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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

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26 York Street

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Managing Director:

Ronni Didriksen

General Manager:

Peter Briggs

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


Allan McGowan

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


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


Manfred Tari

For advertising enquiries pls. contact

Peter Briggs

or +44 870 755 0092


Pekaye Graphics, Phuket – Thailand

The Happy Mondays



VIP- News - October 2009

German Conferences 2009

– A Continuing Tale of Three Cities

Allan McGowan

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


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



VIP- News - October 2009

Reeperbahn Festival & Campus

Allan McGowan

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


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:

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



VIP- News - October 2009

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.

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.”



VIP- News - October 2009

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VIP- News - October 2009

Second Sonic Visions Conference for Luxembourg

Allan McGowan

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


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:

Olivier Toth - Photo by Rockhal

Quart Festival Goes Bust - Glastonbury 2010 Sells Out

Allan McGowan

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


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


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



VIP- News - October 2009

The Association of Independent Festivals Release


Allan McGowan

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



VIP- News - October 2009

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


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


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


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.”



VIP- News - October 2009

Fan Funded Music

Allan McGowan

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.


VIP-News asked Founder Benji Rogers to explain

the vision behind Pledge Music:



VIP- News - October 2009

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.



VIP- News - October 2009



downtown Groningen

the Netherlands




downtown Groningen

the Netherlands







De Oosterpoort







VIP- News - October 2009

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....



downtown Groningen

the Netherlands




downtown Groningen

the Netherlands




De Oosterpoort









VIP- News - October 2009

UK Festival Conference

Allan McGowan

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:


TPi Magazine and the Production Services Association.


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?


LIVE UK and Bucks New University.



IQ Magazine and the Music Managers Forum.


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.


Music Week and the Association of Independent Festivals.


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.”



VIP- News - October 2009

VIP Interviews

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

Manfred Tari

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


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


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


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.















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





VIP- News - October 2009

VIP-News: On your website it says you are

sending the money to LichtBlick (

and CO2OL (

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.







??????????????????? 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.


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- News - October 2009



VIP- News - October 2009

ADE 2009 – Full House(s)

Manfred Tari

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



VIP- News - October 2009

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


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-



VIP- News - October 2009

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


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


»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


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


For further information please check:

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



VIP- News - October 2009

like ADE and that they interested in coming

back, so I definitely assume that more

Americans will be attending in the upcoming


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


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


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


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



VIP- News - October 2009

Business News

Manfred Tari

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


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.



VIP- News - October 2009

artist avails ››

Lady GaGa

Territory: Europe

Period: Spring 2010 onwards

Agency: WME - London

Agent: David Levy

Phone: +44 20 7534 6800



Dionne Warwick & Group

Territory: Tours Europe

Period: Late November 2009

Agency: Diamond Artistes

Agent: Denis Vaughan

Phone: +44 (0) 207 486 5353



Territory: Worldwide

Period: On Going

Agency: Mission Control Artists Agency

Agent: Craig D’Souza

Phone: +44 (0) 207 252 3001



Cyndi Lauper

Territory: Europe

Period: June 2010

Agency: WME - London

Agent: Sheraz Qureshi

Phone: +44 20 7534 6800




Territory: Worldwide

Period: Generally Available

Agency: ABS Agency

Agent: Nigel Kerr

Phone: +44 208 399 3474



Massive Attack

Territory: Europe

Period: 2010

Agency: WME - London

Agent: David Levy

Phone: +44 20 7534 6800



More Artist avails on:

Post your Artist avails on:



VIP- News - October 2009

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

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


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

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, including name and email address.

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

as many notices as possible.



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



VIP- News - October 2009

Member presentation ››

In this section we offer members of some space to present their company to VIP-News readers.

If you would also like to present your company please contact Peter Briggs at

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


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

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 for further information.

Your comments and suggestions are always appreciated.




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


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