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VIPNEWS PREMIUM > VOLUME 240 > JANUARY 2021
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VIPNEWS > JANUARY 2021
View From The HillFirst and foremostly wishing you all a very
Happy New Year, I hope that it was both
peaceful and very much Covid free for
everyone! So we finally got to say farewell
and good riddance to 2020, for the
international live music business, definitely a
year to forget, time to move on and as they
say, onward and upward! Sadly also a year in
which we lost too many of our greatest music
legends. The first that comes to mind is Neil
Peart, known as ‘the professor’ and a third of
Canadian rock powerhouse Rush, Peart will
always be considered one the greatest rock
drummers of all time. As a long time Rush
fan, I feel very lucky to have seen him play
on many occasions over the last 40 years.
We also very sadly lost the great Lyle
Mays, long time piano and keyboard
player with The Pat Metheny Group.
Those who left us also included names such
as Bill Withers, Kenny Rogers, Spencer Davis,
Toots Hibbert and Eddie Van Halen to name
just a few. So with all this in mind for 2020,
I say it is most definitely time to move on,
let us hope that 2021 brings our beloved
industry better fortune and some kind of
return to normality.
Over the last couple of months of course,
music industry events and conferences have
thankfully been taking place, albeit in digital
format. In December, we ‘attended’ the
International Showcase Music Festival, held
in Jerusalem. Currently in its 11th year, the
event took place between December 8-11th
and featured performances from the pick
of Israeli artists, the final day of the event
was in conference form with some excellent
networking opportunities, attended by 100
guests from the international live music
business. I would once again like to thank
the fantastic ISMF team for inviting us and
for putting on a great event, we thoroughly
enjoyed it and met some great people,
albeit digitally. Less than two weeks ago,
we also attended the first ever fully digital
‘Eurosonic’. Without doubt, one of the most
enjoyable conferences that we get to attend
and being so early in the year, it looms large
in the diary straight after the Christmas
break, we always look forward it, it is always
great fun and always good for business. As
you have probably already seen in the VIP-
Newsletter this month, this year’s online
edition of Eurosonic was attended by close
to 4000 delegates from 124 countries. Due
of course to the current pandemic, this is just
about the closest thing that we can get to
actually being there in person and although
we really missed not being able to physically
be in Groningen this year,
Ruud Berends and his team organized an
excellent event with some great panels,
great speakers (in particular Neil Warnock
and Scumeck Sabottka) and some great
performances. Let us truly hope that in
January 2022, we will all be there in person
and raise a glass together!
So what of 2021, well, we have already seen
quite an eventful January, with Biden taking
over the mess left by his predecessor in the
USA, after the recent shocking events that
took place on Capitol Hill earlier this month,
let us hope for more peaceful and settled
times there. We have of course also been
reading about the COVD-19 vaccine being
rolled out around the world, well mostly!
Certainly in the UK, after some delay, things
do seem to be gathering some pace so let’s
hope that over the coming 2 months, we
can finally start seeing a significant drop in
cases and subsequent deaths. I do feel that
now we are 10 months down the line since
the first of the lockdowns, the mood out
there in the live music world is more buoyant
and positive. Although we were very
saddened to hear that due to the pandemic,
this year’s Glastonbury Festival will not be
going ahead, there is still hope that some of
the other ‘smaller’ festivals and live events
might still take place. At this early point in
the year of course, there is still a high level
of uncertainty but it is very obvious that the
live music business from around the world
is absolutely resolute and determined to
bring this business back to life as soon as
possible. With this in mind, let me take this
opportunity of wishing you all well from a
snowy and sunny Somerset, keep well and
stay safe!
Charlie Presburg Sales Area Manager - VIP-Booking.com
COLOPHON >
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4
VIPNEWS > JANUARY 2021
Belgium’s local booking agency – Busker
Artist Agency – joins All Things Live. The
agency is representing around 60 local
music acts including Belgian pop, rock, hip-
hop, r&b and soul artists/bands and was
involved in around 700 shows in Belgium
during 2019.
