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VIP-News is a FREE online newsletter. VIP-News is emailed monthly to more than 20.000 Entertainment Industry Professionals all over the world. Our statistics show that 75% of recipients actively open and read VIP-News every time they receive it. Readers consider VIP-News a valuable source of information for keeping themselves in the loop and up to date with all the latest news, views and insider info.
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VIP-BOOKING.COM
PreMIuM ›› VOl. 130 ›› NOVeMBer 2010
www.VIP-BOOKING.COM
Last night, (for me – by the time you read this it’ll be a few days ago – wonderful thing time travel!) I attended the Brighton Music Awards at the invitation of PRS, Strange this event was happening in my hometown, and I didn’t know it was in the planning! Nobody tells me anything, but then again, I travel a lot. I found myself sitting close to a table occupied by not one, not two, but three gods! Waiting their turn to get up and present awards were the original god of hellfire, Arthur Brown, with two slightly younger chaps, but certainly rock gods in their own right, Jimmy Page and Roger Dal-trey – not a bad line up I’m sure you’ll agree. The event was in support of The Teenage Cancer Trust, a cause to which Daltrey de-votes a lot of time and energy.
There were a couple of really good new bands, Rubylux, and a star in the making, who looked like a cross between Joan Ar-matrading and Jimi Hendrix, and had a hell of a voice, called Z-Star – you heard it here first! At the after show party I had the chance to meet Page briefly, and recalled that I had first seen him playing bass for The Yardbirds with Jeff Beck on guitar, which he remembered as being… difficult.
It’s time again for the UK Festival Awards, so tomorrow (for me – It’ll be… don’t start all
that again! – Ed), I’m off to London to chair a panel dedicated to tales and anecdotes about the festival world, with John Gid-dings (Isle of Wight), John Probyn (Live Na-tion) and James Barton (Cream), all of whom are decidedly aware of the need of humour in this business, so it should be fun – I’ll let you know about it next month.
These Awards, and the European Festival Awards, which will take place at Eurosonic/Noorderslag in Groningen next January are now taken very seriously as befits an industry that has seen remarkable growth in the last 25 years. In Britain alone it is es-timated that more than 670 events took place in 2010, with the top 200 contribut-ing £450m to the economy in ticket sales, travel, accommodation and food. Earlier this year Barry Dickins, of leading Agency,
ITB said that his company does most of its business, probably 65%, in a ten-week pe-riod from the end of May to August. That is quite something, and when you look at the growth of the sector in Eastern Europe, where I think we will see more activity in 2011, including possibly a new Live Nation event, there is more to come.
Some while ago we told you that we would turn over occasional issues of The News to particular markets, the last was Switzerland, and with the help of Christian Storbeck of Striker Entertainment we will look at Italy next month. So if any of our Italian readers have anything to tell our thousands of read-ers about their business and the Italian mar-ket in general, please let us know at am@VIP-booking.com, or mt@VIP-booking.com
Meanwhile this issue has turned out to be pretty much a spotlight on The Nether-lands, which continues to define its posi-tion as ‘gateway to Europe’ by producing very fine conference and showcase events, with Noorderslag/Eurosonic attaining its quarter century, Amsterdam Dance Event again breaking records, and a new urban event kicking off in Rotterdam, they seem to be doing something right.
Ladies and Gentlemen, read about it here:
1
McGowan’s Musings:
Allan McGowan
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Managing director: Ronni Didriksenrd@vip-booking.com
General Manager: Peter Briggspb@vip-booking.com
writer and editorial: Allan McGowanam@vip-booking.com
writer: Manfred Tari mt@vip-booking.com
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VIP- News - N o v e m b e r 2 0 1 0
New urban showcase and Conference for rotterdamAllan McGowan am@vip-booking.com
Buma Rotterdam Beats is a brand new event
whose aim is to be a central meeting point
for the whole range of urban genres. The
event takes place in the city of Rotterdam
and features two-days of music conferenc-
es, workshops and open-mic sessions, plus
a night time music festival across five of the
city’s most exciting venues. The event is also
dedicated to the discovery and promotion
of upcoming local and national talent, act-
ing as a focal point for Rotterdam and The
Netherlands’ best new artists.
Festival director Roger Brouwn says, “With
Buma Rotterdam Beats, a new festival is
born that in terms of styles, talents and mu-
sic perfectly matches the diversity of the
city of Rotterdam. I am delighted that this
city is playing host to he event and look for-
ward to seeing it develop over the coming
years. We hope Buma Rotterdam Beats will
prove to be the definitive music festival for
all urban genres, as well as a platform for
the launch of international careers’.
AmbitionBuma, initiator of the Amsterdam
Dance Event, EuroSonic Noorderslag Con-
ference, Buma NL, Toonzetters and Jazzdag,
intends to grow Buma Rotterdam Beats into
an international conference where know-
how is shared, business deals are done and
where the best new talent is presented to
an international audience.
Conference and FestivalDuring the con-
ference representatives of venues and
festivals, record labels, music publishers,
producers and artist managers, plus tour-
ing and brand relationship agencies will
be in Rotterdam to network, share their
know-how, and do business. The daytime
programme includes matchmaking initia-
tives aimed at teaming up individuals with
complimentary skill-sets, lectures and de-
bates focused on the current and future
music industry featuring the people who
live it every day, as well as interactive and
online technology workshops. In addition,
the event also aims to create links with rep-
resentatives from creative industries such
as video games, TV commercials and film-
makers.
26 & 27 November 2010During the two
evenings of November 26th & 27th, the
festival will offer a selection of acts in four
choice locations around the centre of Rot-
terdam. Buma Rotterdam Beats will also
present some of the very best current art-
ists, ranging from internationally known
acts through to the latest breakout national
artists, and the very best new local talent.
Rotterdam Beats
3
VIP-BOOKING.COM
VIP- News - N o v e m b e r 2 0 1 0
Once again the ADE celebrates a highly
successful edition:
It’s not only the figures that illustrate the
success of the 15th edition of the ADE.
It was also obvious in the vibe that sur-
rounds this convention.
The ADE reported another visitor record,
sold out for 3 years in a row now, this year
the organizers added 300 additional tick-
ets, bringing the total up to 2.500. Visitors
from 58 countries visited this hot spot for
the dance music industry and even when
the conference program featured topics
such as ‘Club Crisis: What Crisis?’, ‘Genius
Or Suicide? Doing Business in the digital
Dance Environment’, or ‘Label Life (And
Death)’ the overall mood of the major-
ity of the visitors indicate that the dance
music business currently seems to be in
pretty good shape.
