News - VIP-Booking

News - VIP-Booking

VIP- News

premium ›› Vol. 121 ›› JANUARY 2010

McGowan’s Musings:

Unfortunately we cannot bring you the

first News of 2010, without first giving

some thought to those in Haiti for whom

things could hardly be any worse following

the disastrous earthquake, we can only

hope that much needed aid continues to

get through and that a more than terrible

situation improves. There are various music

industry benefit events being planned

and we urge you all to get involved and to

let us know of anything you are doing so

that we can spread the word.

So – back to matters that seem relatively

unimportant in comparison to Haiti’s massive

problems, but are after all, what we do.

There was a point last week where I was resigned

to not making it to Amsterdam and

therefore not getting to Groningen for the

many and varied things that I was due to

do at Eurosonic Noorderslag. Getting out

of the house was the first problem as the

pavements were just sheets of ice. OK, OK,

I know a lot of you have much more snow

and it’s always a lot colder every winter

than here in the South of England and it

just sounds like whinging – but we’re just

not prepared for it! What with delayed

trains and closed airports it wasn’t looking

good, however, because of an involvement

with the first ever European Festival

Awards (see report in this issue) I left a

day earlier and lo and behold – all went

smoothly! No such luck for those leaving

from the UK the day later – including

the whole of the press contingent – flight

cancelled signs was all they got – so apart

from a hardy and intrepid few (that’s an-

Allan McGowan

other story!) – they had to wait till the following


But in the end, as you will read in this News

all was fine, and a sold out and particularly

productive edition of the year’s first major

Conference and Festival went ahead

pretty much as planned. Unfortunately

the keynote interview with US blogger supreme

Bob Lefsetz, did not take place. Any

of you that read the Lefsetz Letter will be

aware that Bob has been diagnosed with

leukaemia and was advised not to travel;

all at VIP-Booking wish him well.

Talking of the weather, we Brits apparently

talk of little else, it occurred to me that

although we usually talk of outdoor festivals

as the events which suffer from the

effects of increasingly erratic weather patterns,

many indoor gigs of all sizes must

have been disrupted by the recent snow

that has beset much of northern Europe.

Particularly in those areas unused and

unprepared for heavy and extended cold

weather, snow, and the aftermath, even

if the act makes it many of the audience

can’t or will not even try, so some venues

must be struggling to cover their costs,

and I doubt that their insurance would

cover any of this. If you have direct experience

of this please let us know and we’ll

feature the stories.

We can’t let this first news of 2010 be all

bad, and in fact it isn’t, this year’s first major

conference and showcase event was

very positive. Firstly Eurosonic Noorderslag

sold out, and those that attended were

there to do business, during the day the

panels were full, and in the evening the

venues were packed. There were some

great bands, I particularly liked Stornaway

and Everything Everything, but

many new acts were being talked about

in glowing terms. The conclusions of the

20:20 panel which brought together four

high level professionals with many years

of experience in the music business and

four ‘newcomers’ in their 20’s underlined

the fact that neither side were despairing

about the industry, and music, getting on

with the job, and the future, are still what

matters. There was even some good news

about recorded music, according to IFPI

Sweden music sales in the country posted

a big turnaround in 2009; music sales were

up 10.2% -- the first increase since 2000.

So, on that positive note, Ladies and Gentlemen

– the News!

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VIP- News - January 2010

c/o pop And Reeperbahn Festival

Enter Into Cooperation

Allan McGowan

The ongoing saga of the music conferences

in Germany which kicked off last year

after the cancellation of Popkomm and

the stepping up of activity by the other

German events to fill the gap and attract

the displaced delegates takes another

turn with the announcement of a first time

cooperation between c/o pop Festival &

Convention (23-28 June, Cologne) and the

Reeperbahn Festival and Campus (23 -25

September, Hamburg)

The first public display of this cooperation

took the form of a ‘business brunch’

in Groningen at the Eurosonic Festival on

January 15, 2010. Having been asked to say

a few words at this event I was happy to say

that I felt that this working together could

only be considered as a good thing by the

international business community as Germany

is obviously a large and important

territory that should certainly be capable

of sustaining more than one trade event,

particularly if they displayed different

characteristics. c/o pop CEO Norbert Oberhaus,

obviously agrees and stated, “This

cooperation is a reflection of the fact that the

decentralisation of music industry activities

in Germany is something else which has the

potential to open up a world of new chances

and opportunities. We would also like it to be

a clear signal to our international partners.”

The name of the third big city event was

however not to have its name spoken at

the brunch!

The Reeperbahn Festival is to present a

showcase night at this year’s c/o pop, and

in return, c/o pop will develop new discussion

panels which will take place both during

the c/o pop Convention in Cologne and

at the Reeperbahn Campus in Hamburg. In

addition, both festivals intend to expand

their international partnerships and have

already developed a special affiliation

with the Icelandic conference “You are in

control”(1-2 October, Reykjavik). Icelandic

representatives will come to Germany to

present a taste of the country at the two

German festivals, while the Reeperbahn

Festival and c/o pop are to organize joint

panels and showcases in Iceland.

Colophon ››

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Cologne On Pop GMBH

At a Press Conference in Cologne on the

19th January plans were revealed for Cologne

Music Week 2010. For the second

time c/o pop will present a compressed

winter edition of the festival to coincide

Norbert Oberhaus

with the IMM furniture and interior design

fair and the »Passagen« Design Week.

The seventh c/o pop – Festival & Convention,

will move from its traditional date,

this year it will take place at from June 23

– 28. MD Norbert Oberhaus believes that

new date brings with it some great opportunities.

As well as enabling more international

industry representatives to attend,

an event outside the holiday period also

means that universities can be integrated

into the conference programme more easily

and makes possible collaboration with

the media forum

Oberhaus added that the festival and industry

gathering’s new home, Cologne’s

Rheinparkhallen, has finally brought c/o

pop longer term planning security and

that as well as being an attractive new

venue for concerts, it also provides ideal



VIP- News - January 2010

conditions for the further development of

the c/o pop Convention. Despite the financial

crisis, c/o pop has been able to retain

existing partners and acquire new sponsors

and is now able to plan for the next

few years. Thanks to the establishment of

the network Sound of Cologne and the

company’s move to the new creative centre

cc4711, the foundations of Cologne’s

creative industry are now considered to be

better networked than ever before.