All Things Live expands into the Belgian
market from a position as one of the leading
independent live entertainment company in
the Nordics. Busker Artist Agency maintains
its independence and will the plan is to
continue the growth journey supported by
the organization and network of the All
Things Live partnership.
“I am very pleased that Busker will become
a member of the All Things Live family as
this exciting move allows us to take our
business to the next level after two decades
and thousands of amazing live experiences
in Belgium. All Things Live will broaden our
network and support our growth and we will
strengthen our position amongst Belgian
artists as well,” says Werner Dewachter,
founder and CEO of Busker Artist Agency,
home of artists like Selah Sue, Coely, Eefje
de Visser, STUFF., Zwangere Guy, Tourist
LeMC and Gabriel Rios.
As the company becomes part of the
All Things Live partnership, Marcus
Deblaere will join the Belgian business
as senior promoter and head of festivals,
bringing extensive experience as a concert
promoter at Ancienne Belgique Brussels,
Trix Antwerp and as creative manager at
music management company Musickness.
Together with Werner Dewachter, he will
coordinate Busker’s daily management.
“The combination of Busker Artist
Agency and All Things Live entails great
opportunities. In close collaboration with
Werner and our new Nordic colleagues
we will be able to set up creative and
challenging concerts, festivals and live
events, support our beloved Belgian
artists and scene, and export some of the
great Belgian successes to the interesting
Nordic and European markets,” says
Marcus Deblaere.
Busker Artist Agency, currently consisting
of 5 employees, also expands its services
with senior booking agents Bjorn Nuyens
and Willem Vandesande. Both Willem, as
concert promoter (All Eyes On Hip Hop),
independent booker (Commander Spoon,
Liesa Van der Aa, Tristan, … & former
Greenhouse Talent), and Bjorn, running
the independent Ampersand Artist Agency
(Dirk., Nordmann, It It Anita, …), bring
extensive experience to the table.
All Things Live establish a platform in the
Belgian market and expand outside the
Nordics with the acquisition of Busker
Artist Agency. The acquisition furthermore
expands All Things Live’s local reach within
smaller live events, which are expected to
face fewer COVID-19 restrictions in the
coming period and seen to rebound before
international tour concerts and large events.
“We are excited Busker is joining the All
Things Live partnership as we now gain a
solid foothold in the Belgian market, which
is in many ways comparable to the Nordic
markets that we know so well. We see
great prospects in the dedicated Busker
team, the many talented artists and the
expansion into Belgium, and we are full of
confidence as we look ahead to 2021,” says
Kim Worsøe, CEO of All Things Live Group.
The acquisition does not entail changes for
artists, partners, customers or employees as
market proximity is a key focus area for the
All Things Live partnership.
Belgian agency joins the All Things Live partnershipFrom VIP-Daily News
5
VIPNEWS > JANUARY 2021
The international new music and city
culture festival Tallinn Music Week (TMW)
received 1276 applications to perform
from 63 countries. The highest numbers of
applications were submitted from Estonia,
Russia and Finland.
The festival’s music programme is scheduled
to take place in various clubs and concert
venues across the Estonian capital Tallinn
from 6 to 8 May.
The interest towards the festival continues
to be high even despite the pandemic
related restrictions, resulting in 1276
submissions from 63 countries received
during the period from November 2020
until 20 January 2021. Topping the list
with the 234 applicants is the host country
Estonia, followed by Russia, Finland and
Germany. Compared to previous years, the
number of applications from Baltic states
Latvia and Lithuania has increased, and
interest in TMW remains high also in leading
music industry markets such as the UK, Italy,
the US, Canada, Sweden and Japan. There
is also continued interest in the festival
among artists from farther countries such
as Morocco, Guatemala, and Mexico.