There are a couple of components that
make this convention so different from
others. One is the participation of so
many prominent artists as speakers and
moderators of the conference program;
these include Dave Clark, Ferry Corsten,
Plastikman, Jeff Mills, Arthur Baker, Todd
Terry, Don Diablo, Sasha, Roger Sanchez
and many more.
Another one is new formats for its pan-
els as part of the conference program.
In particular to be mentioned on this
occasion is the ‘Label Life (And Death)’
panel sessions covering Publishing, Live,
Distribution and Marketing. All four ses-
sions were moderated and hosted by the
industry journalist and ADE-veteran Gary
Smith from Billboard Magazine who did a
very good job. Another highlight was the
panel moderated by radio DJ and artist
Dave Clarke who finished off the confer-
ence with the Demolition Panel and prior
to this took part in the panel ‘Putting the
A in Authenticity – Being Authentic.’
VIP-News found out more by speaking to
organiser Richard Zijlma
VIP-News: How do you think things went with this edition of ADE?
Richard Zijlma: I was really surprised by
the take up for the ‘extra’ day, Wednesday.
1.500 people turned up and there was a
big queue outside, at eleven in the morn-
ing, with delegates from 60 countries ar-
riving to set up their meetings because
they want to do business, they want to
make it happen over here.
VIP-News: Is dance music currently in a good space in terms of its economy? I heard this when I attended the panels; from what people were saying, the in-dustry actually looks quiet healthy and stable.
Amsterdam dance event 2010Manfred Tari mt@vip-booking.com
The 2011 edition of by:Larm to take
place in Oslo between February 17-
19 will host the inaugural Nordic
Music Prize which will select the
worthiest winner from a shortlist
of 12 records. Alongside five of the
top Nordic music journalists, the
jury consists of Laurence Bell (Dom-
ino Records), Victoria Segal (The
Times), Jeannette Lee (Rough Trade
Records, PiL), Rob Young (author or
Electric Eden, former editor of The
Wire), Mike Pickering (ex-Factory,
now Columbia Records), Matthew
Schnipper (The Fader) and Andres
Lockko (arguably Scandinavia’s
most influential music writer). The
annual StatoilHydro Award – whose
former winners include Ida Maria,
Ingrid Olava and Mathias Eik – will
also offer a grant of approximately
€100,000 to what is considered the
most exciting up and coming Nor-
wegian act.
by:larm to Host Nordic Music PrizeAllan McGowan am@vip-booking.com
by:Larm
Blockparty at ADE
4
VIP-BOOKING.COM
VIP- News - N o v e m b e r 2 0 1 0
Richard Zijlma: Yes, I think so. It is obvious
that the Dance-business has became more
international. It’s really a global scene of
course because guys like Ferry Corsten
perform in 87 different countries. Some of
them perform 200 gigs a year, on a partic-
ular level it is still a healthy industry. In par-
ticular I think ADE has become the place
for this scene to set up their meetings and
to promote their products.
I would also say that we now have more
international agencies and promoters on
board, this business is now more involved
with the record labels, the publishers
etc. and now we also have the high level
players of the live dance industry here.
The most important agencies from the
States and the UK are on board, so it’s re-
ally interesting. Naturally it’s a scene that
is really into new developments, sharing
knowledge in music because the whole
thing is triggered by the tracks, it is to-
tally differently to the pop/rock industry.
Normally an average rock bands goes into
the studio for a certain time to create their
record and when its finally finished, they
will go out there and share it with the rest
of the world. But electronic music is far
more immediate, when the track is hot you
can bring it out and share it, and it could
happen that after 24 hours a DJ like David
Guetta or Paul van Dijk will pick it up and
there will be a new hit.
VIP-News: The Dutch dance music scene has become pretty strong. All around the world you now hear the ‘Dutch Sound’. You have very strong international Dutch artists such as Tiesto, van Buuren, Fedde le Grand and others. Could you that say that there’s a strong connection back to ADE by the top Dutch artists or Dutch representa-tives of the music industry?
»I am definitely convinced that the Dutch industry has benefited from ADE
because it gives fantastic opportunity to promote your
artists globally»
- Richard Zijlma
Richard Zijlma: I am definitely convinced
that the Dutch industry has benefited from
ADE because it gives fantastic opportunity
to promote your artists globally; over the
years ADE has become strong in the whole
dance community and this combination
really works for everybody. In the past
most famous DJs from Holland were con-
nected to trance music but now all kind of
genres come up on a worldwide scale. It is
also really interesting for example that the
Dutch record industry is doing so well, that
people like Paul van Dijk or Paul Oakenfold
sign to Dutch label Armada Music. It is ac-
tually a new development which I think
also shows that the Dutch record industry
behind the artists is really doing well.
VIP-News: As far as I can see ADE benefits much more than any other conference in terms of its conference program from the fact that artists take part in it, that they participate as speakers, moderators and so on. Why is this?
Richard Zijlma: It is really fantastic that
the artists are also really involved in a con-
ference like the ADE, that they show up
and share their knowledge and hang out.
People like Chucky or Ferry Corsten came
back from the states to be here for a few
days and somebody like Richard Hawtin is
around for five days at ADE. They are doing
shows, doing master classes, setting up a
lot of interviews and also taking care of
their own business as well. They are really
dedicated to ADE, I think, because it more
and more has a kind of a family feeling
and that is very important. We are able to
reach out personally and are related with
all the artists in the scene. It is really differ-
ent when compared to some other confer-
ences where the visitors are more focused
only on the industry and not so related to
the artists directly.
VIP-News: What can you tell us about the ADE-Festival?
Richard Zijlma: The conference now starts
on Wednesday and a lot of labels and com-
panies are doing their showcases and of
course there is a lot of competition. Some
locations are probably not the best suited
for some shows, and it is very important
to see these as showcases. That is one of
the issues you have to deal with here. But
nevertheless, most of the shows are really
packed anyway, for instance the Melkweg
is now 35 years old and during ADE last
year they broke their visitor record with 17,
000 people, that’s just the Melkweg!
VIP-News: Taking about the audience size, have you now reached the maximum ca-pacity of the Felix Meritis and the Dylan Hotel?
