from the 

studio plus to deliver them a record as it 

left the mastering studio. 

But enough about me! We have devised 

Pledge Music to be transparent and open. 

We have designed Pledge Music to be beneficial 

to all involved. Musicians will get 

the funding and promotional support that 

they need, the fan will get the music that 

they want at the price that they want to 

pay, the studios will get paid half up front 

and half on delivery, and the charities who 

have scant fundraising resources as it is. In 

effect we have sought to create a system in 

which nobody loses. 

www.pledgemusic.com 

11 



thursday 

EUROSONIC 

downtown Groningen 

the Netherlands 

14 

friday 

EUROSONIC 



15 

THE EUROPEAN 

MUSIC CONFERENCE 

AND SHOWCASE FESTIVAL 

www.eurosonic-noorderslag.nl 

saturday 

NOORDERSLAG 

De Oosterpoort 

Groningen 

16 

JANUARY 

2010 

12 



2009 brought us a new record! 

214 shows with 75 european artists from 18 countries performing at 54 etep festivals 

in 20 countries; a grand total of 965 shows by 346 european artists since 2003.... 

thursday 

EUROSONIC 



14 

friday 

EUROSONIC 



15 

saturday 

NOORDERSLAG 

De Oosterpoort 

Groningen 

16 

JANUARY 

2010 

THE EUROPEAN MUSIC CONFERENCE 

AND SHOWCASE FESTIVAL 

www.eurosonic-noorderslag.nl 

13 



UK Festival Conference 


Following the success of the inaugural UK Festival Conference last 

year, the UK Festival Awards board have announced that the second 

annual Conference will relocate to the Vue Cinema within the 

O2 complex, which boasts Europe’s largest cinema screen. 

The event will, it is claimed, be bigger and better than ever and 

will host 500 delegates from across the UK’s festival industry. They 

will discuss issues facing the industry in a series of four sessions, 

which will take place throughout the day of Thursday, 19th November 

and will be a precursor to the sixth annual UK Festival Awards, 

which will take place in the neighbouring IndigO2 that evening. 

Four leading trade publications - Music Week, Live UK, TPi Magazine 

and IQ have developed their own session itineraries in partnership 

with the conference organisers and assembled a panel of 

industry experts appropriate to each topic. 

The sessions will be as follows on the day: 

SESSION 1: 

TPi Magazine and the Production Services Association. 

Title: C’MON THE FEEL THE NOISE: AS LONG AS ITS LEGAL. 

This session will be covering the legislation that governs Sound 

Levels at festivals and how it affects artists, sound companies and 

audiences. Whilst health & safety issues need to be taken very seriously, 

has the audience’s experience been diluted? How can the 

industry work with the authorities to preserve the experience? 

SESSION 2: 

LIVE UK and Bucks New University. 

Title: THE CRIME BUSTERS. 

SESSION 4: 

IQ Magazine and the Music Managers Forum. 

Title: FESTIVAL FUTURES: SEEDING NEW FIELDS. 

Organised pillaging of tents, forged tickets, fake merchandise - 

criminals have been steadily increasing their activities in the world 

of music and festivals, with a particular surge in recent years. But 

this summer, festival organisers and the Police launched initiatives 

to crack down on the gangs and individuals who prey on music 

fans and festival-goers. In this panel, moderated by LIVE UK News 

Editor James Drury, the results are reviewed and industry experts 

discuss how to broaden the fight back. 

SESSION 3: 

Music Week and the Association of Independent Festivals. 

Title: HOW TO SUSTAIN A SUCCESSFUL FESTIVAL BRAND. 

In the challenging economic climate this session aims to address 

issues which are vitally important for festivals across the globe: 

• How to keep your brand contemporary, cutting-edge 

• How to survive a downturn and market over-saturation 

• Why working as a collective like AIF can help in difficult times 

• What to do when your festival hits difficult times 

Looking at how the festival of the future will operate - what pressures 

will be affecting the sector over the next decade? With some 

festivals already funding artist touring, where will festivals sit in 

the music industry landscape? A panel of industry specialists will 

gaze into their crystal balls to ask just how festivals will fare against 

changing technology, changing crowds and a changing industry. 

»The UK festival industry is the most vibrant and 

exciting in the world« 

- Chris McCormick 

UK Festival Conference & Awards co-Director Chris McCormick 

said: “We’re extremely proud of how we have developed this year’s 

UK Festival Conference as we feel that now is such an important time 

for the industry to join forces. The UK festival industry is the most vibrant 

and exciting in the world, but it is essential for the global festival 

industries to come together and network, share information and discuss 

the burning topics that affect this wonderful industry.” 