Up to 150 artists will be selected to the line-
up by a team of 30 curators, which includes
representatives from music organisations
from Estonia as well as abroad. This year’s
programme will focus mostly on talent
from Estonia, the Baltic and the Nordic
States, while artists from elsewhere will
be included depending on the coronavirus
situation at the time.
TMW festival consists of three main
programme elements: music festival, city
festival and conference. TMW’s music
programme is acknowledged for its mix
of the most unique talent with all manner
of genres from folk to metal and from
experimental electronica to contemporary
classical represented.
The whole TMW 2021 programme that
is scheduled to take place from 6 - 9 May
will be announced in stages starting in the
second half of February.
1276 artists from 63 countries apply to play TMWFrom VIP-Daily News
TMW 2021 artist application TOP 10 by countries:
Estonia: 234Russia: 211
Finland: 115Germany: 72
Italy: 56Latvia: 52
Lithuania: 50United Kingdom: 50
Spain: 33Canada: 32
6
VIPNEWS > JANUARY 2021
Alyona Alyona (ua), Inhaler (ie), Julia Bardo (it), Lous and the Yakuza
(be), Melenas (es), Rimon (nl), Sassy 009 (no), Vildá (fi) are the
winners of the Music Moves Europe Talent Awards 2021.
The Public Choice Award 2021 went to Ukrainian rapper Alyona
Alyona as was publicly announced by the European Commissioner
for Innovation, Research, Culture, Education and Youth, Mariya
Gabriel. This annual EU prize for popular and contemporary music
co-funded by the Creative Europe programme celebrates emerging
artists who represent the European sound of today and tomorrow.
The awards ceremony took place digitally last night on the virtual
platform Nite Hotel. The ceremony was presented by UK artist
Melanie C who succeeded previous hosts Jools Holland, Eric Corton
and Thomas Neuwirth (Conchita Wurst). This was the third edition
of this EU music prize. Previous winners include Rosalía, Meduza,
Bishop Briggs, Aya Nakamura girl in red and Pale Waves.
Prize Package
Winners of the first 8 awards were selected by an expert jury
consisting of Wilbert Mutsaers, Julia Gudzent, Katia Giampaolo, Huw
Stephens and honorary jury member Naaz (Public Choice Winner
2020). Each winner of this first category is awarded a monetary prize
of 10.000 which includes a business support package provided by
the partners of the prize. This package consists of career advancing
services provided by these organisations. As the winner of the Public
Choice Award, Alyona Alyona receives an extra 5.000 and is invited
to do a filmed live session at the Deezer studios in Paris.
Celebrating European Talent
Compared to Anglo-American music, the total percentage of
music originating from continental Europe is relatively small. The
Music Moves Europe Talent Awards are designed to accelerate the
international careers of upcoming European artists.
Music Moves Europe
Music is one of the most popular forms of art, widely consumed,
and a vibrant expression of Europe`s cultural diversity. Music Moves
Europe, the overarching framework for the European Commission’s
initiatives and actions in support of the European music sector aims
to help the music sector flourish. In line with this approach, the
Music Moves Europe Talent Awards, co-funded by the Creative
Europe programme, the EU funding programme for the culture and
audiovisual sector,wants to contribute to the creativity, diversity and
competitiveness of the music sector in Europe.
Organising coalition
The Music Moves Europe Talent Awards are organised by ESNS
and Reeperbahn Festival in partnership with Yourope, Independent
Music Companies Association (IMPALA), International Music
Managers Forum (IMMF), Liveurope, Live DMA, European Music
Exporters Exchange (EMEE), Digital Music Europe (DME) and media
partner European Broadcasting Union (EBU), with support from
the Dutch Ministry of Education, Culture and Science, Province of
Groningen and the City of Groningen. The awards are implemented
in close cooperation with the European Commission and financially
supported by Creative Europe.
Winners of the Music Moves Europe awardsFrom VIP-Daily News
LIVE MUSIC’S GLOBAL GATHERING REBOOTS TO A NEW VIRTUAL REALITY
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8
VIPNEWS > JANUARY 2021
You were born in Denmark but are
now living in Dubai and working as a
promoter in the area, how did you end
up so far away from home?