»We want to become the most

important platform for the entire

creative industry in Germany«

- Claudia Jericho

The new head of the music festival, Tobias

Thomas, hopes first and foremost that the

structural changes will create new synergies

between the concert and conference

programmes. He believes that as the Convention

becomes increasingly geared towards

the creative industry as a whole, the

festival programme too will receive new

impulses. Not only will the fashion/music

format ‘Chic Belgique’ be continued, a

similar cooperation with Cologne’s design

scene is also being planned.

Once again, unusual venues are the order

of the day and successful modules such as

the club night ‘Local Heroes’, showcases by

international partners and the ‘Play Gender’

festival, which was integrated into c/o pop

for the first time in 2009, will be repeated.

On Monday 28 June the Philharmonic Hall

will once again play host to a c/o pop concert.

Claudia Jericho, who is responsible for

the c/o pop Convention programme, presented

the thematic focuses of this year’s

Conference and explain its shift in orientation.

“We want to become the most important

platform for the entire creative industry

in Germany. The new festival headquarters

and our cooperation with Koelnmesse will

enable us to make the Convention even bigger,

and a lot broader in terms of content.”

As well as being directed towards the music

industry, this year’s Convention will

cater more than ever before to the other

eleven creative industries, especially those

with digitizable content and an interdisciplinary

structure. The number of international

co-operations and speakers is to

increase significantly again, and in line with

the expansion of the spectrum of topics

covered, the board of advisers, which consists

of experts from the various creative

industries, has also been extended. Jericho

revealed that alongside classical discussion

rounds, panels and talks, this year’s Convention

will include a number of interactive

and dialogue-oriented events such as

more detailed and advanced workshops,

matchmaking for different target groups

and open space formats. The objective is to

tackle the radical changes facing the music

and entertainment industries head on

through new, more appropriate structures.

Tickets for the Festival and Convention will

go on sale in the beginning of February.




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VIP- News - January 2010

by:Larm 2010

Allan McGowan

Brit Awards Shortlist


Allan McGowan

by:Larm 2010

Norway, which was the focus country

at last week’s Eurosonic Noorderslag,

will again present its own conference

and showcase event, by:Larm

next month.

From Thursday 18th to Saturday

20th February by:Larm will present

400 concerts and 180 artists over 25

stages in the heart of Oslo. The program

features fifty handpicked Norwegian

demo bands, thirty Scandinavian

artists, twenty or so folk-/

jazz- and roots artists as well as fifty

more established Norwegian names

ready to break internationally.

Head of festival programming,

Joakim Haugland says: “ We are very

pleased with this years program. We

have many intriguing unknown artists

along with established Norwegian

artists with international potential.

Also, we have three known names in

new exciting formats, such as Todd

Terje & Dølle Jølle, Skjelvekommode

(Frode Strømstad fra I Was a King and

Frank Tønnesen from Tønes) and Thomas

Eriksen, a well established producer

now pitched as an artist.”

Female artists will dominate next

month’s Brit awards, with four nominations

on the list for the UK music calendar’s

most glitzy night. Lady Gaga,

Florence and the Machine, Lily Allen

and Pixie Lott were nominated for

three awards. Susan Boyle however,

despite being responsible for the biggest-selling

British album of last year

was not nominated.

The shortlist was announced at London’s

O2 Arena. More than 1,000 record

industry and media professionals were

involved in the nomination process and

the winners will be announced at the

Earls Court Arena on 16 February. Kasabian,

Cheryl Cole, JLS, Florence and the

Machine and Lady Gaga, who is in the

running for best international female

artist, international breakthrough act,

and best international album, will perform

at the event.

Florence Welch, aka Florence and the

Machine, whose album is currently

number one in the UK charts after its

release 28 weeks ago, will compete

with Bat for Lashes, Leona Lewis, Lily

Allen and Pixie Lott for the title of best

British female solo act Florence and

Lott again go head to head in the British

breakthrough act category, along

with Friendly Fires, JLS and La Roux.

She is is also in the running for album

of the year for Lungs alongside Dizzee

Rascal’s Tongue n’ Cheek, Kasabian’s

West Ryder Pauper Lunatic Asylum,

and Lily Allen’s It’s Not Me, It’s You.

The Fear. The ever growing influence of

TV talent shows is evident in this category,

selected by UK radio listeners,

with nominations for Alexandra Burke,

Joe McElderry, Alesha Dixon, Cheryl

Cole and JLS, as well as La Roux, Pixie

Lott, Taio Cruz and Tinchy Stryder.

Calvin Harris is up against Dizzee Rascal,

Mika, Paolo Nutini and veteran

Robbie Williams In the British male

artist category. Williams is guaranteed

to walk away with at least one award,

for his outstanding contribution to

music. The best British group category

includes Doves, Muse, Kasabian, JLS

and Friendly Fires.Bruce Springsteen

and Michael Bublé feature in the international

male solo artist category,

while Animal Collective, Empire of the

Sun and Daniel Merriweather take on

Lady Gaga for the title of international

breakthrough act.

Industry executives will also vote for

the best Brit awards performance over

the years.

Lily Allen, whose second album went

straight to number one last year, is also

in the running for best British single for

Lady Gaga nominated for best Female

Artist at Brit Awards



VIP- News - January 2010

Sonisphere Bring ‘Big Four’ Together

Allan McGowan

Thrash metal’s ‘big four’ - Metallica, Slayer, Megadeth and

Anthrax – will perform together on the same bill for the

first time in their history at two dates on next year’s Sonisphere

festival tour, in Poland on 16 Jun and the Czech Republic

on 19 Jun. More dates for the big four are expected

to be announced, though it’s not clear if the two-day finale

at Knebworth in the UK will be among them. However,

anyone who buys a Knebworth ticket before the end

of the year also gets a free ticket for the Poland event, so

if fans can also cover their flights then they won’t miss out

on the occassion.

