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Open newsletter (PDF/print) - VIP-Booking

VIP- News

premium ›› Vol. 92 ›› may 2007

McGowan’s Musings:

May is not a quiet time in the seaside City

of Brighton (not to forget Hove actually, of

course!). Not only do we have the month

long Arts Festival, the second biggest in the

UK, but now for the second year we have the

three day music trade event and showcase

festival The Great Escape taking place May 17-

19 (See News). This is like a smaller version of

SXSW, and similar to Noorderslag / Eurosonic.

For someone who spends a good part of

his year attending these events around the

world, it’s strange to have one happening on

my doorstep. It’s great to be able to welcome

friends and colleagues to my home City, although

last year I had to keep reminding

myself to go home at the end of the evening

and not to a Hotel! Although I am not directly

involved with The Great Escape organisation

we keep in close touch and cooperate wherever

possible, in my role as Board Member of

the Brighton Music Network we present the

‘Bright ‘n’ Early’ showcase of local and regional

talent on the night before The Great Escape,

inviting all early arrivals to attend. Now you’re

most likely reading this after the event, so if

you were there I hope you enjoyed it and did

good business, if not put it in your diaries for

next year!

I note that Live Nation have announced a first

quarter loss of $45.6 million on revenues of

$584.2 million, versus a profit of $5.3 million

on revenues of $516.6 million, during the

same period last year. Live Nation president/

CEO Michael Rapino said in a statement,

“The concert business is a seasonal and cyclical

business with a cycle of generally 1 to

3 years. If a major artist tours in one year, it

is typically unlikely for that artist to tour for

the next year or two.” It seems then that the

top end of the industry is still largely dependent

on the ‘old guard’ of touring artists to

make any real profit, Apparently in the first

quarter of 2007 the Who, Josh Groban, Bob

Seger and Dolly Parton “did not perform as

strongly” as 2006’s first quarter lineup of U2,

Coldplay (the only relative newcomers), Billy

Joel, Aerosmith, Depeche Mode and others.

Live Nation CFO Alan Ridgeway is reported

as saying that most of the company’s income

arrives in quarter two and quarter three, due

to the festival season in Europe and the amphitheater

season in North America. So now

we know!

Just before I go, I’m glad to see that Spinal Tap

are back! I was working with the band Saxon,

then amongst the leaders of The New Wave

of British Heavy Metal in the mid 80’s when

a couple of ‘US journalists’ asked permission

to join the band on the road for ‘a feature

that they were writing’. It soon became obvious

that they were applying more than usually

acute concentration to the behavioral

aspects both on and off stage of band and

touring entourage. The very funny and very

well observed film, ‘This is Spinal Tap’, displayed

how well Christopher Guest and Harry

Shearer did their job. The ‘spoof band to top

all spoof bands’ will appear at the Wembley

leg of the Live Earth concerts organised by Al

Gore in his crusade against global warming.

This is, I’m sure, not in any way an indicator of

how very seriously the live music industry is

taking this crucial issue!

So, seriously folks, here is the News!

Allan McGowan

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Pop Up – A Serious

Low Budget Conference

Manfred Tari

Colophon ››

VIP-News is published by:


26 York Street

London W1U 6pZ

There are many conferences these days. But

this is one is different. Organized by a nonprofit

organisation, this convention offers all

of the usual convention aspects but (Pop Up

is much more affordable and due to this has

a slightly different approach.

For the 7th edition of the event the organizers

reported 2500 visitors during the day

time at Werk 2 in Leipzig. 130 exhibitors presented

their products to business folk and

consumers. Many of them are independent

labels but there were also clubs such as the

Gleis 22 from Münster and the Schlachthof

Wiesbaden and agencies such as JMM and


Pop Up took place on May 10 to 13. The festival

program was staged in 13 venues and

lured 4500 visitors to concerts. VIP-News

spoke with festival director Roland Keimel

VIP-News: How difficult was it to compile the

program for this year’s edition of the festival?

Roland Keimel: It was a little bit more than

it was in the year before because when you

work on a level like we do then it is always

more difficult than for any other event because

you have to arrange so many things

with a lot of people. When working with

export organisations from many European

countries, there are a lot of people involved

and it is a little bit hard to bring things to the

point. So it is always difficult. Then I had a lot

of difficulties with last minute cancellations.

VIP-News: Is this due to the lack of funding?

Keimel: Yes, if you don’t have that much

money we always lack the regular fee for

the artists.

VIP-News: How do you do to compile the festival,

do you travel abroad a lot to look at how

other conventions compile their festival program?

Keimel: No, actually I just went to a lot of

shows, watched a lot of concerts and talked

to some artists and some venues. I don’t

look that much to other festivals.

VIP-News: Do you think it has became more

difficult for smaller artists to tour or play


Keimel: It is more difficult because the audience

is more and more focused on the

big names and if you are a small band then

it’s hard but some see this the other way.