Richard Zijlma: Yes, we have definitely
reached the maximum capacity, although I
think it worked out fantastically well. I was
a bit afraid it was too busy but it sorted
out pretty well. We have sold out for three
years in a row now, and this year we sold
about 300 extra conference tickets due to
a lot of demand by the people who really
want to visit. But I guess this is more or
less quite a good amount of people for a
conference. I think 4000 or 5000 people is
really too much even so, but ask me again
in 10 years!
VIP-News: The future is what I wanted to ask you about, what is on the agenda for 2011 and 2012?
Richard Zijlma: On the Wednesday pro-
gramme during the day we included
‘music & bytes’ with really good speakers
from EcoNest for example, I really want to
develop this more. In term of the internal
value of ADE I really focused on making
this stronger, and I’d like to continue that,
because it is more important than just
making ADE bigger or stuff like that.
Richard Zijlma
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VIP-BOOKING.COM
VIP- News - N o v e m b e r 2 0 1 0
Mick Jagger has said that it is important for
the future of live music that the 100 Club
in Oxford Street, threatened with closure
should survive. The venue is faced with
paying rent which has soared to £4,000 a
month plus overheads.
A Save the 100 Club campaign has been
backed by stars including Bobby Gillespie
of Primal Scream, Johnny Borrell of Razor-
light, Glen Matlock of the Sex Pistols and
Radio 2 DJ Janice Long plead for its sur-
vival. The venue has presented perform-
ers such as Muddy Waters The Clash, Oasis
and Humphrey Lyttelton.
Adding his name to the bid to save the
club Sir Mick told London’s Evening Stand-
ard, “This is really bad news if another
great venue is threatened with closure.
There’s a real need for these places - they
have a connection with the past. And what
is important is that you have places where
bands can cut their teeth and places of a
certain intimacy and size, that new bands
can experiment in. There aren’t that many
great places in London, or indeed any city,
that you can say that about.” He added:
“We never played the 100 Club when we
first started. We couldn’t get a gig.” They
did make it in the Eighties though, to per-
form a 1986 benefit for their late keyboard
player Ian Stewart.
Supporters are now trying to raise £500,000
towards making it possible for Jeff Horton
to pay off debts, and to provide working
capital to keep the club open. The plan is,
if successful, for the campaign to take over
the lease and run the venue as a charitable
or non-profit-making venture.
Stones Ronnie Wood and Mick Taylor are to
play a benefit gig on December , though
Jagger will be away. Other names are be-
ing lined up to play a fundraiser on No-
vember 25.
Jagger Joins Fight to save london VenueAllan McGowan am@vip-booking.com
UNIQUE AND DOUBLY GOOD
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100 Club
7
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VIP- News - N o v e m b e r 2 0 1 0
Geoff Ellis received the lifetime achieve-
ment award at this year’s UK Festival
Awards at IndigO2, last Thursday, fol-
lowing the Festival Conference at the O2
Dome the same day.
James Drury, MDof the UK Festival Awards
announced: “Under Geoff’s leadership, T In
The Park has grown into Scotland’s largest
and most successful festival winning nu-
merous accolades, including two UK Festi-
val Awards for Best Major Festival”.
Many artists, including Caleb Followill of
Kings Of Leon and Brandon Flowers of The
Killers say it is their favourite festival. Fans
flock back to the Scottish event every year,
testament to the innovation and concerns
for the enjoyment, and the safety, which
Ellis and his team take so seriously.
Drury continues, “It is Geoff’s charismatic
leadership, dogged attention to detail and
inspirational good humour which makes
him such a worthy recipient of the UK Festi-
val Awards’ Lifetime Achievement Award”.
The UK Festival Awards were presented
at London’s O2 on Thurday November 18.
MD James Drury said, “This year’s awards
were the most hotly-contested we’ve had,
with over half a million votes, demonstrat-
ing just how important festivals are to the
UK public. Despite the continued chal-
lenges of the economy it’s been an incred-
ible year for festivals and our awards are all
about celebrating that. The winners should
be rightly proud of their achievements, as
should the rest of the industry”.
Ben Turner, co-founder of AIF states: “It was
an incredible night for the independent
festival sector, and a victory for the great
British festival. It’s rewarding to see events
like Green Man and Kendal Calling finally
getting the respect they deserve and to
see Bestival beat the biggest and most
established festivals in the world – never
mind the UK – is a testament to the passion
festivalgoers have for the efforts, energy
and love put in by independent festival
promoters to make their events unique.
As for Creamfields, it is without doubt the
world leader in global dance music. The
original and still by far the best.”
Fiona Stewart, Managing Director of Green
Man Festival states: “We are delighted to
win. There are a lot of clever and creative
people who work very hard to make Green
Man happen and this award is a testament
to them. But most importantly, its thanks
to the amazing people who come to Green
Man every year and who voted for us.”
T In The Park Boss Geoff ellis to receivelifetime Achievement AwardAllan McGowan am@vip-booking.com
Awards
UKFA - Colin Rodger T in the Park
UKFA 2010 - Kendal Calling win Best Small Festival
UKFA 2010 - Jim King (Rockness)
UKFA2010 - Geoff Ellis accepts Lifetime Achieve-ment Award
UKFA 2010 - Fiona Stewart of Green Man wins Best Medium Festival
UKFA 2010 - Rob da Bank accepts Best Major Festival Award
Geoff Ellis
8
VIP-BOOKING.COM
VIP- News - N o v e m b e r 2 0 1 0
The full list of winners from the seventh
annual UK Festival Awards is as follows.
- Best Toilets T In The Park
- Best Metropolitan Festival Gaymers Camden Crawl
- Best Family Festival in association with Showsec Camp Bestival
- Best Breakthrough Artist in association with Rizla Mumford & Sons
- Best Dance Event in association with Peppermint Bars Creamfields
- Feel Good Act of the Summer in associa- tion with Be-at TV Paolo Nutini
- Best New Festival in association with Ac- cess All Areas Vintage At Goodwood
- Headline Performance of the Year in as- sociation with Jagermeister AC/DC at Download Festival
- Virtual Festivals’ Critics Choice*
Biffy Clyro at Glastonbury
- Overseas Festival
Snowbombing
- Anthem of the Summer in association
with HMV
Florence & The Machine ‘You Got The
Love’
- Line-Up of the Year* in association with
XL Video
Rockness
- Promoter of the Year in association with
IQ*
Team Glastonbury
- Best Small Festival in association with
Doodson Entertainment
Kendal Calling
- Best Medium Festival in association with
Smirnoff Flavours
Green Man
- Best Major Festival in association with
Tuborg
Bestival
- Lifetime Achievement in association with Music Week Geoff Ellis, T in the Park
* Chosen by a jury of journalists and in-
dustry experts
In addition to this, a further four award cat-
egories were presented during the day at
the UK Festival Conference.