14 



VIP Interviews 

Michael Bisping of A.S.S. Concerts & Promotion 

Manfred Tari mt@vip-booking.com 

VIP-News: How is the concert business 

these days? 

Michael Bisping: At the moment, still difficult, 

as you are always aware that people 

think twice before spending their money. 

The impact of overly high ticket prices is 

being felt particularly in the case of artists 

that we tour in the country regularly, people 

think, well perhaps we’ll miss them this 

year, we saw them last year, we’ll probably 

go and see them next year, if we manage 

to keep our jobs! 

VIP-News: Do you think that is having a 

dramatic effect? 

Bisping: Well I’m not sure if it is that dramatic 

at this point in time. I know last year 

we all went down 8 to 10 percent on our 

ticket sells, and I have not spoken to any 

company who has not agreed that it has 

been a tough year. I mean we all believe 

that it going to be better next year, but this 

one is not good that is for sure. 

VIP-News: Nevertheless so far the corporate 

companies figures still indicate that 

the business seems to be in pretty much 

the same shape as last year. 

Bisping: I guess partly because of the fact 

that the festival business was still very 

good. 

VIP-News: What is the feedback from the 

local promoters you work with? 

Bisping: Pretty negative in general. The 

view of local promoters is, particularly taking 

last year into consideration; everybody 

amongst the medium size venues or promoters 

expresses the hope that it is better 

next year. It might be different in the big 

arenas but I really doubt that if I look at the 

kind of business shows like Marilyn Manson 

will be doing. 

VIP-News: You just mentioned festivals 

which overall once again managed to do 

very well, do you expect this to be continue 

in 2010 as well. 

»I think that with an overall 

reduction in the number of people 

that investing in music, festivals 

are the real winners« 

- Michael Bisping 

Bisping: Yes I guess so, thanks to global 

warming bringing better weather than 

this year, but seriously, yes, I guess so. 

Festivals are one of the new ways of entertaining 

yourself, and I think that with an 

overall reduction in the number of people 

that investing in music, festivals are the 

real winners. 

Michael Bisping 

VIP-News: Have festivals on the other hand 

have to cope with less sponsoring income? 

Is sponsoring also part of your business 

planning? 

Bisping: No, not often, it depends, with 

some acts, yes, others no. A sponsor is normally 

looking for stadium and the arena 

artists size wise, and as our company operates 

more with medium and smaller sized 

venues, sponsorship is not so much an issue. 

VIP-News: You are undertaking quite a 

lot of efforts to run as green a business 

as possible. Please tell me us a bit about 

this. 

Bisping: Well, that is pretty easy. I mean 

you cannot save the world by trying to 

neutralize carbon emission, but you can at 

least try to not make the problem bigger 

than it already is. So what we try to do is to 

offer every the opportunity to every artist 

to neutralise carbon emissions by raising 

the ticket price in between 13 and 16 cent 

per ticket. That is the amount of money 

that we have calculated to be necessary 

for creating the same sort of amount of 

money that is needed to balance out the 

emission that you have been caused. The 

system is simple. You calculate how much 

carbon emission your tour date or your 

tour in general has produced, then you 

look up how many newly planted trees 

you need to neutralize the same amount 

of carbon emission, and you calculate the 

amount you need to plant this amount of 

trees. If you divide that into the number of 

tickets you expect to sell you come down 

to the previously mentioned calculation 

of 13 or 16 cent per ticket. So that means 

with a very little addition to the ticket 

price you are at least able to neutralize 

the negative effect. This can certainly not 

be the way of the future, generally you 

will have to try not just neutralizing but 

doing away with those sorts of emissions. 

But as of now there are no trucks around 

that run without producing these carbon 

emissions, so the best we can do for now 

is try at least to limit the damage as best 

we can. 

15 


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??????????????????? 

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VIP-News: On your website it says you are 

sending the money to LichtBlick (www.lichtblick.de) 

and CO2OL (www.co2ol.de). 

Bisping: LichtBlick is a different thing. LichtBlick 

just means that whenever and 

wherever we get the chance we use green 

energy sources or nuclear free power and 

stuff like that. 

VIP-News: Why did you choose these organisations, 

can you tell us something 

about them? 

Bisping: To be honest. It is partly because 

in the course of our business we were being 

contacted by bands and their PR department 

involved in this who are just friends 

of ours and we actually looked into this a 

little bit to see what these companies are 

doing a that they are doing a good job. 