The Polish band This Car On Fire, no one

had ever heard about, it is just their second

show in Germany ever, but it was well received.

VIP-News: How is the collaboration with the

export offices?

Keimel: Pretty good because it makes the

things more affordable for you and gives

something back to the artists, because they

get more money than I can pay.

Managing Director:

Ronni Didriksen

General Manager:

Peter Briggs

Writer and editorial:

Allan McGowan


Manfred Tari

For advertising enquiries pls. contact

Peter Briggs

or +44 870 755 0092


Mediegruppen, Vejle – Denmark

Popup 2007


VIP- News - M a y 2 0 0 7

VIP-News: What kind of payment do they supply

the artists with? Do they pay them a fee or

travel expenses and accommodation?

Keimel: Yes, but it varies. Sometimes that

way, the fees, sometimes the travel costs or

something like that.

VIP-News: And you as Pop Up provide the local


Keimel: Yes.

VIP-News: Have you raised the ticket price for

the festival?

Keimel: No, but I think maybe this is something

for the next year. I think 35 Euro for

80 or more artists over four days should be

a little bit more, because the production

costs are getting higher and higher.

VIP-News: Where does the audience come

from? Is it a mainly German based audience

or do you find that there are also people from

the Czech Republic or Poland here?

Keimel: I think mainly it is a German audience

but also people from abroad. You

can see from the last years that it is getting

more and more interesting for foreign

visitors from places like Austria, Denmark,

Sweden, France and even China. This year

we have some Chinese people here. Not

tourists, artists. At the moment I think it is

a little bit trendy to have some Asian musicians

on the road here.

VIP-News: You have been booking Pop Up

since the beginning, haven’t you?

Keimel: Since the second year.

VIP-News: What has changed since then?

Keimel: I think the labels and agents expect

more from you. Usually it is harder to get

the support and fees arranged and things

like that. It was friendlier in the early years.

VIP-News: Do you think the market for this

type of business is becoming more difficult?

Or would you say it is almost the same?

Keimel: Maybe it is almost the same but it

is getting harder to get good prices, reasonable

prices. We have artist that are better

known, they expect a lot of more money

than in the years before. We had bands

two years before that were really small acts

and right now they are a little bit bigger. It

changed a bit. But the typical thing is that

there is always someone who is coming

back from the underground.

VIP-News: How were the first two days?

Keimel: The opening evening was really

brilliant. Wonderful shows, wonderful

bands, wonderful audience. That was really

perfect, legendary events like two years

ago with Syd Matters from France, but even

more audience than that. And yesterday it

was wonderful to have this Danish band,

Low Frequency In Stereo, here and The Audience,

it was a brilliant show, sold out. And

then we had an electronic evening with

Disko B, a famous German electronic music

label from Munich. They are long time

supporters, by the way. And we have Hans

Nieswandt here and I was a nice close to

the evening to dance to that music.

VIP-News: How many tickets do you expect to

sell in total?

Keimel: It´s hard to say. Most people pay at

the door, so I don’t expect that many advance

festival tickets sold. I think 500 or so

its not that big in size.

VIP-News: But the money taken from the door

also adds to your budget?

Keimel: Yes, that’s the money for the bands


VIP-News: How many clubs are you working

in this town?

Keimel: 13

Do you wanna do better business

in Germany?


VIP- News - M a y 2 0 0 7

Gender Studies in Production

Manfred Tari

Suza Titzas is an experienced production

manager. Not only officialy certified with

a degree as a stage master, she is one of

the very few ladies who works in the male

dominated profession that keep the live

entertainment business running. VIP-News

spoke with her about how shegot into this

business, her experience with colleagues

and about progress in this business since

she started.

VIP-News: How long have you been working

in this business now?

Suza Titzas: Sixteen years.

VIP-News: What got you into the business?

Titzas: I used to work in the advertising

business, doing graphics, but this was

definitely not my thing. A good friend of

mine was working in the live business and

he said, come on and try it, that was 1991

and I’m still here.

VIP-News: You are going on tour and you are

also working locally. Please tell us a little bit

about what kind of jobs you are undertaking.

Titzas: I do nearly all kinds of jobs in this

business, except catering, that does not

work with me. So I mostly organise things

locally as a crew chief in charge of all the

hands. I do the tour work mostly for Peter

Rieger. I take care of the whole tour and I

am the contact between the locals and the

English or American guys on tour. I have

my so-called “Bühnenmeister” for four

years, so I’ve been in charge of most of the

productions since then.

listen to me. But now, after all these years,

most of the guys know me and like to work

with me, because I know what I can do and

they know it also.

VIP-News: So, it became better over the

years, you would say?