In a statement, Metallica drummer Lars Ulrich said: “Who

would have thought that more than 25 years after its inception,

thrash metal’s big four would not only still be around

and more popular than ever, but will now play together for

the first time... what a mindfuck! Bring it on!”

Slayer’s Kerry King added: “It’s about fucking time this happened,

and about time the fans finally get what they want.

This is fucking awesome”.

Lars Ulrich - Metallica



VIP- News - January 2010



VIP- News - January 2010


Allan McGowan

With more and more emphasis being put on the importance

of the creative industries throughout Europe, for both cultural

and trade reasons, national and regional governments

are showing more interest in the development of exportable

music talent. At the Eurosonic Noorderslag Conference

event in Groningen, Holland, a four hour session considered

the movement of European repertoire around the member

states of the European Union. European Commissioners

listened to presentations by members of the live, recording

and publishing industries, which discussed problems in

these areas and suggestions of how to solve them and improve

and support the free movement of musical talent. The

EMO (European Music Office) announced the release of a

green paper which will present the findings of a study document

on the present state of music in Europe. VIP-News will

report on the progress, and further details can be found at

There are support programs already in operation, and The

European Talent Exchange Program ETEP seems to be one

of, if not THE most effective initiatives – but even this tried

and tested project has had problems in accessing vital support.

We at VIP think that the live business should do all it

can to help ETEP develop. The following article states the

present state of play:



Many areas of today’s turbulent music industry

are most remarkable for the disposability

and the short-term ‘smash and grab’

approach to the marketing of its products.

TV talent shows pushing new ‘talent’ recycling

previously successful repertoire

and the generally prevailing devaluing attitude

brought about by new technology

that music is instantly and freely accessible

and shareable can lead one to despair

about the future of new music, the ‘soundtrack

of our lives’ and an essential element

of our culture. With all this in mind it is

reassuring, and not a little comforting to

know that the European Talent Exchange

Programme (ETEP) has endured and developed

to reach the ripe old age of seven

years! Many cultures and religions consider

seven years to be the age at which human

beings attain the ability to reason, and I for

one think that there is a huge amount of

reason for the continuing existence of this

programme, and even more reason for an

increase in awareness and support for its

achievements and its ambitions.

The Programme (or Program if you prefer

American English!) was instigated in

2003, in part as an attempt to highlight the

growth of domestic talent within Europe

and to encourage an awareness that bands

from the US and UK were not the only acts

in town! The efforts of the increasingly important

Music Export Offices and the continuing

development of an efficient and

professional infrastructure of managers,

agents and promoters throughout Europe

capable of developing local talents and arranging

shows in neighbouring countries

were further major factors that encouraged

Buma Cultuur in The Netherlands to

launch the ETEP Programme as an initiative

of the Eurosonic Noorderslag Conference

with financial assistance from The Dutch

Ministry of Culture and Ministry of Foreign

Affairs. In the second year Jean Francois

Michel of the European Music Office negotiated

further funding from the European

Union. The Programme was activated in

2003 through the showcasing of talent at

the Eurosonic Festival in Groningen in cooperation

with the European Broadcasting

Union (EBU) and YOUROPE, the European

Festivals Association.

In that first year ETEP, presented a total of

53 shows with 23 artists from 8 countries

being chosen to play at 23 festivals in 13

countries, by the 3rd edition in 2005 the

Programme resulted in 39 acts from 14

countries playing 89 shows at 41 festivals.

Then for whatever reasons EU support

was withdrawn, this to many seemed difficult

to understand as the Programme

appeared to fit ideally with many of the

stated cultural aims of the EU Commission.

‘The Economy of Culture in Europe’ http://, for instance acknowledges

that, ‘music represents one of

the most vibrant cultural industries in the

European Union. The contribution of music

to the economy and the growing importance

of live concerts were also dealt

with in this report, the mobility of artists

and their work apparently being a prime

objective. The report notes, ‘The national

bonding between artists and audiences is

important and it’s something that could

potentially cross over national borders

into other countries.’ – Sounds like ETEP

to me..

However too much had been gained to

give up and with the essential support of

all the EMO platform members; Ministry of

Culture and Education Luxemburg, Fundacion

Autor, MICA Music Austria, STIM Svensk

Music, Bureau Export de la Musique

Française, Music Export Hungary, Fondazione

Arezzo Wave Italy, Music Export



VIP- News - January 2010

Norway, Finnish Music Information Centre,

Wallonie Bruxelles Musique, Muziek Centrum

Vlaanderen, Buma Cultuur, Initiative

Musik, Ministry of Culture France, Ministry

of Culture Cyprus and the Noorderslag

Foundation and Sena Performers. (The

Dutch Neighbouring rights organisation),

the show went on.

Each Eurosonic since then has seen an increase

in these ETEP figures with the 2009

edition bringing a total of 214 shows with

75 artists from 18 countries playing at 60

ETEP festivals in 20 countries. Without

doubt this initiative has opened up festival

stages throughout Europe for new

talent and has greatly contributed to the

international success of artists including

Under Byen (dk), Teitur (far), Seeed (d),

Within Temptation (nl), The Soundtrack Of

Our Lives (s) Franz Ferdinand, (uk) T. Raumschmiere

(d) Beatsteaks (d) Moneybrother

(S) Kaizers Orchestra (n) Editors (uk), The

Do (fr) Blood Red Shows (uk), White Lies

(uk) and many others.

The following quotes from showcasing

artists, international media and Eurosonic

Noorderslag Conference delegates speak

for themselves:

“We didn’t feel any pressure at Eurosonic this

year. At the end of the day, it doesn’t matter

what job title each member of the audience

has, they are still potential fans and still have

the ability to be moved and excited by your

music. The whole event is in the beautiful

town of Groningen and has a great vibe that

Charles Cave, White Lies

»Eurosonic is an

important event for any band

who wants to get gigging in

mainland Europe.