VIP-News: Are there any new record company 

situations taking on CTS Eventim 

business models (moving into live) and affecting 

on your business? 

Bisping: Not more than I have already complained 

about. A couple of labels are thinking 

in terms of cooperation, some think of 

doing it themselves or buying or founding 

companies There is no new information really 

and the situation has not changed. 

»In general Internet promotion 

becomes more and more valuable 

and the standard ways of 

promoting cannot live without it« 

- Michael Bisping 

VIP-News: Do you think that the whole issue 

will become bigger or is it still in development? 

Bisping: I think it is still early days. 

VIP-News: So there are no more product 

managers calling you and asking for a 

share of your sold tickets? 

Bisping: No, not yet. 

VIP-News: Has anything changed in terms 

of how you go about promoting your 

shows and tours? 

Bisping: It all depends on what kind of 

timeframe we are looking at. I mean in 

general there are no changes within the 

next couple of months. In general Internet 

promotion becomes more and more 

valuable and the standard ways of promoting 

cannot live without it. But you 

probably have to add a certain amount 

of money for internet promo and for cooperations 

with internet web sites and 

so on. 

VIP-News: Are there any noticeable changes 

in consumer behaviour when buying 

tickets for tours and concerts? 

Bisping: Yes, at least in terms of our own 

tours, that means the medium sized tours. 

It used to be that you sold perhaps at least 

eighty percent of the tickets by the last 

ten, fourteen or whatever days before the 

show. Now you usually end up with scenarios 

where you’ve only sold 50 percent 

by this period, this does not mean that you 

don’t sell the remaining 30 or 40 or even 

50 percent by the date of the concert, but 

in general people are buying very, very 

late. That means they are obviously thinking 

twice about whether to go and buy or 

not and deciding at the last minute, and 

more people are again starting to buy at 

the door. 

Having the right tools for the job is often the key to success. Through our ongoing communication with key Live 

Entertainment Industry Professionals, we have developed a range of services to meet the demands of agents, promoters, 

talent buyers, venue bookers etc. It’s no coincidence that we are now considered to be the No. 1 information 

provider for this thriving industry. 

?????????????????????????????????????????????????? 

??????????? 

????????? 

???????????????? 

??????????????? 

?????????????? 

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VIP-Booking.com 

VIP-Booking.com is now the most widely used online 

information service for the European Live Entertainment 

Industry with subscribers in over 25 countries. Using the latest 

technology and state of the art tools, the service provides indepth 

information streamlining the day-to-day operations of 

industry professionals, saving both time and money. 

The VIP-Book 

The ultimate print directory for the European 

Entertainment Industry, packed 

with contacts and easy to use. An essential 

reference book for every office 

providing basic contact information 

and a solid overview. 

VIP-News 

Written by our highly merited journalists, Allan 

McGowan and Manfred Tari, with over 50 

years of experience between them in the Entertainment 

Industry, VIP-News brings the latest 

news and views directly to your computer 

keeping you up to date at all times. 

VIP-BOOKING.COM THE VIP-BOOK VIP-NEWS 

16 



17 



ADE 2009 – Full House(s) 


Sold out for the third year in a row the 

Amsterdam Dance Event has become the 

leading European trade event for the international 

dance music community. Once 

again the event sold out in advance and 

set a new record with a total visitor figure 

of about 2100 delegates. 

ADE is housed in the historical Felix Meretis 

building. In order to accommodate more 

visitors the organisers of this trade event 

made an arrangement with the nearby 

Dylan Hotel. But even with this extra space 

the number of music industry representatives 

that wanted to attend exceeded the 

available capacity. 

Besides the question of room capacities 

the ADE organizers had also added another 

day to the event. For the first time the 

Wednesday was used to launch a new conference 

program entitled “Music & Bits”. 

With seven panels this program was dedicated 

to two peer groups, on one hand the 

virtual technology nerds, on the other, the 

music nerds. 

However, once ADE started it was just as in 

the past, generating that very special ADEvibe 

that appears to be the fuel that drives 

this conference. This energy is first referred 

to in general manager Richard Zijlma’s editorial 

introduction to this unique convention, 

which concludes, “You’re A Winner!”. 

The welcome in the ADE Guide advises 

delegates,” So now you are here, as a winner, 

so we expect you to act like one. So 

come on over, smile bring your music and 

let’s dance!”, this statement turned into 

something of a self-fulfilling prophecy. 

Within its conference program ADE delivered 

a wide range of topics and issues 

that concern the dance music community. 