Titzas: Oh yes definitely. I mostly love all

of the guys I work with. I’m always glad

to see them and they love to work with

me. Because after all these years you are

experienced, they know you. It’s a small

family in this business. Every year there are

new people that try the business because

they heard of a how great it is to be in Rock

`n`Roll. I don’t know what goes on in their

minds, because after all it’s a job, it’s a profession.

But most of them are gone after a

year, so it’s like a family in this business.

VIP-News: Do you also working abroad with

your artists on tours and productions?

Titzas: No, I stopped that. For two years I

used to do musicals, Europe-wide, in Italy,

France and all these countries, but I didn’t

like that. I wanted to go back to Rock`n`Roll,

because I work for Mr. Rieger, he does the

German tours and I know why after being

in Italy and other countries, it’s much better

to stay in Germany. Then you are more

at home, it’s not like being not home at all

for two years. Here you do some tours for

two or six weeks and then you are at home

for a few days or weeks. So that’s much

better for your private life.

VIP-News: What other changes have you

recognized over the years now? Have the

Productions became bigger and more expensive

as promoters can afford to put on

a show, are they very different from those

days when you started?

Titzas: Definitely, yes. I mean my first Open

Air, I was very lucky with that, was the

Genesis Tour “I Can’t Dance” in 1992 and

this was already quite a really, really big

and brilliant production and after that it

was the Pink Floyd Open Air Tour, I think

it was 1994, and this was huge already and

I still absolutely chill when I think about it.

It was excellent, but mostly it is the case

that everything gets bigger and bigger

and bigger every year, especially the Open

Airs. I just worked with Roger Waters on

Monday and all that you can do now with

laser and LED`s and all that is miles ahead

of when I started in 1991 and then it was

already big.

VIP-News: When it comes to productions,

which German venues come to mind that

you really like to work in?

Titzas: That’s very easy: I love the Lorely,

because I did a few absolutely beautiful

VIP-News: Haveyou ever been, well let`s say,

not appreciated as a woman in this position?

Titzas: Yes, it was not so easy when I started

1991 as a hand, because there were

only three girls, I think. I remember working

as a hand in that business and you had

to work a bit more and harder, especially

when I turned into a crew chief telling the

guys what to do. Some of them tell me:

‘do it yourself!’ So I had to do a lot of jobs

myself first, to let them know that I know

what I’m saying and doing, so that they

Suza Titzas


VIP- News - M a y 2 0 0 7

Open Airs there. There were some Rockpalast-Festivals

of the WDR and some other

nice Open Airs that I worked in. And then I

loved to go on tour anyway, I’m always really

glad to be in Berlin again and there are many

nice venues in Germany. Especially I love the

Open Air ones of course Hamburg Stadtpark,

oh I love it, the Kölner Tanzbrunnen, I

love it very much. It is beautiful, especially in

the summer, of course.

VIP-News: What happens to all the boys when

you are aboard the nightliner?

Titzas: You are only in the nightliner to travel

over night to get to another town in time. If

you have a Day off you stay in the hotel any

way and then you go out.

VIP-News: But never the less you know it’s quite

an unique situation. Most of the times nightliners

are full with the boys…

Titzas: …You get very used to it, because

when you are working you have no sex, you

know. It`s not that you are the only female,

mostly you also have the catering-girls or

the wardrobe girl with you. Even if I’m the

only one, at first it’s almost funny, because

they try to behave a bit more. They talk differently

and they’re a bit more careful of

the shit they do. Some of the guys love it

when I’m on the bus, because they say it’s

special that the guys try to behave a bit

more because there is a woman with them,

but you always run in to situations. I mean

it’s very, very tiny there. When you are on

tour a few weeks, you know each other in

your underwear definitely and nobody absolutely

gives a shit about it because you

are working and its a big family and it’s

quite big fun. So you meet in the sauna that

becomes a very natural thing. That’s what I

love so much about the job. It’s not this famous

‘you must be on Tour in the bus and

Sex, Drugs and Rock`n`Roll’. No, it’s a big

working family, everybody is happy when

he can sleep or drink. No Sex, no.

VIP-News: What kind of funny incidents have

you experienced over all these years? Have you

had like really ‘slapstick’ events taking place?

Titzas: If you are very lucky most of the productions

are slapstick. It starts in the morning,

because in this business as I mention

already this is not just a job you just do. You

must be a bit special in your head, I think.

There are many, many funny people working

with you, so it’s always quite funny. I

mean there are more funny bands and less

funny bands and sadly you meet artists

you liked before and you don’t like them

after it. They were not so funny, but I could

never ever work in another business again,

because it’s so different. This is an planet of

its own, with a lot of free, funny people, who

love to do their job and so try to make the

best out of it anyway. There were also special

moments for me you meet so many artists.

I never gave a shit, you know, I don`t care

whether the Pope stands in front of me. But I

did care when I met for first time some of my

private idols like Iggy Pop or David Bowie. Or

the first time I worked with the Stones and

they passed me it was quite “wow”.