I came to the region summer 1998 –
started out as an Air Traffic Controller in
Bahrain and since moved to Dubai when
the entertainment industry took off there
around 2000.
I now live between Riyadh and Dubai and
I actually cannot think of a more natural
life progression given I always wanted to
know what it would be like to live and work
abroad and deliberately took the Air Traffic
education as it would allow me to seek work
around the world.
But home is where you lay your hat right?
So with my British Caribbean wife and our
19 year old son born in Manama I think I am
probably pretty much at home where I am
right now!
What are the biggest differences
between promoting shows in Denmark
and the Middle East?
I wish I knew – it looks so easy in Denmark
when viewed from afar?:-)
No, joke aside I think in Denmark the
challenges are mainly commercial and
competition based whilst in Dubai they
are more fundamental and based on rules
and regulations, lack of same, access to
financing and whether you have special
connections and pull with decision makers
and authorities. So in short if in Dubai I can
drum up the required cash, have good pull
with local stakeholders and authorities I can
set up as a promoter – if in addition I can
manage successfully executed events and the
media and PR side of things I will probably
soon be the market leader…I assume that
in Denmark it is more about best managing
the access to suitable venues and maximising
ticket pricing. Perhaps in Denmark the
awarding of a profitable/attractive show
might also be down to what global promoter
you are associated with!?! In Dubai pricing of
almost all aspects of the event costs is down
to personal relations and buying power –
nothing has a fixed and non-negotiable
price and you use all possible contacts and
relations to leverage the best deal.
In Dubai when I promote my team and I
manage all aspects of the event including
booking, artist airport arrival arrangements,
ground transportation grid, shipping
clearance, production, venue build (if open
air), toilet rental, security guard hire, artist
hotel booking and rooming arrangement,
media campaign, promotion, ticketing,
VIP packages, sponsorship sales, event
permissions etc etc…….you certainly get to
know the industry from all aspects and in
great detail when putting on shows in the
Middle East. Getting your hands dirty is a
fitting expression!
I believe we all see Dubai as a centre
for money and entertainment, has
promoting shows there changed over
the years and what are the major
challenges there now?
The live entertainment business was very
minimal in Dubai prior to the 1990’s and
it was only in the early 2000’ that the
business really took off so it is a very young
market still.
But yes it has changed – when I started
out most shows were staged in hotel
ballrooms or gardens and based on an ROI
model of generating room bookings and
F&B sales as main revenue generator as
opposed to ticket sales……events had one
ticket category!
The event permission process was for
many years linked with the venue as a
reflection of the authorities not trusting
the then fledgling promoters but now and
in particular in Dubai the process is much
more sophisticated, we have more venue
options including purpose built ones and
yes we do of course also have as many
ticketing categories as anywhere else!!
Thomas Ovesen: A Dane promoting shows in the Middle EastFrom VIP-Daily News
Most people feel comfortable living their whole life in
their country of birth, but for some people choice or faith
takes them far from their country of origin to adventures
far from “home”.
One of them is Thomas Ovesen, born in Denmark but living
and working in the Live industry in the Middle East.
VIP-News talked to him about how he ended up in the
Middle East and how he got into the Live Music Industry.
9
VIPNEWS > JANUARY 2021
And from back then when western artists
sometimes had to be encouraged and
convinced of coming, sometimes with
premium fees more than safety and security
assurances, now most find it a natural stop
to play Dubai or Abu Dhabi when touring
between Europe and Asia, Far East Asia and
South Africa…….soon Saudi offers will help
make the region a natural stop-over and even
a multi show play for many more touring
artists. The regional vanity promoters and
one off premium artist offer under writers
we used to deal with have more or less all
vanished. So have the days where Dubai in
particular could outbid any other regional
stop and the UAE will increasingly be looking
towards Saudi to pool up with talent offers
from there to secure its programming.