Decided by a panel of experts assembled
by the associated partner organisation:
- Outstanding Contribution to Festival Production in association with TPi Neil McDonald
- Best Sponsor Activation in association with Brand Republic Coca Cola
- The Grass Roots Festival Award in asso- ciation with Robertson Taylor 2000 Trees
- A Greener Festival Award in association with agreenerfestival.com Croissant Neuf Summer Party
MW Panel - Chris Barrett_Andy Smith
UK Festival Conference - Jim Mawdsley
UK Festival Conference - James Barton - John Giddings - John Probyn - Allan McGowan
UK Festival Conference
UK Festival Conference - Colin Rodger(T in the Park)
UK Festival Conference Crime panel
Conference
9
VIP-BOOKING.COM
VIP- News - N o v e m b e r 2 0 1 0
Awarded by a panel of judges assembled
by the UK’s leading brand platform Brand
Republic, Coca Cola were awarded the ‘Best
Sponsor Activation’ award for their Recy-
cle Garden and Swap For Swag schemes
at festivals across the UK. Brand Republic
Editor and chief judge for the award cat-
egory commented: “Having used multiple
platforms, including amplifying the mes-
sage via digital channels pre and post the
event, plus a range of touch points at the
festivals they sponsored, the brand visibly
changed customer behaviour, delivered a
positive impact on the consumer, the par-
ticipants and the festivals.”
Platinum tickets for the UK Festival Awards
sold out a record three weeks in advance
of the event. More informationon the Fes-
tival Awards: UK Conference & Awards 2010
including the full list of winners and pho-
tos / video content from the gala evening
can be found at www.festivalawards.com
and www.festivalconference.comUKFA 2010
11
VIP-BOOKING.COM
11
VIP- News - N o v e m b e r 2 0 1 0
Interview with Peter Smidt – Creative Di-
rector of Eurosonic Noorderslag:
Eurosonic/Noorderslag celebrates its
quarter century anniversary next January
2011. Slightly more than twenty-five years
ago, so Peter Smidt tells me, he was work-
ing hard – that’s not to say that he doesn’t
work hard these days as Creative Direc-
tor of Eurosonic Noorderslag, Manager at
Buma-Cultuur and also Vice President of
The European Music Office – but at that
specific time all those years ago the work
was physically hard – he was digging. To
be precise he was levelling a sloping floor,
some of you may well have benefited from
his work by being able to keep yourselves,
and your drinks, upright when watching a
band play in Groningen’s Grand Theatre,
which was previously a cinema – hence
the slope.
The Beginning
As a student of Arts and Art Management
in the University City of Groningen Peter
was one of the squatters of The Grand
Theatre, which was to be replaced with a
shopping mall. Squatting has a fine tradi-
tion in Holland; there would for instance
be no Paradiso in Amsterdam if students
and others had not taken direct action. Pe-
ter recalls, “I was using the downstairs area
as a rehearsal room for my band, and it
seemed a natural move to start promoting
in the venue.” He also promoted shows at
The Oosterport venue, booked the acts for
the Stars in the Park summer festival and in
1986 started Noorderslag, a festival event
presenting Dutch and Belgian acts.
“In those days,” Peter recalls, “Both audi-
ence and the business considered local
repertoire as merely a niche market, but
the festival showed the quality and the
potential available. At the time we figured
that other European territories must be
proud of their own acts and to have similar
international potential but we didn’t really
have a clue.” Things began to move when
Dutch artists like Urban Dance Squad and
the Nits began to attract the attention of
professionals from other markets, includ-
ing Bernard Batzen from France, Tapio
Korjus from Finland and Marc Ridet from
Switzerland and they and others came to
Noorderslag to check out the bands.
The Mission
When Patrice Hourbette from the French
Export Office asked if he could bring some
French acts, then Polygram (now Universal
for those under a certain age!) inquired
about presenting some of their European
bands, Peter realised that Noorderslag
was in a position to realise the fast devel-
oping potential within European reper-
toire which audiences and professionals
alike were largely unaware of. The Dutch
based promoters and agents Association
Network Europe became involved, invit-
ing agents and promoters to bring in their
acts. This became the mission and the
aim, as Peter says, “To present European
repertoire within the whole European sec-
tor, and to create a platform for European
music and European music professionals.”
The Noorderslag Seminar was created in
1993 to encourage the exchange of ideas
within the sector and work began on
building what was to become Eurosonic
Noorderslag.
The Partners
However Peter was aware of limitations,
“One show in Groningen was not enough,
the important thing was to create and
maximise exposure and radio was one
way of achieving this.” The European
Broadcasting Union was approached and
with the help of Jan Sneum of Danish Na-
tional Radio, EBU collaboration, involving
Holland’s Radio 3 FM, German stations and
the BBC, with John Peel broadcasting live
from Groningen, was initiated, with the
aim of distributing to all main stations.
In 1999 the event took on the Eurosonic
name. Peter continues, “Because we were
able to present the most promising acts
more promoters and agents came, finding
it easy to check all the upcoming talent in
one place. The infrastructure of Groningen
works so well for this, with so many good
venues all within walking distance of each
other. There are not many Cities with that
facility.”
Apparently Groningen owes this happy
situation not just to the fact that it is home
to a large University with lots of young
people therefore lots of demand, but to a
local law passed in the 1950’s; this permit-
ted bars and clubs to stay open late if they
staged live music. Very forward thinking!
This situation allowed musicians like Her-
man Brood to develop their art in Gronin-
gen; he could play seven nights a week in
different venues and had a big influence,
encouraging bands to start up. This in-
spiration led to there being a lot of active
bands in the 70’s and just as importantly
an active audience!
eTeP & The Festivals
The fast growing festival market was the
next sector to be involved within this his-
tory and this infrastructure, which provid-
ed the perfect setting for buyers, artists
and radio to exchange talent, information
and advice. The aim was to continue to
encourage all these sectors to work to-
gether to help create careers and spread
European repertoire. A tool was needed to
make this idea work and Peter formulated
the concept of ETEP, the European Talent
Programme, to achieve this in an objective
and measurable way. He went to the Fes-
tivals Association Yourope with the idea,
and, as he says, “They listened and said
let’s try, and we were all surprised by the
results.” ETEP offered radio support from
Twenty Five Years of eurosonic/NoorderslagAllan McGowan am@vip-booking.com
Peter Smidt
12
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VIP- News - N o v e m b e r 2 0 1 0
the EBU and a small amount of money to
participating festivals to offset the costs of
putting on an act from another territory,
which they may not have considered oth-
erwise.”