VIP-News: Do you still also get into smaller productions

on a club level? Is it something that

you are occasionally booked for?

Titzas: Yes, definitely. I mean I prepare these

Productions, for ten years I took care of all

the big productions here in the area or on

tour like the Open Airs with Tina Turner or

Meat Loaf or Peter Gabriel or you know, really

big acts. So now I prepare the club gigs.

I go out now with Mr Joe Jackson. And all

over Germany in really nice small venues,

this is much more relaxed, of course, than

to tour now with the Rolling Stones. It’s


VIP-News: How do you expect how the business

will develop in the future? Over the years

the Productions get bigger, the Ticket prices

go up. So what is your personal prediction,

because I guess you also have some thoughts

or a feeling about what the audience thinks

about all that or what they expect. Please give

us your forecasts for this business.

Titzas: I wish I had one, because everything

is changing in the last years everybody notices

that in our business no matter what

he does regarding the Ticket prices or what

shows are on tour they get bigger and

bigger every year. It’s perfect for the audience,

it’s brilliant and also for the people

who work with it, because it’s many days of

many jobs for the hands who are involved

and the people get an actually absolutely

perfect, brilliant show. But regarding the

money and the prices I don’t know, I wish I

would know and I think everybody working

in that business would like to have have a

clue to that. Maybe some have, but I don’t.

VIP-News: What do you think about the socalled

Stage master degree?

Titzas: I think the Stage master thing is very,

very important as a safety device, because

many things did sadly happen in the past,

because of a lack of experience with big

crowds and when these things happened,

of course it was too late when they started

the stage master diploma. And it’s good,

that so many people do it, I don’t know why

they do it because they don’t have a clue,

but I think that´s in every job the same. As

for the sales stuff, I don’t know.

VIP-News: What were the highlights of your

working career?

Titzas: Oh, still the 1994 Pink Floyd Open Air

Show and the Voodoo Lounge Tour with

the Rolling Stones 1994/1995.


VIP- News - M a y 2 0 0 7

The ETEP-Pipeline Opens up Again

Manfred Tari

The European Talent Exchange Program

is still the most interesting Pan European

model for successful talent support project.

The program is now proven and has shown

that it is able to integrate many partners

under one umbrella. So far it is to all intents

and purposes the only measure that has

worked since its instigation in 2003.

Initiated by the team at the Noorderslag-

Eurosonic Seminar and Buma Cultuur (the

foundation formerly known as Conamus),

in the beginning the Programme was supported

by the European Commission and is

today backed by partners such as Yourope

– the festival association -and the EBU (European

Broadcasting Union – the official

body for public radio and TV stations) and

the EMO (European Music Office).

Sweden scores as Pop-Nation and currently

has 4 acts in the ETEP top ten. Winners in

the Top Forty include Shit Disco – GB/ 4,

The Magic Numbers – GB/ 4, zZz - NL 4, Lo-

Fi-Fnk – S/ 3 and Oh No Ono - DK/ 3. It is expected

(and demanded by the editor of this

article) that the marvellous zZz soon will

have many more bookings but the season

is still on and the ranking isn’t completed

yet. So far 144 shows are booked for 76 artists

with artists and festivals from 18 nations

involved. Story to be continued…

The ETEP Top Ten on May 4

Goose – B/ 10

Loney, Dear – S/ 7

Peter von Poehl - S/ 6

Peter, Bjorn & John –S/ 6

Datarock –N/ 5

Digitalism –D/ 5

Five O’Clock Heroes –GB/ 5

Johnossi –S/ 5

Leningrad –RUS/ 5

The View –GB/ 5

In a preliminary report the organisers have

now revealed the results of the first round

of the current edition. There are still more

confirmations in the pipeline but the first

selection already indicates who are the

trend setters and the beneficiaries.

Goose from Belgium heads the ETEP booking

Top Ten for the moment with 10 shows.

Goose will play the ETEP festivals in 2007

Ticket updates:

Manfred Tari

82.000 tickets sold for Rock am Ring:

For the first time ever Rock Am Ring has sold

out in advance. The festival will be held on

June 1 to 3. On the website the promoters

Marek and Andre Lieberberg asked fans

that do not have tickets to stay at home as

access to camping sites and parking lots

is only permitted for ticket holders. Sister

event Rock Im Park in Nuremberg featuring

the same line up still has 10.000 tickets


50.000 tickets sold for Pinkpop

Jan Smeets expect a sold out Pinkpop

2007. 50.000 tickets have already been sold

for the three day event. According to the

promoter’s ticket sales statistics this indicates

that the event will eventually sell out.

Current promotional activities such as the

festival magazine with circulation of about

150.000 copies and a 4 page supplement

as part of the 600.000 circulation free daily

newspaper Metro stimulate demand for the

show along with a promotion campaign for

Linkin Park at the radio station 3FM. On top

of it national TV station Nederland 3 will

broadcast a Pink Pop feature.