But slowly we see purpose built venues
opening and so now there are great opera
houses and arenas in the region something
we didn’t have 10 years back. Programming
then will be key and venue owners here
don’t always understand how crucial that is
to the success of the real estate part of our
business – funny when it isn’t too unlike the
shopping mall business that have been so
successful regionally.
The real challenges though are still based on
insufficient legislation, lack of insolvency laws
making it hugely risky for event organizers
and promoters to take risk, sudden and
emotionally or religiously motivated changes
of rules and permissions making it even
more risky to promote shows and harder to
plan medium to long term.
With Saudi emerging as an entertainment
destination and touring market the region
as a whole will be more attractive for
promoters but each market has unique
rules and laws so you still need to have
great local knowledge, stakeholder sway
and boots on the ground….this is probably
why the big international promoters aren’t
set up here yet or mainly do brokerage
business but once they decide to invest
ours is a market that could reward them
very well….watch this space – the next few
years will make a huge difference and now
is the time to get in!
Saudi Arabia recently opened up for Live
Entertainment a few years ago, how do
you see the market potential there for
international artists?
This is a real game changer – regionally the
live events and entertainment inclusion of
30+ million Saudis, the majority of which
are under the age of 30 and all of whom
are now enjoying the potential of attending
entertainment events domestically, has
not just boosted the overall Middle East
event and entertainment market but at a
time where more established regional hot
spots like Dubai and Abu Dhabi are hugely
challenged offered the only source of
outlet and income for the entertainment
industry. There is no doubt that the Saudi
Arabia market will drive the regional events
market and act as the locomotive of live
entertainment shows and programming for
the coming years.
As Saudi settles in and further structures
its significant investment in infrastructure
and programming a new pool of event
promoters and organizers will emerge but the
Kingdom is already open for bookings and
will no doubt continue the aggressive events
and entertainment investments currently
somewhat paused because of the pandemic.
Within few years I assume most international
tours visiting Middle East will include one or
multiple Saudi shows and that it might be the
Saudi business that helps drag markets like
UAE out of the current slump as shows and
tours will be more likely to play there when
in the region to play attractive Saudi shows
anyway. With Saudi the region might also
finally see a regional and domestic touring Thomas Ovesen
10
VIPNEWS > JANUARY 2021
circuit of local talents emerge…..this is another
growth potential for the entertainment
business and why it isn’t unrealistic to assume
the Middle East region soon becoming one of
the most attractive markets globally for artists
and show producers.
What is your best advice for agents or
managers who would like to include the
Middle East in their touring schedules?
Play the long game – because there is one for
sure! – and make the effort to visit and see
the key players and venues in person. If you
consider sending your artists our way come
see us first and be one of the still too few
agents who has made such commitment –
you will benefit greatly as otherwise it can
be a complex marked and one with many
challenges. There are no obstacles or legal
or commercial reasons for needing to trade
via middle men ……there are now credible
promoters and purpose built venues you
can work with across the region and so also
a potential to start promoting upcoming
and small capacity talents in addition to the
blockbuster talents already accustomed to
playing some of our markets.
What will Thomas Ovesen be doing 10
years from now and where?
The tempting answer is “sitting on a tropical
island doing next to nothing” ….but
realistically I will probably still be in the
Middle East but then definitely on the look
out for how to finally pull off that legacy
project where in one go I get to put all my
accumulated experiences of failures and
successes to work on one great and amazing
event, festival or project …..you know, the
event I never got to do because there was
always something else that needed doing!...
The full statement reads:
With great regret, we must announce that
this year’s Glastonbury Festival will not take
place, and that this will be another enforced
fallow year for us.
In spite of our efforts to move Heaven &
Earth, it has become clear that we simply will
not be able to make the Festival happen this
year. We are so sorry to let you all down.