Funding
The start up money came from the Culture
Department of the Dutch national Gov-
ernment, there was some reticence about
Dutch Culture funds subsidising other
countries, but it was considered a very
interesting programme, so Peter was told
he could have the money to start up, but
to look to the EU for the future! But there
was assistance from other areas, the Euro-
pean Music Office (EMO) came on board as
a main partner, along with assistance from
Italy, Norway, Luxembourg and Belgium
amongst others, allowing the Programme
to kick off in 2003.
Peter has had mixed success in obtaining
funds from the EU, receiving support in
some years and not in others, he has spent
a lot of his time in Brussels. He says, “There
is still no set policy for the music sector in
Europe which will serve it best. If we can
secure the policy first, the programmes
will follow. Although ETEP has without
doubt shown that it is works and is effec-
tive, so far within the current programmes
of the European Commission it has not
been rewarded.” EMO is still lobbying and
has had some success with ETEP and the
European Tour Support Programme. Peter
continues, “There have been good pilots
but nothing as yet has led to a solid follow
up within the framework of European sub-
sidies. Currently I am keeping a close eye
on the development of the Cultural Indus-
try Policy to see what can be learnt from it,
but at the moment the framework is not
suitable for the music sector.”
eBBA Awards
However, the doors are not closed, the
Commission’s instigation of and support
for the European Border Breakers Awards –
the EBBAs, are evidence that it has listened
and does want to find a way of working
with the music sector. The fact that the
Awards are now presented at Eurosonic
Noorderslag is very positive. As Peter says,
“The EBBA aims are the same as those of
ETEP – crossing borders. If an act does well
as a result of ETEP, then progresses to EBBA,
this builds a framework for crossing bor-
der success. Eurosonic makes new talent
discoveries, then EBBA awards those who
have become established, the stars. The
attendance of Commission representa-
tives at Eurosonic Noorderslag introduces
a platform for debate between them and
the music sector. There must be a constant
dialogue to exchange views and change
and create policies.”
Certainly this upcoming 25th Anniversary
Conference can provide an ideal platform
to signal the continuation and expansion
of debate, but we cannot just wait for
things to happen, as Peter continues, “The
music sector has to acquaint itself with the
Commission’s views and goals within the
general Cultural Industry policy, and the
industry players who attend Eurosonic
Noorderslag should be willing and able to
become involved in this, in order to prog-
ress the development of European reper-
toire.”
New developments
There is no doubt that whilst growing and
evolving over the last 25 years Eurosonic
Noorderslag has achieved and maintained
its original stated purpose of creating a
platform for European music and Euro-
pean music professionals. Over the past
few years many other conference and
showcase events have appeared on the
international industry calendar, many of
which seem to have adopted formats not
dissimilar from those developed by the
Groningen event, this does not worry Pe-
ter, in fact he has an opposite view, “If oth-
ers copy the Eurosonic Noorderslag model
it indicates that the European market is
growing. It is vital that this market has as
many available stages as possible, it indi-
cates growth and vindicates all our origi-
nal plans and ideas.”
Noorderslag Eurosonic is not an event
that stands still, as the European industry
develops new elements are introduced
to the Agenda. The 2010 edition saw the
introduction of The European Festival
Awards in partnership with Yourope and
Virtual Festivals. Also continuing confer-
ence discussion of digital distribution and
interactive possibilities has resulted in the
introduction of the Interactive Awards, in
cooperation with Dutch Collection Soci-
ety, Buma Stemra, and Factor E, to recog-
nise the creative use of interactive media
by artists and companies. The 25th edition
will also feature a Media Lounge within the
Conference to service the use of Eurosonic
Noorderslag content, (the 2010 EBBA’s
were broadcast in 12 countries.) and to
accommodate more requests from digital
media, along with the growing numbers
of radio and TV stations. Also a new Artist
Village will be introduced to create more
possibilities for artists to connect with at-
tendant media and, just as importantly
within the ethos of the event - each other.
Fittingly, Eurosonic Noorderslag will also
celebrate its 25th anniversary by making
its home country, The Netherlands, focus
country for the 2011 edition.
So, Peter Smidt may no longer be wielding
a shovel to level theatre floors but 25 years
on he and all at Eurosonic Noorderslag
continue to work to create a level playing
field for all involved in the development
and the distribution of European reper-
toire. See you in Groningen on the 12th
January 2011!
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Business NewsManfred Tari mt@vip-booking.com
Music In shareslive Nation – Improvement rescheduled to 2011:significantly lower key figures slow down live Nation earnings results.
What at first view seems to indicate a turn-
over growth actually isn’t the case. In the
third quarter (Q3) 2010 Live Nation gained
a revenue of $1.836 billion compare to
$1.794 billion in the same period one year
ago. In the first nine months of the ongo-
ing business year the revenue grew from
$3.326 in 2009 to $3.825 billion. But since
the merger at the beginning of 2010 the
current figure reflects the combined turn-
over of Live Nation and Ticketmaster.
Live Nation reported net income of $51.4
million for Q3, compare to $69.2 in Q3-
2009. But in particular it’s the nine months
overview that describes the development
of the company since entering into the
merger. The net loss climbed from $60.6
to 89 million while the net long term debts
rose from $699.0 million to $1.671 billion.
In detail Live Nation reported a decline for
almost all of its various business units. The
revenue for the Concerts division shrunk
10.3 % within the last nine ninth months,
from $2.951 in the same period in the pre-
vious year to $2.648 billion; the Ticketing
unit dropped from $856.4 to $734.7 mil-
lion. The subsidiary Artist Nation had to
face a turnover decline of 19 %, as results
dropped from $332.3 to $269.2 million.
The Sponsorship department sustained
a moderate loss of 2.8 %, with turnover
down from $133.3 to $129.6 million. Only
the eCommerce department been in-
creased revenue from $61.2 to $62.8 mil-
lion.
The number of concerts promoted went up
from 14,933 to 15,049 but the total number
of visitors fell from 39,711 to 35,667 million.