Tonnes of fun and seriously


- James Yuill

comes with all early shows in bands careers.

It just so happened that after our show, some

of the audience became fans and thus asked

us to play on some of the festivals and shows

that they book and that was very flattering.

From that show we were allowed to discover

some beautiful areas of Europe over the

summer. Parts of Southern Norway, Sweden

and even as far as the Czech Republic

and Poland. We feel lucky to have played,

and proud we won some new fans.” Charles

Cave, White Lies

“Eurosonic is an important event for any

band who wants to get gigging in mainland

Europe. Tonnes of fun and seriously worthwhile.”

James Yuill

“Eurosonic is one of those weird showcase

things you do but feel uncomfortable about

because it’s crawling with music industry

types and not many real people, a bit like

SXSW. But much like SXSW, if you do a good

job of it, you get some way cool stuff out of it.

We found that we got offered a lot of good

festival slots and started to sell out our Dutch

club shows really quickly after doing it, so I

reckon it was worth it. It’s also in a really

fucking cool town.” Blood Red Shoes

“It’s quite simple: we made a car called De

Staat, and Eurosonic Noorderslag was our

ticket to the freeway. Sure, we’ve done our

share of dirt roads, playing local bars and

small festivals. People might had heard of De

Staat, but Noorderslag really got the thing

moving. After our showcases at Eurosonic

and Noorderslag 2010 we started playing

clubs, and before we could hear one bird

whistle, we were set for the summer. Festivals

like Pinkpop, Lowlands, Dour, The Great Escape

and Sziget are now gigs we can proudly

brag about.” De Staat, NL

‘One of the most important platforms there

is for bands looking to break into the European

Market.’ Music Week (UK)

»The most important gathering

in the European live music

business calendar«

- Pollstar

‘The place to second guess who’ll be the big

European bands of the year.’ NME (UK)

‘The most important gathering in the European

live music business calendar.‘ Pollstar


‘A great and unique event for up-and-coming

acts.’ European Broadcasting Union


‘The place to be’ Intro (DE)

‘Why can´t this last forever?’ Rockpalast


“Eurosonic was a great opportunity for Fight

Like Apes to show off to a European audience.

Soon after their performance, they

were booked to play a number of festivals

from Spain to Holland. It’s a well run event,

big on live, radio and web opportunities.”

Niall Muckian, Rubyworks Records (IE)

“The best start of the year a festival booker

could ask for.” Rob Chalice, Summer Sundae


In all ETEP at Eurosonic Noorderslag has

seen a grand total of 965 shows by 346

European Artists since 2003, and 2010

looks set to again break records, advancing

the project and adding significantly

to this total. However, as more and more

people from all areas of the music industry

are becoming aware of the event and

the Programme, organiser Peter Smidt

of Buma Cultuur, and his colleague Ruud

Berends know that there is no room for

complacency if, as is their wish and intention,

they are to expand ETEP into new

territories. Further nurturing is required

if it is to continue its work in helping deserving

talent to cross as many borders as

possible. In order for all to benefit from

the obvious opportunities offered by

ETEP support and lobbying will be needed

from the industry – that’s YOU, as well

as regional, national and international

cultural and trade organisations.






the N

VIP- News - January 2010


EuroSonic noordErSlag




FACTSHEET 2010 2009 2008 2007

Total number of visits 18.000 18.000 15.500 15.050

Nationalities present 34 34 35 29

Professional THE EUROPEAN participants MUSIC CONFERENCE

2.800 2.650 2.487 2.200





259 265 237 JANUARY 221

Radio stations present 24 22 23 24


festivals present 237 123 76 2011 69

ETEP participant festivals 59 59 59 54

Number of stages @ EuroSonic 31 32 29 25

Number of stages @ Noorderslag 10 9 9 8

Number of European journalists present 193 140 138 65

We would like to thank everybody for attending the 2010 edition,

we do look forward to welcome you at the 2011 one!



downtown Groningen

the Netherlands




downtown Groningen

the Netherlands




De Oosterpoort





Registration and artists submission is open from may 1st 2010

onwards on,

Deadline for artist submission is September 1st, 2010


15 15











De Oosterpoort







downtown Groningen

the Netherlands




downtown Groningen

the Netherlands




De Oosterpoort




downtown Groningen

the Netherlands thursday


downtown Groningen

the Netherlands




downtown Groningen

the Netherlands friday


downtown Groningen

the Netherlands




De Oosterpoort



De Oosterpoort









VIP- News - January 2010

EuroSonic Noorderslag

– A Success - Not Only in Numbers

Manfred Tari

Just going by the basic figures, this 24th

edition of EuroSonic Noorderslag can be

judged a smash hit. 2010 broke all previous

records in terms of the fastest ticket

sale ever and the highest number of participating

professional delegates and festival

punters. Some 2.800 business visitors

made their way to Groningen in the North

of the Netherlands. The Oosterport convention

centre was packed, and the same

goes for many clubs and concert venues in

Groningen. Bit in all ways, to say the least,

EuroSonic Noorderslag was very well received

by participants and festivalgoers.

While the official dates were January 14 to

16, for the first time the organizers opened

up EuroSonic Noorderslag on Wednesday

(January 13) with the presentation of the

first ever European Festival Awards. In fact

awards ceremonies became a vital element

for the conference agenda of the 2010

event, seven different awards were handed

out during the weekend. But what the

Dutch newspaper De Volkskrant described

as the “Prize Circus” took on a somewhat

different aspect on closer inspection.

Besides the European Festival Awards

the “European Border Breakers Awards”

(EBBA), the “Lex Van Rossen Award”, the

“Pop Media Prize”, the “Interactive Award”

and the “De Veer”-Award being presented.

In fact it was actually eight prizes, as Peter

Sikkema, the Festival Manager of Euro-

Sonic Noorderslag and Creative Director

Peter Smidt found out to their surprise.