Day tickets will be on sale for Whitsun

Saturday (May 26) and Sunday (May 27).

On May 27 there will be a lecture by Wiel

Beijer who wrote De Wereld Van Pinkpop

(The World Of Pinkpop) the book about the

history of the festival. The 38th edition of

Rock am Ring 2007 - Sold Out

the festival will feature an exhibition of the

festival posters in the art centre Glaspaleis

van Heerlen.


VIP- News - M a y 2 0 0 7

Prince Tours London!

Allan McGowan

New Award

Announced for

Green Festivals

Allan McGowan

With green issues becoming ever more

central to debate in all areas of public life

independent website

have announced a new award

aimed at the recognition of green and

greening achievements in the worldwide

live music industry.

The award, ‘A Greener Festival 2007’, is

based on a 60 point checklist which aims

to promote environmental efficiency and

sustainability. As a minimum, events and

festivals must have:

• A coherent transport and travel policy

promoting public transport.

• Considered ways to reduce waste and


• Recycling on site

• Instituted protection for the environment

and wildlife.

The team behind the Awards would also

like all festivals to aspire to a 26 point action

plan –an A-Z of going green – and

by 2008 are hoping that all festivals will

have basic green policies and practices

in place. Recipients of the Award will be

able to show they have achieved a high

level of greening at their event and will

be entitled to use the logo in all of their

advertising and on their website - a list

of recipients will be publicised on the

greener festival website. The team also

say there may also be a tie up with a major

awards ceremony to celebrate the

awards - watch this space! If your event is

interested in the award contact


Some years into his extraordinary career

the artist formerly and presently

known as Prince still appears to have

energy to burn. On the phone with

Rob Hallett, Head of Live at AEG, a few

days ago I commented that he was

sounding rather weary, he agreed and

put it all down to a very long night out

in London with the seemingly tireless

pop star.

They were discussing the seven nights

at the Millennium Dome, now known

as the O2 Arena, which Prince will play

to begin a 21-date summer tour of

London. The series of concerts, which

will include some secret club gigs will

be his only European appearances this

year and his first in Britain for more

than 10 years. The announcement of

this unexpected choice of tour dates

has certainly pleased British fans, but

somewhat confused the rest of the European

touring industry.

Prince announced that tickets for the

tour, which begins on August 1, will

cost £31.21, a reference to his 3121 album.

Also a free copy of his new album

will be given away with each ticket


sold. He explained, “It’s direct marketing.

I don’t have to be in the speculative

business of the record industry.”

His move to keep tickets affordable,

particularly with so many artists going

for top dollar of late, will be welcomed.

He explained. “Last time I was here a

lot of people didn’t get to see me so

we are trying to make it affordable for

everybody. That’s why we are doing an

extended stay.

Further commenting on the number of

shows he said, “There are going to be

so many nights here that we are going

to change the show every night. We

play so many different styles of music,

it’s really hard to get a full dose of

what we do unless you come to several

shows. Also, I have a wide fan base that

come to multiple shows, I see that a lot

in London.” On the decision to limit

his European appearances to one city,

Prince said: “I love London. I’ve had

some of my favourite shows here.” He

also announced that he was looking

for a home in the city, saying, “As soon

as I leave here I’m going to look for a

place to live.”


VIP- News - M a y 2 0 0 7

MPs Launch Ticket Touts Inquiry

Allan McGowan

The ongoing debate on the secondary ticketing

market continues in the UK with the

announcement by the Culture, Media and

Sport Select Committee that ticket touts

are to be the subject of a government inquiry.

The new investigation will look at

touting at music, cultural and sporting

events, and will continue the DCMS discussions

with the live music industry. The

government has held a number of “touts

summits” to look into the problem, but has

stopped short of legislating against touting.

Action has already had to be taken over

the last couple of days with the Government

calling on eBay to remove from sale

tickets for a free Radio 1 concert that are

being traded on the auction website for

hundreds of pounds. The BBC distributed

35,000 tickets by ballot for the Big Weekend

festival in Preston featuring Razorlight,

Scissor Sisters and Kaiser Chiefs.

Although ticket-holders must produce

ID to gain entry Ministers were alerted to

sellers on eBay who were offering fake ID

to help buyers to evade security. Tickets

were being traded for up to £450 a pair for

next weekend’s concert. In a letter to eBay,

Shaun Woodward, the Minister for Creative

Industries and Tourism, said: “Ebay should

stop selling the tickets; the artists are not

making money from this free event, so

why should the touts?”

Last year the government said it had ‘no

plans’ to make touting illegal, but it will focus

on the impact of internet auction sites

such as eBay, and if tickets should be allowed

to be sold above face value. More and

more music fans are complaining that touts

- who grab festival and gig tickets then sell

them on again for vastly inflated prices - are

a huge problem.