Bearing the figures in mind it is no surprise
that Michael Rapino, CEO of Live Nation
states, “We continued to drive results in
our higher margin businesses, including
our eCommerce and sponsorship assets.
Given our direct access to over 200 million
fans through our online storefront, we’re
focused on improving our digital offer-
ings and participating in multiple revenue
streams linked to the online ticket pur-
chase.”
Michael Rapino
14
VIP-BOOKING.COM
14
Rapino furthermore announced: “We are
also taking additional steps to reduce our
operating costs and further improve effi-
ciencies across our operations as we move
toward 2011. As we execute our strategy,
we remain confident in our ability to maxi-
mize the value of our end-to-end platform
and improve the performance of our busi-
ness.”
The Executive Chairman of Live Nation Irv-
ing Azoff also hopes for external , saying:
“While our roster of superstar clients and
tour schedules for 2011 remains strong,
we need some improvement in the overall
economic environment in order to opti-
mize profits going forward.”
Since the beginning of November the
share of Live Nation moved up at the New
York Stock Exchange (NYSE) from $9.50 up
to $10.01.
Live Nation acquires Ticketnet in France
In order to strengthen its ticketing busi-
ness in Europe, Live Nation took over
Ticketnet. The company is active in the
ticketing markets in France, Belgium and
Luxembourg and sells around 6.6 million
tickets per year via its internet platform
and 750 retail outlets.
Managing director Francois Thominet
will remain with the company and com-
mented on the deal in a press release: “We
are excited about the opportunity to see
Ticketnet continue to grow in the French
marketplace while taking full advantage of
all the resources and experience that Live
Nation has to offer.”
Alan Ridgeway, CEO of Live Nation Inter-
national welcomes Thominet’s continua-
tion with Ticketnet saying: “I’m delighted
that François Thominet is staying with
the company and will be continuing the
great work that he has already done to
establish Ticketnet as a market-leading
full service ticket retailer and distributor
in France. Through Ticketnet, Live Nation
intends to further develop its commercial
relationships with all the constituents of
the French entertainment market: venues,
producers and local promoters.” No infor-
mation was made on the purchase price.
VIP- News - N o v e m b e r 2 0 1 0
Alan Ridgeway
VIP-BOOKING.COM
BauchklangTerritory: WorldwidePeriod: 2011 Agency: Georg Leitner Productions Agent: Nina Pernica Phone: +43 1 914 8615 E-mail: npernica@glp.at Homepage: www.glp.at
within TemptationTerritory: WorldwidePeriod: March 2011 and onwardsAgency: X-Ray TouringAgent: Paul BoltonPhone: +44 (0) 20 7749 3500E-mail: paul@xraytouring.comHomepage: www.xraytouring.com
Adler’s AppetiteTerritory: Germany, Czech Republic, Austria, Slovakia, Hungary, Turkey, Greece Period: 15/3/2011 - 26/3/2011 Agency: ARM Entertainment Agent: Dana Strutz Phone: +1 651 483 8754 E-mail: ds@armentertainment.com Homepage: www.adlersappetite.com
Groove ArmadaTerritory: Europe / WorldwidePeriod: Europe Winter 2010 Worldwide 2011Agency: WME - William Morris Endeavor Ent.Agent: Steve HoganE-mail: shogan@wmeentertainment.comHomepage: www.groovearmada.com
Alannah Myles - Acoustic/unplugged TourTerritory: EuropePeriod: 1/3/2011 - 30/4/2011Agency: ARM EntertainmentPhone: +1 651 483 8754 E-mail: ds@armentertainment.com Homepage: www.alannahmyles.com
sass JordanTerritory: EuropePeriod: February / MarchAgency: Paperclip AgencyAgent: Hilde SpillePhone: +31 24 323 9322E-mail: hilde@paperclip-agency.comHomepage: www.paperclip-agency.com
15
artist avails ››
MoRe ARTisT AvAiLs oN:www.vip-bookiNg.coM
posT youR ARTisT AvAiLs oN:www.vip-bookiNg.coM
VIP- News - N o v e m b e r 2 0 1 0
The German concert industry mar-
ket leader continues to maintain
its growth rate. As usual in recent
years CTS Eventim reported posi-
tive earnings and revenue figures.
Revenue rose within the first nine
months of 2010 from 329.5 in the
first nine months of 2009 to 372.4
million Euro, an increase of 13 per-
cent. The Earnings before Interests,
Taxes, Depreciation and Amortisa-
tion (EBITDA) grew 10 % from 50.5
to 55.6 million Euro while the EBIT at
44.2 million Euro remains at almost
the same level as in 2009 where the
EBIT was at 44.1 million Euro.
Nevertheless the company reported
that the earnings results are weight-
ed due to the acquisition costs for
Ticketcorner and See Tickets Ger-
many and legal consultancy for the
ongoing arbitration case with Live
Nation. Without these additional
costings the EBITDA would have
been 60 million Euro and the EBIT
53 million.
The Ticketing unit of the company
archived a revenue growth of 29.5
percent from 95.7 up to 123.9 mil-
lion Euros before consolidation.
CTS Eventim declared that revenue
growth is driven by the organic
growth of its European subsidiaries
and their highly profitable online
sales. Furthermore recent acquisi-
tions have started to contribute
positively to the results.
Online sales rose by about 30 %, due
to the company selling 10.7 million
tickets instead of 8.2 million via its
portals. But due to the mentioned
acquisitions the EBITDA remains at
34.7 million Euro instead of 30.7 in
2009 and EBIT of 24.9 compared to
25.9 million Euro.
The Live Entertainment business
division even was even able to in-
crease its revenue results. This is
almost surprising due to the lim-
ited number of touring top artists
this year and the overall economic
climate in Germany. Revenue went
up from 236.4 to 253.8 million Euro
while the EBITDA for this part of CTS
Eventim increased from 19.8 to 20.8
million Euro The EBIT results grew
from 18.1 to 19.4 million Euro. While
the results for Q3 haven’t been re-
ported yet, CTS Eventim declared
that Q3 results are affected by in-
vestments of 1 million Euros in
the exhibition Tutankhamun. The
complete business report will be
released on November 25.
The CTS Eventim share price went
up since the beginning of Septem-
ber from 35 to 42.90 Euro.