During the official opening ceremony Peter

Rehwinkel, the mayor of Groningen

interrupted Smidt, as he was finishing off

the opening ceremony and out of the blue

awarded both Peters the ‘Jans Cats”-Price

2009 for their engagement with the city of

Groningen. This tribute was elected and

presented by the business community of


In his conclusion of this year’s edition even

Smidt refers to two awards saying: “We are

delighted with this extremely successful edition

of Eurosonic Noorderslag. Very happy

with the European Festival Awards, more

media and broadcasts for European Border

Breaker Awards, the new venues worked very

well and there were some fantastic shows at

Noorderslag. Thanks to everyone for their

support. Looking forward to the 25th edition.”

Having once referred to Smidt as one of the

main architects who designed or paved

the way for EuroSonic Noorderslag and its

surrounding projects such as ETEP (European

Talent Exchange Program), it is now

about time to declare Smidt a highly efficient

spin doctor. Bearing in mind all that

is going on during EuroSonic Noorderslag

at least reveals that he has a certain ability

to compile or to develop some of the essential

assets that helped to put EuroSonic

Noorderslag on the roadmap of the European

music business.

Nevertheless EuroSonic Noorderslag it is

the combined skills and the input contributed

by Sikkema, Ruud Berends (manager

for ETEP), Robert Meijering (booker of EuroSonic),

and actually the entire team in

Groningen and at Buma Cultuur that run

this event, that made this convention the

multilayered music business top gathering

it now is. Furthermore it has to be said

EuroSonic Noorderslag benefits from the

extraordinary network of its domestic and

international partners.

Partners such as the EBU (European Broadcast

Union), Network Europe, Yourope, the

various music export offices and media

partners, come together to create a convincingly

strong and unique network that

benefits the visitors to this event. It is this

combination that makes this convention

so different from most other music industry

events, and this could also be seen as

an example of the manner in which the

music business will have to act in the future

in order to deal with the challenges

this industry faces.

Festival visitors 18.000 (sold out)

Conference visitors 2.800 (sold out)

Nationalities 34

Artists 259

Journalists & Media 183

EBU radio stations present 24

Peter Smidt



VIP- News - January 2010

The European Festival Awards

Manfred Tari

A Family Entertainment:

The unspectacular sets and abandonment

of the usual award glamour and pathos

identified the first edition of of the European

Festival Awards (EFAs). Initiated by

Steve Jenner, founder and director of the

website and Christof

Huber, the chairmen of Yourope, this

award ceremony went ahead simply and


This type of understatement seemed to be

in line with the mentality of the majority of

the visitors to this award show. It projected

its very own charm of being some sort of

“family entertainment” for the European

community of festival promoters.

With this in mind it wasn’t surprising that

the host for this award show, was none

less than Allan McGowan, the chief editor

of this publication. Smart as always

he politely guided the show, even having

Herman Scheuermans, boss of Rock Werchter

dedicate his first award to McGowan

in recollection of the fact that he had sold

him his first UK act, Kevin Coyne, way back

in the mid 70’s.

a “music business only audience” received

warm and appropriate applause.

The EFAs benefited from the fact that the

audience consisted of festival promoters.

Their reactions and participation provided

the award ceremony with a very rare feedback

for this type of shows: authenticity!

This is probably the biggest reward and

certainly a compliment for the organizers

of this award, besides the unexpected

flood of Belgium awardees…

The winners generated out of an online poll at the website Virtual Festivals

Europe are:

Best Major Festival: Heineken Open’er Festival (Poland)

Best Medium-Sized Festival: Dour Festival (Belgium)

Best Small Festival: Cactusfestival (Belgium)

Best New European Festival: Openfields Festival (Belgium)

Best Line-Up: Rock Werchter (Belgium)

Festival Anthem Of The Year (in association with EBU): Coldplay - “Viva la Vida”

Best Artist Newcomer (in association with Eurosonic): White Lies

Best Headline Artist: The Prodigy

The winners selected by a business insider jury are:

Green ‘N’ Clean Festival (in association with Yourope): Öya Festivalen (Norway)

Artists’ Favourite Festival: Rock Werchter (Belgium)

Promoter Of The Year: Herman Schueremans (Live Nation, Belgium)

Lifetime Achievement Award: Jan Smeets (Pinkpop, The Netherlands)

In general it could be said that across the

board, Belgium won. In about five categories

out of twelve, Belgium festivals and

one Belgian received an award. McGowan

commented on this development, when

Schueremans ran out of words after receiving

three awards, surprised to be the

undoubted winner of this first edition of

the EFAs.

This award show was so understated, that

McGowan did not even have an assistant

helping him, so opened envelopes with

one hand, while holding awards in the

other! The atmosphere of the EFAs-ceremony

was just friendly and smart. Even

the standing ovations for Jan Smeets for

his prize in the “life time achievement” category

appeared to be nothing more, nothing

less than what was required.

The same goes for the acts that performed

during the award show. The Band Of Skulls

and Adiam Dymott played two songs each

and unlike many performances in front of

Jan Smeets from Pinkpop won the Lifetime Achievement Award



VIP- News - January 2010

Kyteman’s HipHop Orkest Win Dutch Pop Prize 2009

Manfred Tari

The announcement of the winner of the

Dutch Pop Price in the Oosterport as part

of the Noorderslag-Festival was somewhat

different to the relaxed and smooth

atmosphere of the EFAs ceremony. One

year ago the music collective led by Colin

Benders played as one of many acts at the

Noorderslag-Festival. One year later the

12 piece band and the 10 masters of ceremony

received the 10.000 Euro d Dutch

Pop Prize. But this year’s audience reaction

was compared to previous years outstanding.

It probably would have caused riots if

Kyteman’s HipHop Orkest hadn’t won the


Within just one year the band played all

relevant festivals in the Netherlands such

as Pinkpop, North Sea Jazz, Lowlands and

gained an absolutely impressive following

among the Dutch punters. The band follows

a distinctive and consequent policy.

The collective refuses offer from major record

companies as only played shows with

the complete ensemble. At the press conference

after the prize ceremony the band

furthermore emphasized that they see

themselves as musical project. With this in

mind they declared that they would perform

abroad and not in the Netherlands.