The 11-strong committee, chaired by Conservative

MP John Whittingdale, is asking for

written submissions from promoters, ticketing

agencies and other interested parties, in

order to address a series of issues relating to

the secondary ticket market, such as:

The underlying causes of ticket touting, and

its impact on performers, promoters and the


Whether or not resale of a ticket, at face value

or at a higher value, should be permitted

in principle.

The impact of the internet upon trade in


Whether or not tickets’ terms and conditions

banning transfer and onward sale are fair or


Stuart Galbraith from Live Nation

The merits of new approaches by ticket

agents attempting to prevent transfer of

tickets, including wider use of personal ID.

Whether legislation in place for football

matches and the London 2012 Games

should be extended to cover other music,

sporting or other cultural events.

Stuart Galbraith, managing director of

events company Live Nation, said he welcomed

the new probe, but added he “remained

to be convinced” it would be of any

use. “I have to say that I’m very more cynical

about the government’s intentions to do

anything about ticket touting than I was at

the start of this process.”

The deadline for written submissions is 6


Arctic Monkeys to Play Ibiza Rocks

Allan McGowan

Some of the UK’s biggest bands, The Arctic

Monkeys, Kasabian and the Fratellis

will play the island home of dance music,

Ibiza, this summer.

events for the last ten years. However this

year’s line up with 40 expected gigs and

some of the biggest live acts in Europe,

will be by far the most ambitious.

Tastes seem to be changing in the Balearic

island that has been home to superstar

DJs, ravers and huge club venues since

the 80’s. Guitar bands have been appearing

on the island for the last three years at

events organised by Ibiza Rocks, the offshoot

company of Manumission, promoters

of the island’s most sought after dance

Ibiza Rocks and Manumission’s Andy

McKay forecasts a ‘total revolution’ in Ibiza’s

music scene to suit the tastes of an

emergent generation.

Ibiza Rocks will run between June 19 and

September 11 at the open-air beach venue

Bar M.

Arctic Monkeys will Play Ibiza Rocks


VIP- News - M a y 2 0 0 7

Live Nation - Loss and Hope

Manfred Tari

For the first quarter (Q1) Live Nation 2007

reported a revenue of $584.2 million and

gained a net loss of $45 million. The revenue

in Q1 2006 was $516.5 million and

increased by about 67.6 million in Q1 2007.

The comparable net income in Q1 2006 was

$ 1.1 million which has since turned into the

reported net loss.

Live Nation declared less successful sales

than in the first quarter 2006 in the company

divisions North American Music, International

Music and Global Artist as the reasons

for the loss. In addition the production

Phantom – The Vegas Spectacular caused

losses while furthermore acquisitions concluded

in 2006 caused higher general and

administrative expenses. Live Nation emphasized

that in general business in Q1is

‘seasonally the quietest in the concert business.’

Michael Rapino, President and Chief Executive

Officer of Live Nation commented, “We

are one year into our three year transformation

to become a vertically integrated live

music company. We have demonstrated

quarter after quarter our ability to execute

systematically on our fix/build/expand

strategy to get us to that goal. Year one

was about stabilizing our core music business

and refocusing our mission. Now with

a defined music mission, year two is about

improving the core, expanding our core

music offerings and growing our business

substantially. Year three will see our growth

being propelled by the synergy of our core

live, online and artist services businesses.”

Besides the business report earlier this

month Live Nation announced cooperation

with Nokia Ticket Rush. The program is a

free incentive service for punters offering

tickets for high demand shows and exclusive

ticket pre-sales for selected tours and

concerts. In a number of North American

venues subscribers to the services could

also benefit from the ‘Nokia Speed Line’

enabling ticket holders to access venues

with virtual tickets stored on their mobile

phones. In addition to this Ticket Rush can

also be used as an information channel for

direct marketing measures for artists and

live entertainment offers.

On May 17 the company announced the

launch of ‘Live Nation TV’ an internet based

TV service embedded within

The service is another content

feature on the web site and will feature live

music clips and interviews with Live Nation

artists following the acquisition of House

Of Blues.

Bryan Perez, President of Live Nation’s Global

Digital Division commented that ‘Live

Nation TV’ is the next step in building a direct

artist-to-fan relationship through Live-, providing another opportunity

to connect artists with their fans around

the magic of the live concert experience.”

DEAG Profit Rise in Q1

Manfred Tari

In a preliminary release DEAG announced that it raised its Earnings before

Interests and Taxes result in the first quarter 2007 to 0.5 million Euro compared

to 0.1 million Euro in Q1 – 2006, while the revenue remained the

same at 11.8 million Euro.