CTs eventim Improve results Again:Preliminary company results for the first nine months underline growth
16
VIP-BOOKING.COM
The 16th edition of WOMEX closed on Sunday, 31 October, after
five full days of intense networking, inspiration and music. Held in
Copenhagen, Denmark, for the second year, WOMEX has proven,
once again, to be the hub of world music professionals from all
over the globe. 2440 delegates from 94 countries attended the
event, that began with 200 delegates in Berlin in 1994.
This year’s Trade Fair figures confirm the high importance that
WOMEX delegates invariably attach to the exhibition part of
WOMEX: 650 companies and organisations from 57 countries pre-
sented themselves at 260 stands in the new daytime venue Fo-
rum Copenhagen placing WOMEX right in the heart of Denmark’s
capital.
More acts than ever before – 59 – from 38 countries performed at
the WOMEX Showcase Festival featuring five nighttime stages at
the spectacular DR Koncerthuset and one Daycase Stage at Forum
Copenhagen. In honour of WOMEX’s current home region, one
stage was entirely dedicated to artists from the Nordic countries.
Each of the three nights at the offWOMEX Stage highlighted a par-
ticular country/region: Spain, Québec and Wales.
A special, exclusive event was organised for the WOMEX 10 Open-
ing: Three of the finest bands on the contemporary Korean music
scene presented “The Chaosmos of Korean Music: Heaven, Earth
and Human” revealing innovative renditions of traditional Korean
music. The project was supported by the Ministry of Culture, Sport
and Tourism of the Republic of Korea; Korea Arts Management
Service; and the Embassy of South Korea in Denmark.
Corresponding to the broad range of music industry branches
represented at WOMEX, the Conference covered four major topics
focusing on the value of the “experience”: More than 60 speakers
from 21 countries shared their professional know-how with WOM-
EX delegates in 20 Conference Sessions centring the The Live, The
Recorded, and The Digital Experience, as well as the “Vision Be-
yond”. Along with a special session on sub-publishing, the new
curated Matchmaking service for (sub-)publishers, supported by
the UK and German music publisher associations MPA and DMV,
enjoyed considerable popularity among the music rights’ dealers
at WOMEX.
The second newly introduced – and also fully booked – format
at this year’s Conference was Country Speed-Dating offering the
opportunity to meet festival promoters, agents, managers, labels
etc. from Brazil and Canada. Delegates looking for individual ad-
vice were served by the Mentoring Sessions: private 15-minute
consultations with any of seven industry experts from various
fields and occupations.
WOMEX also featured an international platform for world music in
audio-visual media: 14 Film Screenings, mainly music documen-
taries, and a dedicated Conference Session were programmed
by WOMEX’s long-term partner IMZ International Music + Media
Centre, Austria.
Numerous world music networks from all around the globe held
meetings at WOMEX: European Broadcasting Union’s World Mu-
sic Workshop; ACP Music Festivals; European Forum of Worldwide
Music Festivals; Global Music Education; Nordic World and Roots
Music; North American; Asia Pacific; and African Music Export Of-
fice network members all gathered in Copenhagen to discuss cur-
rent issues.
Four Awards were presented at the Award Ceremony on Sunday
marking the end of a successful WOMEX edition.
The WOMEX 10 Award for Artists went to Danyèl Waro, the un-
compromising maloya hero from Réunion Island. Philippe Con-
rath, whose Cobalt label has released Danyèl Waro’s music for the
past years, states: “It is [...] with emotion that Danyèl Waro receives
this award as a form of reward for a course without compromise,
the path of an artist tirelessly committed to the celebration of a
superb language, the Creole that sings the words so well.”
fRoots Chief Editor Ian Anderson, UK, received the WOMEX 10
Award for Professional Excellence on behalf of the independent
press. WOMEX Founding Director Ben Mandelson notes: “Since
1999 we have given the WOMEX Award to extraordinary art-
ists and professionals from its community deserving of special
praise but we have never ever awarded the media. And yet the
independent media play such a crucial role for our kind of music
business, part of us, supporting us and providing a vital forum for
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, buy-ing and selling notices, inquiries or alike. Announcements should be emailed to noticeboard@vip-booking.com
VIP- News - A u g u s t 2 0 0 5
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wOMeX 10 COPeNHAGeN: Full of life and Music
17
VIP-BOOKING.COM
topics that otherwise would fall through the grid or answer only
to big-media-corp interests. With the Internet bringing change to
all traditional business models, offering the media world its own
urgent challenges, now, more than ever is the time to show our
support for an independent media.”
The winner of the WOMEX 10 Top Label Award, a joint project of
World Music Charts Europe and WOMEX, is world village / harmo-
nia mundi with branches in France, USA, UK and Spain. The selec-
tion was made using the charts of 50 radio broadcasters from 24
countries collected over 12 months.
For the second year, WOMEX hosted the presentation of the
Roskilde Festival World Music Award honouring the Dhow Coun-
tries Music Academy, Tanzania. The project receives the Award
for its work on maintaining and developing the musical tradi-
tions in an area where cultural development is relegated to the
background in many cases because of more basic challenges. “It’s
often with good intentions that cultural projects are launched in
third world countries. But it’s harder running the projects over a
longer period so that they can make that difference that was the
aim to begin with. The Dhow Countries Music Academy draws
attention not only because of its purpose and level of ambition.
It’s also a professionally working organisation that has proven its
worth and managed to make a difference in its area,” says Peter
Hvalkof, booker of world music at Roskilde Festival, about the
background for the choice of the Award winner. The prize includ-
ed 30,000 euro. (For more information contact Peter Hvalkof at
PeterH@roskilde-festival.dk)
WOMEX has a three-year partnership with World Music Fair Co-
penhagen, an organisation created by several key cultural players
from Denmark to host WOMEX in Copenhagen from 2009-2011:
First and foremost Roskilde Festival, Copenhagen Jazz Festival
and Wonderful Copenhagen. The other principal members com-
prise the Danish Center for Culture and Development (CKU/DCCD),
Global Copenhagen and World Music Denmark in cooperation
with Welcome Meeting Management. WOMEX 10 was supported
by the City of Copenhagen, the Capital Region of Denmark, Oti-
con, the Danish Arts Council and Wonderful Copenhagen.
WOMEX thanks all production staff, volunteers, enthusiasts, pro-
fessionals and fans; along with our production partners at World
Music Fair Copenhagen and all our financial supporters; plus Fo-
rum Copenhagen and DR Koncerthuset.
WOMEX 10 was a production of WOMEX – the World Music Expo,
in cooperation with World Music Fair Copenhagen.