Far too many to mention them all, but the 

titles pretty much reveal what currently 

moves this business. 

‘Do DJ’s need Managers?’, ‘App-Earance: 

To App or Not To App’ a panel about media 

applications that enrich web and mobile 

services, ‘The Artist Debate’ an evergreen 

ADE panel, and many so called master class 

sessions with established industry folks 

such as Eric Harle, the manager of Moby, 

Peter Hook (New Order), Mike Banks (Underground 

Resistance), Carl Craig (Planet 

E), Richie Hawtin, Derrik May, etc.. 

Dietmar Schwenger of the German trade 

magazine Musikwoche interviewed Eric 

Harle and did well in eliciting information 

that helped the audience to understand 

the conversion the entire music industry is 

currently undergoing. Harle said he structured 

his management company D-E-F 

Management like a record company, with 

departments for A&R, Promotion and Business 

Affairs and answered the question 

about 360 degree deals simply saying “I 

don’t understand them”, a statement that 

speaks for itself. 

Regarding such statements it must be said 

that several speakers produced meaningful 

conclusions at this years ADE, besides 

others that using ADE primarily to promote 

themselves (That’s the business 

we’re in! - Ed.). 

But let’s consider the more meaningful 

speakers such as Peter Hook, former bass 

player of Joy Division and New Order, interviewed 

by Eric van den Bogaard, editor 

in chief of the Dutch Magazine DJ Broadcast. 

Van den Bogaard also did very well 

and obviously managed to supply Hook 

with the right questions, allowing him 

to score with statements such as ‘Record 

companies do not promote their artists 

anymore!’. When asked what kind of marketing 

Hook and the other owners of the 

famous Hacienda did in Manchester, he re- 

ADE 2009 - Photo by Mike Breeuwer 

18 



torted, “We didn’t do marketing because it’s 

anti-punk!” Hook also explained the main 

difference between the pioneer years and 

what goes on today; in the late 70’s when 

he started his career there almost was no 

competition, while today there is huge 

competition in almost every sector of the 

music industry. 

Other legendary appearances for ADE 

2009 were the Q&A session with Mike 

Banks of Underground Resistance and 

the DJ and producer Carl Craig. Both are 

from Detroit and really liked New Order’s 

1983 rave hit Blue Monday, which Peter 

Hook referred to in the previous session, 

saying, “When we did Blue Monday we 

never thought that this song was going 

to be the end of our problems.” (Presumably 

he is referring to financial problems 

as this was and still is a huge selling record. 

– Ed.) Craig emphasized the impact 

Kraftwerk’s ‘Trans Europa Express’ had on 

him in 1977, Banks at that time assumed 

that Kraftwerk were robots! In reference 

to Detroit and its social problems, Craig 

expressed a conclusion, which could be 

considered essential for everybody in favour 

of a policy dedicated to the support 

of the so called Creative Industries when 

he said, “Make something out of nothing, 

that’s creativity”. 

Towards the end of this session Mike Banks 

concluded that he sees, “…a mutation 

coming” meaning that there is a new music 

scene on its way to further the evolution 

of music. This sentiment more or less 

summed up the attitude of ADE 2009 and 

it’s delegates. 

Mike Sheridan, a fresh young fellow from 

Denmark, who celebrated his 18th birthday 

one day after ADE, is certainly in agreement 

with this prediction: 

Mike Sheridan – Teenage Kicks at ADE 

VIP-News: What are your first impressions 

of your first Amsterdam Dance Event? 

Sheridan: A lot of people I do not know 

standing around and chatting, trying to 

blend and trying to meet and greet. I am 

really just here to play. I played yesterday 

at the ADE Network Bash and I was in panel 

about teenagers being well contacted and 

how they could get their music out. Thanks 

to my agency Agent Audio I am playing tonight 

in a club here, which actually is my 

first proper club gig in Amsterdam, so I am 

looking forward to this. I heard it was really 

busy at the club yesterday with people 

packed in like sardines. I think tonight 

is going to be a perfect club night and 

I am going to have a very good time as I 

brought some really good records. 

Mike Sheridan 

VIP-News: What about your business proposals, 

did you gain any business yet? 

Sheridan: Well this is my first year, and I remember 

my first year at Sonar, where I just 

was just hanging around and listening to 

the music, eventually I met some people. 

I met a lot of people yesterday and here I 

am standing here talking to you as one of 

them. 

VIP-News: But this is an interview. It is not 

about me, it is about you. 

Sheridan: Well I am around people all the 

time, but I do not have any business expectations 

right here. This is just the chance to 

hang out. 