For the second quarter 2007 DEAG expect high selling tours and concerts

with acts such as The Who, Justin Timberlake and Beyoncé as well Open

Air concerts with the classical piano player Lang Lang. The full report will

be released on Monday, May 21 on the web site


VIP- News - M a y 2 0 0 7

Music at London’s South Bank Arts Complex

Allan McGowan

The South Bank Centre is one of London’s

major centres for the Arts. Comprising of

the Royal Festival Hall, The Queen Elizabeth

Hall, The Hayward Gallery and various outside

spaces, the complex has a worldwide

reputation for staging and prestigious and

innovative events in all areas of the Arts, including

the instigation and staging of live

music events covering all genres, that you

are often unique to these venues.

Early next month South Bank celebrates the

reopening of the newly refurbished Royal

Festival Hall with a full series of performances,

featuring its four Resident Orchestras,

top conductors and soloists and specially

commissioned new works. . Two giants

of jazz, Cecil Taylor and Ornette Coleman,

play in the Royal Festival Hall, Welsh opera

star Bryn Terfel stars as Sweeney Todd in

Stephen Sondheim’s operatic musical, and

there will be an innovative 3D performance

of The Rite of Spring. Also Jarvis Cocker

curates the eight-day Meltdown festival,

which opens with sets from Motorhead and

Melanie and ends with a show from Jarvis

himself, taking in performances from The

Jesus and Mary Chain, Iggy & The Stooges

and many more along the way

VIP-News talked to Glenn Max, also known

as Max, or G.Max, producer of Meltdown

and other non-classical events at The South

Bank about the particular requirements involved

in booking these venues, and about

his career in general.

VIP-News: What is your background, did you

work in music or theatre previously, and what

exactly does your present role at Southbank/

Royal Festival Hall entail?

Glenn Max: I started working as an arts curator

and musician till one day asked to book

the Knitting Factory in NYC. I was there 3

years and in that time I expanded their focus,

brought in some major artists, booked

events on their citywide music festivals and

opened their club in LA. Now, here in London

I produce a broad range of contemporary

non-classical concerts and events including

Annual Festivals such as Meltdown

Festival, World London and Ether. The job

entails devising creative proposals for artists

to consider or setting up an interesting

context in which artists want to perform. Or

sometimes I’m simply handling a straightup

gig -though it inevitably becomes a

very important gig for the band. Somehow

the halls bestow some significance to any

gig that comes in. Other times I’m acting as

a host and collaborator with an important

festival that comes to the halls- such as the

London Jazz Festival or La Linea. It all entails

negotiating deals, and managing the

event until its conclusion.

VIP-News: Would you say that due to the special

nature of the venues that you work with

that your job is very different to that of the more

‘usual’ concert venue promoter/manager?

Glenn Max

You seem to be part agent, part promoter,

what sort of percentage of your shows are self

promoted as opposed to venue rentals and do

you deal directly with international agents,

artists and promoters?

Glenn Max: Our events typically are in the

Royal Festival Hall, the Queen Elizabeth Hall

and the Purcell Room. In addition to this,

the South Bank is a dynamic organization.

So there is a great deal of interaction and

establishing consensus between programmers.

Everyone has a hand is shaping what

we present and how we present it. The emphasis

in our organization right now is to

initiate our own work and carry it through

to fruition.














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VIP- News - M a y 2 0 0 7

However we remain interested in developing

strong relationships with promoters.

In most cases we seek to engage

them in the values of the South Bank Centre

- it can seem a bit lofty at times. But

simply put - we’re concerned with artist,

audience, community and our institution

all benefiting from a higher degree of creative

engagement. We’d like outside promoters

to be a part of that as well- but too

often it’s: ‘wham bam thank you m’am’.

We’re more about relationships and delivering

our events to very high standards

of service and production values.

I think were very open to conversation

with a broad range of promoters. In some

cases its just the simple fact that someone

like Live Nation are touring David Sylvian

- and we believe he represents a kind

of thinking or aesthetic that is in line with

our own. But we’re more likely to work

with promoters that are dedicated to a

kind of community idealism.

VIP-News: Who came up with the concept

for Meltdown? When you are working with

the Meltdown Curators do you book and negotiate

the artists or does the Curator make

personal invitations - how does it work?

Glenn Max: Meltdown was the suggestion

of the British composer, George

Benjamin-who sought a framework for

presenting many different art forms

within with a classical festival he was

planning. But the festival for many years

was guided and shaped by my predecessor

David Sefton- now at UCLA performing

arts. But also many Meltdown directors

have helped redefine it. In fact, the

festival is nearly redefined each year. If

you look at Patti Smith’s Meltdown, its

nothing like Lee Perry’s and his is nothing

like Scott Walker’s and his is nothing

like David Bowie’s, etc. My role in these

events is to do the ‘dirty work’. The Meltdown

Director makes initial contact and

in some cases makes specific requests or

helps the artists shape their show for the


VIP-News: What is your view of the current

state of the live industry?