The next edition of WOMEX will be held in Copenhagen from
Wednesday, 26 to Sunday, 30 October 2011.
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, buy-ing and selling notices, inquiries or alike. Announcements should be emailed to noticeboard@vip-booking.com
VIP- News - A u g u s t 2 0 0 5
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VIP- News - N o v e m b e r 2 0 1 0
Peter Hvalkof
18
VIP-BOOKING.COM
AbbA THe sHow has had its world pre-
miere back in September 2001. It was in Ib-
senhuset in a city called Skien in Norway.
From day one it was a HUGE success. The
Norwegian newspapers wrote spectacular
reviews in the following days.
Headliners as:
1. Mama Mia, ABBA is still alive!
2. Brilliant ABBA Show!
3. ABBA Clones!
4. ABBA-Fans never denies!
5. Going by the time machine back to the
seventies!
Since 2001 the show has toured USA, CAN-
ADA, FINLAND, ESTONIA, NORWAY, SWE-
DEN, DENMARK, HOLLAND, GERMANY,
AUSTRIA, LUXEMBURGH, SWITZERLAND,
ENGLAND, SCOTLAND, WALES, IRELAND,
NORTHERN IRELAND, SPAIN, ITALY, INDIA,
JAPAN, THE PHILIPPINES, KAZAKHSTAN,
MALTA, CYPRUS, MOROCCO, FAROE IS-
LANDS, CZECH REPUBLIC, SLOVAKIA, PO-
LAND & CROATIA. Whereever the show has
been it ALWAYS come back and play the
same venues again!!! Germany and Hol-
land was introduced to the show in the au-
tumn 2003 and it was such a great succes
that a new tour was immediately booked
for spring 2004. In USA & Canada the show
toured every year since 2002.
Everywhere the show has played it has
been welcomed very much and it has cre-
ated another ABBA fever. The audiences
is going mad and are really truly enjoy-
ing themselves. One cannot help singing
and dancing in the aisles when ABBA THE
SHOW plays some of the greatest ABBA
hits from 1969 and untill 1981.
3 fantastic and spectacular shows must be
mentioned. First the show was performed
in the new and fantastic Saku Arena in
Tallinn Estonia (March 2001) in front of a
nearly sold out crowd of 6,500 people - it
was just one month prior to the Eurovision
Song Competition in 2002 unfortunately
ABBA THE SHOW could NOT participate in
the competition......
The second show to be mentioned was
when The Official International ABBA
Fanclub saw the show 3 october 2003 in
Maastricht Holland together with more
than 5,000 other “crazy” spectators. The
chairman of the Fanclub, Helga van de
Kar, was extremely (over) excited after
the show and said afterwards to the
producer Kenneth Svoldgaard: “For sure
the best coverband/show we saw so far
! Some moments really would make you
think you are looking at ABBA. What re-
ally made me happy was to see all those
5000 people enjoying the show; danc-
ing and singing along! This makes ABBA
still alive! I myself sang along with all the
lines, couldn’t help doing so.
The people in Brighton were thinking
about having Bj?Again but as soon as I
heard that I said why not ABBA THE SHOW,
this is so much better. And of course the
ex-ABBA musicians is also an extra attrac-
tion. To be very honest that was for us the
reason to come and see your show! ... I’m
glad we did as it was a very nice experi-
ence! We sure recommend this show to
everyone else in the future!”
A few weeks after the show in Holland, the
producer Kenneth Svoldgaard, received
an email from the chairman of the Fanclub
saying “Here is our thoughts and feelings
about ABBA THE SHOW written down in
short quotes”:
Absolutely the best ABBA since ABBA
It truly feels like ABBA is still Alive
It truly feels like ABBA lives on
It truly feels like you are looking at ABBA
It truly feels like you are hearing ABBA
The true ABBA experience
The one and only ABBA since ABBA
Kind regards,
Helga van de Kar
Last but definitely not least the third
show worth mentioning was at the World
Famous Hollywood Bowl where 18,000
(nearly sold out) joined the ABBA fever
July 5 2004. The complete crowd were
waiting and screaming anxiously for Danc-
ing Queen which of course was one of the
very last songs performed. When the intro
of the songs was played Hollywood Bowl
was about to explode in joy - what a night,
what an audience, what an experience.
Hollywood Bowl was and still is the high-
light of ABBA THE SHOW’s history!!!
This show has for sure surprised many
many people worldwide - and it intend
to keep doing so. Keep a close eye on the
tourlist of this website and Do NOT miss
the next ABBA THE SHOW opportunity -
looking forward seeing you at the next
ABBA THE SHOW performance.
Monthly featured artist ››
origin: Swedenstyle: PopTour period: Call for availabilityTerritory: Worldwide
Agency: CSB Island Entertainment ApSName: Kenneth Svoldgaardemail: kenneth@csb.dkphone: +45 75 16 67 22
VIP- News - A u g u s t 2 0 0 5
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VIP- News - N o v e m b e r 2 0 1 0
ABBA THe sHOw
ABBA the Show
19
VIP-BOOKING.COM
in this section we offer members of vip-booking.com some space to present their company to vip-News readers. if you would also like to present your company please contact peter briggs at pb@vip-booking.com
MeMber presentation ››
in this section we offer members of vip-booking.com some space to present their company to vip-News readers. if you would also like to present your company please contact peter briggs at pb@vip-booking.com
®
vip-booking.com
VIP-BOOKING.COMVIP-BOOKING.COM | 26 York Street | UK - London W1U 6pZ | Phone +44 870 755 0092 | Fax +44 870 622 1953 | e-mail: vip@vip-booking.com
19
About Our Company
VIP-Booking’s core product is the Internet’s oldest and largest data-base for the European Live Entertainment Industry www.vip-book-ing.com developed as a tool for industry professionals. Since it’s launch in the year 2000, we have consistently offered our subscrib-ers 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 – inclu-ding VIP-News, VIP-Booking, VIP-Book and VIP-Contract.
Please visit vip-booking.com for further information.
Your comments and suggestions are always appreciated.
VIP- News - N o v e m b e r 2 0 1 0
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 re-
quest. Our job is to look for artists for the clubs/venues/promot-
ers/special events/festivals or to look for places to play for the Art-
ists on tour.
We also are exclusive booking agents for several Swiss and Inter-
national acts.
The Festivals, corporate and special events:
We have exclusive deals with some of the most important festi-
vals 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 program to the coordination of the overall or-
ganisation, 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 art-
ists
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.
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