As with last year, we would like to offer all
those who secured a ticket in October 2019
the opportunity to roll their £50 deposit over
to next year, and guarantee the chance to
buy a ticket for Glastonbury 2022.
We are very appreciative of the faith and trust
placed in us by those of you with deposits,
and we are very confident we can deliver
something really special for us all in 2022!
We thank you for your incredible continued
support and let’s look forward to better
times ahead.
With love,
Michael & Emily
Glastonbury 2021 cancelledFrom VIP-Daily News
Glastonbury Festival has been cancelled for a second year running due to the impact of the
Covid-19 pandemic. The news was announced on Thursday on the Worthy Farm event`s
Twitter page. The event, which was due to take place at the end of June, was also cancelled
last year.
In a Tweet this afternoon, organisers Michael and Emily Evis confirmed that news “in spite
of efforts to move heaven and earth”. They added: “With great regret, we must announce
that this year’s Glastonbury Festival will not take place, and that this will be another enforced
fallow year for us.
“Tickets for this year will roll over to next year.”
Michael and Emily Eavis
11
VIPNEWS > JANUARY 2021
The first online edition of ESNS (Eurosonic
Noorderslag) exceeded all expectations
according to the organisers; both the
festival and conference platform have
been visited en masse by music lovers and
professionals worldwide with almost 4000
from 124 different countries.
In line with the current safety measures in
The Netherlands, the thirty-fifth edition of
ESNS took place digitally. Despite the acts,
audience, and industry professionals being
unable to meet each other in Groningen,
they still managed to make the most of the
virtual experience with daily live streamed
panels and performances and online
networking opportunities for professionals
to meet each other in a virtual environment.
The online edition also brought new
possibilities for networking, while artists
gained a much greater reach for their
showcases via ESNS channels and media
partners. With this, the mission of ESNS
was more than secured; promoting and
circulating new Dutch and European music.
Robert Meijerink, head of programme of
ESNS looks back on a successful edition:
“We are truly overwhelmed by the positive
feedback, with many saying a new standard
has been set, which is amazing and the
digital edition has exceeded our wildest
expectations. The ESNS platform is focused
on new emerging acts from Europe and to
bring together music professionals from all
corners of the world to discuss the current
and future of the music sector and its
industry. Thanks to NPO 3FM and members
of EBU, ESNS was able to reach an even
bigger audience in Europe and beyond.
We really hope we can organise a physical
edition in 2022 and be together once again,
but we will also expand our online ventures
next year.”
Conference
The consequences of the COVID-19
pandemic have been an unprecedented
blow to the music sector and as a result,
the need to get together seemed greater
than ever. Almost 4,000 delegates took
part in the conference, themed `The Road
to Recovery` aiming to regain confidence,
facing the current crisis, and making a
constructive contribution to a new future
for Dutch and European music industry.
In 66 panels, featuring 274 speakers,
industry professionals looked ahead and
discussed the reopening of the live music
sector, with conference attendees also
scheduling more than 10.000 one on one
meetings using the digital platform. The
most viewed panels included `Successful
Covid Festival Formats`, `Streaming is here
to stay!` and `Platform Workshops with
Bandcamp & Spotify`, and also keynote
interviews with Wendy Ong (manager Dua
Lipa), Scott Cohen (Warner Music), and Neil
Warnock (UTA).
Showcase festival
The digital platform of the ESNS showcase
festival, built-in collaboration with NPO
3FM, hosted exclusive live sets from 189
acts from 36 European countries. The
shows, broadcast daily on four channels,
were highly praised by media, music lovers,
and professionals. The showcase festival has
been covered extensively by media partner
NPO 3FM and European radio stations,
united in the EBU (European Broadcasting
Union). Dutch broadcaster NTR guided the
viewer on Saturday evening in a two-hour
program on NPO 3 with the Noorderslag
festival with all Dutch showcases. All ESNS
showcases are now available to watch at
3fm.nl/esns.