Glenn Max: Being in London the first thing

to recognize is how healthy the market is

and how wonderfully enthusiastic music

fans are for live music. Despite this, it is a

fiercely competitive time and we do occasionally

cross paths with a playground

bully. Seldom can we get anywhere in this

kind of competition because while we

can operate in an enterprising way, SBC is

a public charity. You have to find creative

ways around the behemoths and creative

ways to work with them, and you remind

yourself that, in most cases, they’re music

fans too.

VIP-News: Do you have any future plans

that you’d like to mention?

For this year Jarvis Cocker’s Meltdown is

shaping up to be amongst the best festivals

I’ve ever put on here. Brian Wilson has

been commissioned to write a new piece

of music, which will be up to 25 minutes

in length and will debut here in September.

Legends such as Ornette Coleman

and Cecil Taylor are in the Royal Festival

Hall re-opening programme as well as

startlingly original new talents such as

The Decemberists and Regina Spektor.

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.










Launched nearly 5 years ago, 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 in-depth 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 - M a y 2 0 0 7

artist avails ››

Baby Woodrose

Territory: Europe

Period: November/December

Agency: Paperclip Agency

Agent: Hilde Spille

Phone: +31 24 323 9322



Ce¥Cile (JA)

Territory: Europe

Period: August

Agency: Kingstone Ent.

Agent: Rolf Radny

Phone: +492219411204




Territory: Worldwide

Period: On Going

Agency: Mission Control Artists Agency

Agent: Craig D’Souza

Phone: +44 (0) 207 252 3001



Carlene Carter and Band

Territory: Europe July 2007

Agent: Denis Vaughan

Phone: 0(44)207 4865353

Fax: 0(44)207 2240466



Territory: Worldwide except US & Canada

Period: 2008

Agency: World Concert Artists Ltd

Agent: Corrado Canonici

Phone: +44 20 8906 6587



More Artist avails on:


Post your Artist avails on:


VIP- News - A u- gMu s t a2y 0 02 50 0 7

notice board ››

Speak Another out new - participate service in in the the improved debate. and The redesigned VIP-News Reader’s-page VIP-News is the is open Notice-board, for letters which and contributions is available for from all readers.

Consider Reader’s messages the VIP-News will Reader’s-page, be posted on the as your Notice-board “speaker’s as corner” a free service, towards passing professionals on announcements, in the entertainment job postings, industry buying

and Europe. selling The notices, purpose inquiries of the Reader’s-page or alike. Announcements is to encourage should more be interaction emailed to

and to allow our readers to voice their



opinions about the many aspects of our industry. Contributions should be emailed to


The promotion of Italian music abroad continues: Toronto, Montreal and New

York (May 18th - 22nd) will be visited by one of the most extraordinary Italian


Vinicio Capossela will be leaving shortly to among audiences and record industry insiders

– thus demonstrating the potential

the United States for a brief tour organized

in cooperation with the Arezzo Wave Italia this artist can have outside Italy, too. In

Foundation. 3 dates in 3 important locations:

the 18th of May at the Lula Lounge tion “Liberation” has chosen him as one of

confirmation of this, the French publica-

of Toronto, the 19th of May at the Espace the lead characters of its July issue which

in Montreal and the 22nd of May at Joe’s will contain a special dedicated to Italy.

Pub in New York.

The three “American” concerts represent a

new adventure – this is the first time Vinicio

Capossela performs in Canada and the

Vinicio Capossela’s visit to North America

is part of the Arezzo Wave Italia Foundation’s

line of activity which since 2004 artistic path of this leading figure of Italian

US – thus adding greater prestige to the

pursues the aim of presenting the most Music.

important and “exportable” realities of our

current musical heritage to the US market. Capossela will meet the American media

on Monday, May the 21st within the New

Vinicio Capossela is currently engaged in York ENIT, in occasion of the international

his “Minotour 2007”, a series of concerts press conference presenting the new “Italia

Wave” Festival, the Arezzo Wave Italia

in Europe which has taken him to Spain,

Switzerland, Greece – with a week of sold Foundation event which will take place

out concerts at the Athens Half Note – Belgium,

The Netherlands and Luxemburg, from the 17th to the 22nd of July 2007.

in Florence and Sesto Fiorentino this year

being welcomed more than warmly and

generating great interest and enthusiasm

The encounters are the


CONCERT: Friday, 18th May

@ Lula Lounge - 19.30hrs

1585 Dundas St. W.,

west of Dufferin 416 588 0307


CONCERT: Saturday, 19th May

@ Espace dell’Arte - 19.00hrs

40, Jean-Talon Est, QC H2R 1S3



of May @ ENIT - The Italian

Government Tourist Board -

18.00hrs 630 5th Ave, NY 10111

New York

CONCERT in cooperation with Rai

Radio 2: Tuesday, 22nd May

@ Joe’s Pub - 19.30hrs

425 Lafayette St.

New York

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.

Vinicio Capossela



VIP- News - M a y 2 0 0 7

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 acts.

The Festivals, corporate and special


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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