VIP-News: Nevertheless how does business 

looks like for youngsters like you these 

days, I mean business that makes you a 

living from music? 

Sheridan: Business is actually going quite 

well. Last year I released a record in Denmark, 

which introduced me as one of the 

most successful artists debut releases 

ever, with sales of 10, 000 copies. In Denmark 

you normally sell 1500 records, and 

there is only one artist that sells more than 

100,000 copies so that is good, it is no 

joke. Being fairly unknown and able to sell 

10 000 gains you some attention. I have 

made music for a ballet, I made music for a 

film score this winter, I am working twelve 

hours per day and have been doing this 

for almost six months now. So I guess that 

means that business is good. 

VIP-News: Are you managing yourself? 

Sheridan: Yes, I am. I have a few people to 

help me in Copenhagen and I have Olga 

from ID & T here in Holland to help me with 

the big international deals as I am trying to 

get a little bit into this as well. I have some 

good people around me that I can count 

on when I need some good advice. 

VIP-News: Who is looking after your bookings? 

Sheridan: Agent Audio here in Holland 

and I have a small booking agency in Den- 

19 



mark called KLM and I do bit of booking 

myself as well. 

VIP-News: Have you already had, or are 

you are aiming for, shows in the US or 

Asia? 

Sheridan: Not yet, but I assume this could 

be fun… 

VIP-News: Are you pleased with the income 

you gain through recorded music, 

especially on money you make on download 

sales? 

»I said to hell with that and did 

it myself, and went out and found 

an independent distributor. 

After selling 10,000 records I 

think that was definitely the best 

way for me to do it« 

- Mike Sheridan 

Sheridan: There are several ways that you 

can do this. You can sign with a label and 

get your 18 percent on what is left after 

break even, but that is not the way I choose 

to do it. At some point all the record labels 

lined up in a row and said I have to choose, 

they all are interested in releasing my debut 

album. I said to hell with that and did 

it myself, and went out and found an independent 

distributor. After selling 10,000 

records I think that was definitely the best 

way for me to do it, and I made a good income 

from that. I mean I can live off that 

for a year. 

VIP-News: What about marketing spend? 

In former days record companies used to 

pay therefore… 

Sheridan: I mean Denmark is such a small 

country, if you sign with a record label, 

for me marketing money is less. Just say 

you get a deal for about 100.000 Danish 

krones, that is 13.000 Euros, out of that 

half goes to marketing. That just means 

it will take a longer time to get to the 

break-even point, which means if I am 

on a 50-50-deal with record label that 

means it takes a hell of lot more time to 

get to the point where you start getting 

some money. I do think marketing money 

is necessary at some point yeah but 

again I used exactly zero Danish Krones 

on marketing spend in my whole career, 

and I still sold 10 000 records and I played 

everything in Denmark I could and have 

done everything a human being could do 

without ever spending a Dollar or Euro for 

marketing. 

VIP-News: What do you get for a DJ show? 

Sheridan: In Denmark about 3000 to 4000 

Euros a night. 

VIP-News: Well done. And abroad? 

Sheridan: It is a little less because I have 

not put my record out here yet. But I really 

think this is just about playing some 

records and having a good night out, and 

getting a good hotel or something. As 

long as I don’t go below zero income out 

of this,then it is fine with me and I can play 

everywhere. 

For further information please check: 

www.myspace.com/mikeosheridan 

Mike Sheridan was one of more than 700 

artists that played at the ADE-Festival. 

According to the organisers round about 

90.000 visitors visited 41 various clubs and 

venues. But first and foremost Sheridan 

was one of the many artists that visited 

ADE, a fact that is especially meaningful 

for Richard Zijlma, the general manager 

for this event. 

Richard Zijlma – Passionate and Pleased 

VIP-News: Are you pleased with ADE 2009? 

Richard Zijlma: Yes, we are really happy 

and we are proud to have an edition like 

this. It is always a challenge to achieve an 

event like this. The whole team worked so 

hard and we are pleased by the support 

ADE receives from the industries, the clubs 

and the artists of course. I think we managed 

to have a great edition this year. 

VIP-News: I totally agree. But I have heard 

some people saying that the festival 

structures need to be improved for 2010 

because some of the shows were not so 

well attended. Also unlike other conventions 

the festival programme compiles itself 

due to the fact that the local promoters 

are booking the acts themselves. Are 

you going to maintain this concept or do 

you think you need to change one thing 

or another? 