The Delegates View of EuroSonic Noorderslag

VIP-News took the opportunity to speak

to some EuroSonic Noorderslag visitors.

For the current issue we bring interviews

with Fruszina Szep from Sziget-Festival in

Hungary, Misha Loots from the Oppikoppi

in South Africa, Pascal Hunkler from Sofa

Agency in Switzerland and Peter Sommer

from WDR-Rockpalast in Germany. For

the next issue we have interviews with

Christof Huber, the chairmen of Yourope

and Robert Meijerink, the booker of the


Fruszina Szep from Sziget-Festival in Hungary

VIP-News: How was EuroSonic Noorderslag

for you?

Fruzsina Szep: Great as always.

VIP-News: Great in what particular way?

»It is a good thing, a good

atmosphere, and it’s a great

festival l. This year the line-up

was really good and we’re

definitely booking some of the

acts that we saw for Sziget«

- Fruszina Szep

Szep: Well, I always like the atmosphere a

lot although I have to say this year it was

even colder than the years before. I think

the organisation is highly professional.

There are almost no delays of the concerts,

of the showcases, which is really great. So

you’re really know that you have to really

be on time if you want to see a band. In

general really for me every year it’s like a

must to go. It is not only to see the bands

but also to see my colleagues from all over

the world or meet new ones from Europe,

and to have my first meetings there and

also just to see everybody at the start of

the year. It is a good thing, a good atmosphere,

and it’s a great festival. This year

the line-up was really good and we’re definitely

booking some of the acts that we

saw for Sziget.

VIP-News: How was the festival season

2009 and what are your expectations for

the festival season 2010?

Szep: Booming, still booming. We have a

lot of festivals in Hungary, mostly smaller

ones. Sziget is really the biggest in the

country and also in the region. We had

a very good year, but also we were a bit

afraid because of all this bad news around

the world, referring to the recession and

the global financial crisis. However for us it

was even a better year than two or three

years ago. We had a really nice edition and

also a very nice atmosphere at Sziget, and

I hope I can say we had a pretty good lineup

in 2009. For 2010 we’ve already started

our bookings preparation and we have our

first big Sziget press conference at the beginning

of May or end of April. So by then I

have to be ready with the whole programming.

VIP-News: Are you going as well to ILMC or

any other conferences?

Szep: To tell the truth I’ve never been to

ILMC yet. So I don’t know. And I heard it’s

on invitation so I don’t know if I can go.

But I definitely want to go to Printemps

de Bourges for example which is in April.

I’m not going to MIDEM this year, I’ve been

there before but this year I won’t attend.,

and then maybe I will go to the Spot Festival

in Aarhus, Denmark. So those are the

ones I know I will definitely go to, and the

others we’ll see.

VIP-News: Did you see anything of the

EuroSonic Noorderslag conference program?

Szep: Yes, to be again very honest, I was

only in two panels where I was also a panellist.

But I really enjoyed them. Especially

as also the two moderators were very qualified

I have to admit. And the? that Festival

Panel was very funny and I like the English

humour. And Cor Schlösser from the Melkweg

was in other one was and that was

about how to find European cultural funding

for your event, and that was also very

interesting. Many, many people attended

both and it was not boring and we could

have stayed there, I think, for a couple of

more hours. Just to exchange views and

there were lots of really good questions

from the audience. I also enjoyed them as

a panellist.















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VIP- News - January 2010

VIP-News: Have you some experience with

applying for European funding? What is

your general impression about backing of

political organisations or governmental

organisations for, let’s say, popular music

or anything that has to do with music?

Szep: I’m super disappointed. Nothing is

really happening. Nobody is really interested

but I think the more we as people

working in that business keep on talking,

we keep on lobbying. In that sense I’m

still positive and motivated that something

will happen. I would buy everybody

a very expensive bottle of champagne in

the European Commission if finally they

would wake up and realise that popular

music and its genres are part of our European

culture and really give some kind of

a green light that it is not only “blablabla”,

and not only going to some nice European

festivals and talking empty words, that

they’re finally really going to start taking

things seriously. Maybe I’m a bit cynical

now but I’ve just have a kind of a bad experience

on this.

VIP-News: Why do you think this it so? Is

it that the lobbying by the music business

itself is too weak or not fruitful due to let’s

say inadequater funds or do we have to

invest more to convince politicians or officials

in administrative organisations?

Szep: Yeah, definitely. But this is only one

thing. We also have to learn how to fill out

these applications in a very correct way so

that you’re really don’t make any technical

mistakes for example. I’m not a bureaucrat

so I don’t know. But if I would sit in a commission

and I would see a good application,

which is really European also involving

many Eastern European countries and

Western European countries, which really

feels that is not just some empty words

and there has also been some work done

in the past, but in filling out the application

they make like a technical mistake

or something this or that, I would at least

give them call or say “Hey guys that is a

good stuff but you made a mistake. We

cannot take that now but please hand it

over the next time and watch more carefully.

Something like this so that they could

treat some of these applications in a different

way. Because I know that there are

not too many applications that are about

popular music or are about popular music

involving many European countries. So on

one side we also have to learn. But it is also

good to receive feedback, not just a letter

saying “Sorry, you’re not submitted and

take care. All the best and whatever try the

next time.”

VIP-News: Do you think there is a lack of

qualification within the European Commission

to acknowledge good or bad projects?

Szep: I don’t know what to say about this

because I don’t know exactly how the projects

get selected and I don’t know about

the committees that select these projects

or are giving these projects to read. But it

would be really nice if the commission now

has the platform and these advisers from

the popular music industry that they’re really

using them as consultants or as a like

a last double-check before they decide on

such projects, because it is very different

if you’re a bureaucratic person or a person

who works more in the classical music field

or in the theatre or other cultural genres.

Maybe they’re not really much aware of

music festivals or those cultural operators,

people, professionals that submit such a

application. So sometimes it would be at

least really nice just from the commission

that they also involve these professional

people in these processes.