Zijlma: There are certain things we have 

already changed. We are more and more 

in discussion with the clubs, so it seems 

that we are going to have more of a core 

program that we going to focus on. If you 

take a look at the program it is already very 

impressive and we are definitely already 

on the way to improving it. 

VIP-News: You said one remarkable thing 

about attracting many creative people here 

as well as business people. My impression 

of the ADE 2009 was that many settings 

have been already very hugely improved 

compared to former editions, which were 

already quite good. You have now reached 

a certain level and with the Dylan you have 

expanded the capacity of the event, how are 

you going to prceed for 2010 and beyond? 

Zijlma: I think it is always difficult to analyse 

the whole situation structure if you 

are in a really successful position, because 

if you are in a successful position you will 

normally decide to keep the status quo 

and try to modify things a little bit and to 

improve. On the other hand we had to refuse 

quite a lot of people and I really have 

to make my mind up about this situation. 

There is not really a different angle for 

me to move to, at the moment I think we 

would like to stay where we are. 

VIP-News: Do you already have some 

figures, I have the impression that more 

Americans are here than in the last two 

years, am I right? 

Zijlma: I think ADE is now more on the 

United States map and US-people are 

always overwhelmed about what is happening 

over here. For them it always was 

a very good market for DJ’s and Dance 

Music, it seem to me that the Americans 

20 



like ADE and that they interested in coming 

back, so I definitely assume that more 

Americans will be attending in the upcoming 

years. 

VIP-News: You told me about the meeting 

with the mayor of Amsterdam, how did 

that go? 

Zijlma: Really well, because we did not talk 

about dance music. It is always good when 

you feel that you have something in common 

with someone who believes in music 

and culture. Well, he is probably not into 

Dance Music but I guess this isn’t a problem, 

because if you walk around the city I 

guess people recognise the positive ADE 

vibe, and note that it is obviously a high 

international level event. 

VIP-News: What else comes into your mind 

that made this edition so special? 

»On Wednesday I already had 

the impression that this edition 

would work out very well« 

- Richard Zijlma 

Zijlma: The Wednesday turned out to be 

a fantastic opening stage. This surprised 

even me, the atmosphere was almost perfect 

straight away, and I think everybody 

sensed it. Maybe like a football game 

where you could feel right from the kick 

off ( he clicked his fingers while saying this) 

that something special is going to happen. 

On Wednesday I already had the impression 

that this edition would work out very 

well. With Music & Bits we had a special 

conference program focusing on technology 

and music that brought new people 

in. Technology these days is very important 

because it changes the consumption 

and the distribution of music, how artists 

use technologies even changes the making 

of music. We tried to highlight this 

on Wednesday and the electronic music 

scene is really upfront when it comes to 

these developments. 

VIP-News: Do you expect that what started 

on Wednesday will become more a part of 

conferences and ADE especially? Will you 

turn to other industries in terms of software 

development, IT or Games or whatsoever, 

and does this already show the 

new face of the music industry in the new 

century? 

Zijlma: Yeah, definitely! You could see 

that this matters for the whole industry. 

You can talk about the developments of 

the consumption of music, developments 

in producing music, you can talk about 

making money with music and the artistic 

value of music. There are big issues to be 

discussed. 

VIP-News: Of course that also goes for other 

music styles as well. So what about the 

basic foundations of ADE such as Buma 

Cultuur, being one of the main supporters 

of this event? Are you happy with this, 

and do you expect that this will continue? 

ADE, amongst the other Buma Cultuur 

projects is certainly the tip of the iceberg 

as it could seen as very meaningful event 

in terms of how a copyright collection society 

supports young artists, and also open 

up doors for them to expand and develop 

their business. 

Zijlma: I thing it is very important to be 

aware of copyrights issues and looking 

after them along with everybody who is 

into music and the music business itself. 

I strongly believe that the artists should 

benefit from their work. But besides this it 

is also pretty important for Buma to promote 

Dutch Music on international level 

through a platform such as ADE. 

VIP-News: Are you pleased with the ADE 

media coverage in the Netherlands? 

Zijlma: Yes, I am. I am really aware that 

Electronic Music and Dance Music is still a 

niche, it is important to know that and that 

Richard Zijlma 

ADE won’t be front-page news for four 

days in a row. But all the relevant media 

wrote a lot about it, all the Dutch radio stations 

have already covered and promoted 

ADE for weeks now, so this promoted some 

extra awareness from other media both in 

the Netherlands and internationally. 

What else can be said. ADE performed very 

well. Over the years it has developed a high 

standard for its visitors. Iin former days ADE 

provided turntables and CD-players in its 

network lounges, today it’s multi media 

stations where visitors can play and screen 

music. This is all besides the many other efforts 

that ADE makes to perhaps provide 

its visitors with one the USP’s (Unique Selling 

Points) that makes this conference so 

different from other conventions. The high 

number of delegates underlines the fact 

that the ADE settings that even work in 

difficult economic times, meet the needs 

of its visitors, and with this in mind, this 

year’s edition of ADE furthermore proved 

that things within the international Dance 

Music community seem to be in very good 

shape. 

We have one more ADE-interview and 

another report on the ADE Network Bash 

that will be published in the next issue of 

VIP-News. Until then just keep this years 

figures of ADE in mind: 

Festival visitors: 90,000. 

Conference visitors: 2.100 (sold out) 

ADE Next visitors: 400 (sold out) 

Nationalities: 46 

Artists: 700+ 

Clubs/venues: 41 

Journalists & Media: 211 

21 



Business News 


The Merger –Questions & Patience 

For quite a while things in the news have been quiet regarding the proposed 

merger between Ticketmaster and Live Nation. But in recent weeks there are many 

signs indicating that at least backstage something is going on. Reports that cartel 

authorities in the UK and the US have concerns about this mega-merger have led 

to various media speculations, leading to sinilarly speculative movements in the 

markets. 

In a Reuters report it even says that this deal is test case for the Obama administration 

and its policy when it come to fusions between companies that may then 

dominate a market. Obviously instructed by proper pr-activities, nameless company 

insiders have spread the news that both companies are undertaking serious 

efforts to fulfil whatever the regulators stipulations and requirements may be, in 

order to receive the permission to complete the merger. 

A report by the British newspaper, The Independent, says that UK regulators fear 

that the deal will “limit the development of competition in the market for live music 

ticket retailing”. Christopher Clarke, the deputy chairman of the British Competition 

Commission is quoted as saying, “We believe that, if the merger proceeds, Live Nation 

will seek to limit its relationship with CTS, with the effect of putting CTS’s future prospects 

in the UK in considerable doubt.” 

In almost every article it mentioned that there are strong concerns about this merger, 

whether by artists such as Bruce Springsteen or cartel authorities. This certainly 

causes a fragile momentum for the share prices of those companies. 

The share price of Live Nation went up in the last three months. But looking in detail 

at the prices reveal that since the end of July it went up from $5.94 (July 27), rose to 

$8.78 by mid September and since then dropped to $7.19. 

Almost the same situation applies to the Ticketmaster share, from $7.79 (closing 

price on July 27) up to $12.48 on September 22 and then downwards to $10.59. 

Only the share of CTS Eventim seems to have gained in the recent weeks, even if its 

price curve reveals some blips in September and mid-October. From 29.80 Euro up 

to 34.00 Euro, interrupted by downers such as the latest one on October 16 when 

the share went down to 32.00 Euro. 

These fluctuations reflect how much uncertainty this merger causes. But at least 

on November 24 the reactions of the financial markets will reveal something more 

concrete when the decision of the US- Department of Justice on their view of the 

intended take over of Live Nation by Ticketmaster will be announced. 

22 



artist avails ›› 

Lady GaGa 

Territory: Europe 

Period: Spring 2010 onwards 

Agency: WME - London 

Agent: David Levy 

Phone: +44 20 7534 6800 

E-mail: dsl@wmeentertainment.com 

Homepage: www.ladygaga.com 

Dionne Warwick & Group 

Territory: Tours Europe 

Period: Late November 2009 

Agency: Diamond Artistes 

Agent: Denis Vaughan 

Phone: +44 (0) 207 486 5353 

E-mail: dvaughanmusic@dial.pipex.com 

Cushh 

Territory: Worldwide 

Period: On Going 

Agency: Mission Control Artists Agency 

Agent: Craig D’Souza 

Phone: +44 (0) 207 252 3001 

E-mail: craig@missioncontrol.net 

Homepage: www.missioncontrol.net 

Cyndi Lauper 


Period: June 2010 


Agent: Sheraz Qureshi 

Phone: +44 20 7534 6800 

E-mail: squreshi@wmeentertainment.com 

Homepage: www.cyndilauper.com 

Sweet 

Territory: Worldwide 

Period: Generally Available 

Agency: ABS Agency 

Agent: Nigel Kerr 

Phone: +44 208 399 3474 

E-mail: absagency@btconnect.com 

Homepage: www.thesweet-now.com 

Massive Attack 


Period: 2010 


Agent: David Levy 

Phone: +44 20 7534 6800 

E-mail: dsl@wmeentertainment.com 

Homepage: www.massiveattack.co.uk 

More Artist avails on: 


Post your Artist avails on: 


23 



readers page ›› 

Speak out - participate in the debate. The VIP-News Reader’s-page is open for letters and contributions from readers. 