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VIP- News - January 2010

Misha Loots from Oppikoppi in South Africa made his way all up to Groningen

VIP-News: How was Noorderslag?

Misha Loots: That’s fun. I love that festival.

It’s one of my favourites.

VIP-News: Is there any band that may come

to your show?

Loots: There are a few options, and I’m

looking for one tonight. Looking for a nice

Dutch act to bring down. We saw touring

bands, which we saw here last year or

before touring South Africa almost every

year it’s been good.

VIP-News: What type of band are you looking

for here?

Loots: Anything good. We had “Lucky

Funds” last year, “Voicst”, “Lucky Funds”

coming back this year, we will speak to

C’mon & Kypski about coming back and

we also had Balthazar from Belgium last

year. So we are looking for a variety.

VIP-News: And what is going on in South

Africa in 2010?

Loots: The World Cup. That’s gonna be

crazy and fun. We’re very busy, so we’re

not really doing stuff around the World

Cup so it’s going to be interesting how this

works out.

VIP-News: How was the business year 2009

for you and what are your expectations for

the business year 2010?

Loots: 2009 is our best year, which is great

considering the recession and all. We sold

100.000 tickets more than the year before,

so this was a big jump. We’re expecting

2010 to be equally busy and there are a

few festivals we taking on. So we’re definitely

up on numbers in 2010.

VIP-News: Was there a big cut back in

sponsoring fees?

Loots: Well, there was a bit of a cut back

but not enough to stop us. It’s been a

good year.

VIP-News: What is the average ticket price

in South Africa?

Loots: For a local line-up anything between

5 and 15 Euros maybe.

VIP-News: What do you charge for the Oppikoppi


Loots: It is 400 Rand that is 40 Euros for the

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VIP- News - January 2010

weekend ticket with camping. It’s cheap

compared to what you guys pay.

VIP-News: Are there a lot of international

acts appearing in South Africa normally?

Loots: Yes, there are some. There is a company

called Big concerts bringing in all the

big acts. We’re not playing that game. We

haven’t brought any big acts last year because

of take chances during the recession.

but there’re some things we are working

on for this year.

VIP-News: Are you going to the ILMC as


Loots: That is the plan.

VIP-News: Any other conferences you normally

go to?

Loots: No, it is this one and the ILMC. We

once went to SXSW but this not really our

cup of tea.

VIP-News: Have you anything in common

with the tourist thing? Are there also Europeans

coming to your festival?

Loots: Not a lot. If they are in the country

and know about the festival then yes they

come but not a lot.

Pascal Hunkeler from Sofa Agency in Switzerland

VIP-News: How was EuroSonic Noorderslag

for you this year?

Pascal Hunkeler: Like always a big pleasure

to meet all my friends from all over

Europe in one place and that’s the first

time every year where we meet together

in this great thing to see new bands, new

acts and we love Groningen for that. It is a

good town and it is good business.

VIP-News: What do you think has changed

for the event in the recent years? Do you

see a development that moves it on to

something else?

Hunkeler: Ah, that is a good question.

I think the panels are getting more and

more attractive. I think it is a good idea to

have more and more panels in English as I

don’t understand Dutch. But by the way I

think the organisation is really top at the

moment. But something which has not

changed is this shuttle thing. This is still

not well organised.

VIP-News: What do you think about the

showcase and the concert program?

Hunkeler: Perfect, exactly the bands on

which we are already or soon working on.

So you have the first chance to see them

live on stage and you have the first impression

and you see the band before they

come to your country. That is always good

things because you know exactly what

you are selling and you can say they are

great live and you can better explain and

better sell your act when you have seen

the band.

Peter Sommer from WDR-Rockpalast in Germany

VIP-News: How was EuroSonic Noorderslag

2010 for you?

Peter Sommer: Great again. We’ve seen

so many good bands, we covered around

14, I guess. And hopefully we’ll make a

good 90-minutes documentary together

with interviews and unplugged things

out of it.

VIP-News: What do you seen as the major

changes for EuroSonic Noorderslag in the

recent years?

Sommer: That there is so much interest, so

many new people, so you can’t even get a

hotel anymore. I’m not sure if this festival

can grow and grow and grow. Or if there

must be a certain point where the organiser

says, “We stop it”. Now it’s a good size

and we live with the size and say ok. The

small thing is the better, to think about the

quality rather than thinking about making

it bigger and bigger and bigger.

VIP-News: What is the output for WDR,

why are you are involved into in EuroSonic



VIP- News - January 2010

on one hand but also with festivals elsewhere?

How much it is it related to Euro-

Sonic? How does it all come together?

Peter Sommer: You mean band wise?

VIP-News: Band wise and also in terms of

your TV-show.

Peter Sommer: Through the years there

have been bands who where very interesting

like The Grand two years ago or so

which had been invited to our small Crossroad

Festival. The Crossroad is the only

event where we do, let’s say, our own production.

All the other things are basically

festivals run by other guys and what you

see is a band right in January and later on in

the summer you meet the bands again on

an open air festival or what ever. So that’s

very interesting to see a band let’s say

growing or so and., every band you see or

a lot of bands you see here you see them

twice during the festival season or maybe

a year later or two years later and our output

here is I think just three hours TV. I don’t

what the 1Live festival guys do but we have

an output of 3 hours.

VIP-News How is the collaboration with the

radio people?

Peter Sommer: It is not personal because

we have this main guy Henk here at Euro-

Sonic who is very helpful also Laurent who

is let’s say head of EBU. It is just about an

email. Sending an email every year in November,

October, can we go on like we

did? And they say “Yes” and that is simply

all. That’s works all well. So we have to

show the agreements and then we get the

sound and without the sound we would

not be able to cover EuroSonic in the way

we do.

VIP-News: And that’s provided by the radios?

Peter Sommer: That is provided from all our

unknown but well working European colleagues,

yes. I appreciate that very much.

VIP-News: When you are talking to festival

promoters what is your impression of how

they see the festival season 2009 and what

they probably expect for the festival season


»I think the festival market has

changed. So many festivals and I

don’t know which will stay«

- Peter Sommer

Peter Sommer: No idea. I think the festival

market has changed. So many festivals and

I don’t know which will stay. So many festivals

coming up like Area4, a new festival in

North Rhine-Westphalia in the Ruhr district.

They tried to build up something and I can

see it is growing and maybe financially it’ll

work out yet. But if it will stay and if there

will maybe another festival, another guy in

the area will earn money on music but if it

works out at the end of the day I have no


VIP-News: Do you think there are too many


Peter Sommer - WDR-Rockpalast Germany

Peter Sommer: Yes, there is too much music!

When I was young it was very simple to

have an idea of what was around, now with

the internet and all these things you are lost

in music. Yes, too much.



VIP- News - January 2010

Business News

Manfred Tari

No News On The Merger – Yet!

Live Nation Shareholders agreed on the merger:

While official information or comments on the pending merger are very

rare, it still remain unclear if the fusion between Ticketmaster and Live Nation

will take place or not. Some media reports say that the US-Department

of Justice (DOJ) will announce their decision on an approval of the merger at

the end of January. On January 8 the shareholders of Live Nation in principle

agreed on the merger. At the annual meeting the majority of Live Nation

shareholders of about 99 percent of the issued shares provided the management

of the company with their approval for the merger.

But this approval won’t mean anything as long as the DOJ still don’t come

to a decision, of course that several news reports have speculated on this

subject. However, at least it seems that the chances are good, to finally report

in the next issue of Vip-News about the outcome of this long lasting


artist avails ››

Michael McDonald

Territory: Europe

Period: June 2010

Agency: William Morris Endeavor Ent.

Agent: Sheraz Qureshi

Phone: +44 20 7534 6947




Lady GaGa

Territory: Europe

Period: Spring 2010 onwards

Agency: William Morris Endeavor Ent.

Agent: David Levy

Phone: +44 20 7534 6800




Territory: Worldwide

Period: On Going

Agency: Mission Control Artists Agency

Agent: Craig D’Souza

Phone: +44 (0) 207 252 3001




Territory: Europe

Period: 01/07/2010 - 31/12/2010

Agency: Artist Agency

Agent: Bart Quintens

Phone: +32 16777670



Cyndi Lauper

Territory: Europe

Period: June 2010

Agency: William Morris Endeavor Ent.

Agent: Sheraz Qureshi

Phone: +44 20 7534 6800




Territory: Worldwide

Period: Generally available

Agency: ABS Agency

Agent: Nigel Kerr

Phone: +44 208 399 3474



More Artist avails on:

Post your Artist avails on:



VIP- News - August - January 2005 2010

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

Statement from Aliona Chernaya - City Concerts

International Artists, Moscow

I thought that show business was criminal

in Russia and Eastern Europe only but it

turned out that a manager of a well known

European band with a 20 year history can

run away with money in the 21st century.

I booked Ace of Base for Barvikha Concert

Hall in Moscow and paid 100% upfront in

May 2009. The show was postponed twice

and eventually cancelled. As of yet, mid

January, I have not received any money


More than two months ago, Orlando John,

Urbania Group (the former manager of

Ace Of Base), sent me a statement saying

that the Ace Of Base brand was terminated

and that the band had to cancel all shows

and that money would be refunded within

two weeks. This was the last thing I heard

from him.

When I spoke to Ulf Ekberg, the singer of

Ace of Base, he said the band was still together

and was not aware of this show and

that they never received any money and

didn’t sign a contract for this show. Orlando

John was fired in August, meaning

that he was negotiating on behalf of Ace

of Base without their awareness and that

he took the money and then made a false

cancellation statement. Isn’t this fraud?

It seems that Orlando John has used the

same scenario before.

My Russian college Alexander Uneshkin

from Radio Record, Saint Petersburg had

a similar experience with Orlando John in


“We booked MC Hammer through Urbania

group for SuperDiscoteque-2008. A few

months later we received a statement saying

that the artist could not perform his obligations

and that the advance payment would

be sent back shortly.

We then contacted MC Hammer directly

only to find out that he had no idea about

this festival and never received any proposals.

We booked him directly then, but

we never received any money back from

Urbania. Interesting that Orlando John presented

himself as the exclusive agent for MC

Hammer, who said, he had never heard this

name before.”

Some of our partners in the Baltic countries,

where Urbania was very active, and

an artist in Sweden, reported that Orlando

John hasn’t paid them money and ignores

their emails, avoiding communication.

Now the question is why don’t we proceed

with legal action? The answer is very

simple: SIA Urbania Group was put into

bankruptcy and Orlando John has recently

moved to Thailand, where he is running a

venue called Supper club.

The company is still operating under the

same name and has some activity in Thailand

and in all probability another legal entity

has been registered in Sweden. There

are several gigs announced on the website

including Tiesto and Ferry Corsten’s

shows. I personally find it very amusing,

that artists of this level can involve themselves

with a promoter with such a controversial


We have now initiated a criminal investigation

and are trying to solve the problem

through the police. However, we would

like to warn all the artists and promoters

who come across Orlando John - please be

careful, this agent likes easy money.

Aliona Chernaya, General Manager

City Concerts International Artists, Moscow

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 - January 2010

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

Solar Penguin Agency

Solar Penguin Agency is a succesfully operating german promoter

and event agency, located in the heart of Germany, Frankfurt on

the Main (Frankfurt am Main).

Founded almost twenty years ago by its CEO Michael Schuh the

agency has a specific focus on live music and DJing. During the

years Solar Penguin has come up with an exceptional great global

network they can rely on. Therefore, the company does not only

act nationally, but performs worldwide.

Solar Penguin Agency offers a wide range of different genres

such as rock, hiphop, punk and independent music and use to

work with established artists and newcomers. They have already

work/worked with acts like Fatboy Slim, Kosheen, Masters At

Work, Soul II Soul, Groove Armada, De La Soul, IAMX, Public Enemy

and many more.

Solar Penguin Agency

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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