Consider the VIP-News Reader’s-page, as your “speaker’s corner” towards professionals in the entertainment industry all 

over Europe. The purpose of the Reader’s-page is to encourage more interaction and to allow our readers to voice their 

opinions about the many aspects of our industry. Contributions should be emailed to readerspage@vip-booking.com. 

Nordic Export Offices Collaborate on Regular UK 

Showcase Club Night 

The effective cooperative work of the Nordic Export Offices 

(NOMEX) represented by; Export Music Sweden, Music Export 

Denmark, Music Export Finland, Icelandic Music Export and Music 

Export Norway continues with the establishment of JA JA JA 

(Yes,Yes,Yes in Nordic!) is a new monthly club night in London 

showcasing the best emerging talent from these Nordic countries. 

The night aims to provide a strong independent platform 

where new ‘export ready’ artists across multiple genres are able to 

showcase their music to key British music industry professionals, 

media, tastemakers and punters alike. 

JA JA JA aims to draw attention to Nordic talent on a monthly 

basis and has chosen London as its location because of the high 

concentration of industry professionals and international media. 

Each night will feature specially invited British curators who will 

program the final line-up. Artist submissions from the various 

Nordic countries will be reviewed by the respective export offices, 

who will produce a shortlist based on ‘export readiness’. The guest 

curator will then select his favourite 3 artists for the night. 

The central London venue will be The Lexington in North London. 

A launch party , which Vip News will attend, will take place on 

November 19th featuring performances by bands selected from 

a shortlist by Huw Stephens of BBC Radio 1 Introducing , Francis 

(Sweden), TV Off (Finland), I Was a King (Norway) and Kira Kira 

(Iceland). 

The night will be promoted at The Lexington by Matty of White 

Heat fame, with publicity and marketing by Charm Factory. A 

website is about to be announced by The Creative Corporation. 

Individual managers & industry professionals working with participating 

artists will be the point of contact for those with further 

interest - details will be available on the JA JA JA site. 

JA JA JA is an initiative supported by the Nordic Export Offices 

JA JA JA – A Nordic Affair 

www.jajajamusic.com 

www.twitter.com/jajajanordic 

www.myspace.com/jajajanordic 

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. 

24 


VIP- News - August - October 2005 2009 

notice board ›› 

Another new service in the improved and redesigned VIP-News is the Notice-board, which is available for all readers. 

Reader’s messages will be posted on the Notice-board as a free service, passing on announcements, job postings, buying 

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

25 



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 

Cult Concerts Agency GmbH 

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

and mainly international artists in Switzerland and Europe. Cult 

Concerts Agency and Black Lamb Productions have now become 

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

Our clients include The Metropop Festival, Sound Arena, Baregg 

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

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

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

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

The Tours and off-dates: 

We act as local promoters for international acts performing in 

Switzerland, either on the promoters requests or on agent¹s request. 

Our job is to look for artists for the clubs/venues/promoters/special 

events/festivals or to look for places to play for the Artists 

on tour. 

We also are exclusive booking agents for several Swiss and International 

acts. 

The Festivals, corporate and special events: 

We have exclusive deals with some of the most important festivals 

in Switzerland as well as with a growing number of corporate 

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

the making of the programme to the coordination of the overall 

organisation, Production Management, Artist Relations, Backstage 

management (dressing rooms & catering), Artist Transports, 

Press Office, Security, etc. 

Management & publishing: 

We are managing and taking care of the publishing of some artists. 

Future developments: 

We intend to consolidate our position on the Swiss market in 

terms of festivals and corporate bookings as well as developping 

our booking activities for Swiss and International acts in Europe. 

About Our Company 

VIP-Booking’s core product is the Internet’s oldest and largest database 

for the European Live Entertainment Industry www.vip-booking.com 

developed as a tool for industry professionals. Since it’s 

launch in the year 2000, we have consistently offered our subscribers 

the very best in database services and now boast subscribers in 

over 30 countries. 

Today VIP-Booking offers a range of tools for the industry – including 

VIP-News, VIP-Booking, VIP-Book and VIP-Contract. 

Please visit vip-booking.com for further information. 

Your comments and suggestions are always appreciated. 

® 

vip-booking.com 

26 

VIP-BOOKING.COM 

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