The sets were recorded by the acts in a
short period of time throughout Europe,
in collaboration with the EBU, export
agencies, venues, and festivals. A unique
achievement; as 34 European countries
were in a lockdown at the time. Many of
the Dutch acts were able to record their
performances at some of the much-loved
venues in Groningen, whilst following Covid
Secure protocols, making it the first cultural
event in the Netherlands with all crew,
artists, and suppliers tested for COVID-19.
ESNS exceeds ambitious expectationsFrom VIP-Daily News
Robert Meijerink
ESNS
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13
New company interviews
Gives us a brief update on your career before launching your
own company?
I’ve been promoting in Ireland for 20+ years, initially with a venue,
then MCD and on to Aiken Promotions, working with artists like
The Murder Capital, Yungblud, Big Thief, twenty one pilots, My
Chemical Romance, Paramore, Paolo Nutini and The National.
Simon started out with Aiken in 2012, and is working with a broad
spectrum of events and artists like Fontaines DC, Mark Rebillet and
Mabel. Brian had been involved in management before moving to
promoting with Pat Egan and on to Aiken, working with artists such
as Billy Connolly, The Pogues, Daryl Hall & John Oates and the RTE
Concert Orchestra.
Have you taken on any employees yet and/or planned on
growing or is it a one man band?
Right now it’s the three of us (Fin, Simon and Brian), and we are
working with freelance PR and design. We’re in the process of taking
on a Digital Media Manager and there are plans to further expand the
team over the coming months.
Why did you decide to start your own company?
We had worked closely with our clients for so long that it was never
a question of walking away from the industry and these relationships
when Aiken downsized in April 2020. We were always going to
continue in booking/live promotion in some shape or form, and
we decided early on that combining our talents would give us the
strongest foundation to build on.
What is/was your biggest concern about starting up your own
company?
We’ve had fantastic support from Stuart (Galbraith) and Steve (Tilley)
and the team at Kilimanjaro, and while we are absolutely raring to
go, the main concerns are the obvious ones for all promoters: the
Covid-19 situation, the vaccination rollout, the gradual shift back
towards normality, and to shows… and when is it all going to happen.
Did you bring your full roster with you?
We’ve been very lucky to continue working with the majority of the
artists that we had been working with pre-Covid. We’ve seen a huge
amount of loyalty from agents, management and artists, which gave
us all a big boost.
How do you see the potential for your company in this
disrupted Live Music industry?
We’re working with a very exciting and diverse roster of artists, which
is a great starting point. We have a wealth of experience and drive
between the three of us, and we’ve already got a number of new
events on the boil for the coming years. Ireland has always been
perceived as only having a small number of big guns, but we’re
seeing shifts in the industry right now that will make a lot of space
for the newer, leaner independent model.
Name: Fin O’Leary
Company: Singular Artists
Country: Ireland
Type of company: Promoter
Fin O’Leary
Despite incredibly tough times for all of us in the Live Music Industry and news of layoffs from many of
the majors, we are still seeing people taking the big step to launch their own companies and initiatives.
VIP-News will be speaking to several of these new entrepreneurs over the coming months to get an
insight into their new ventures.
VIPNEWS > NEW BIZ > JANUARY 2021
14
Gives us a brief update on your career
before launching your own company?
My whole life has been dedicated to music: I
started as a club promoter in my early years
and founded my first DJ booking agency
shortly after. Some years later I became a
product manager at Warner Music, followed
by positions at various other major and indie
record labels. After that I founded an artist
management agency, then took over the role
as the head of booking/artist management
at Solomun’s Diynamic and then became
the General Manager of the global festival
event series HYTE. That’s briefly what I have
been doing in the 25 years before we have
founded Frills in 2019.
Have you taken on any employees yet
and/or planned on growing or is it a one
man band?
The concept we have developed for Frills is
based on a holistic approach that provides
a 360° service to our artists, which requires
a high level of knowledge in various fields.
Therefore, we have formed an interdisciplinary
team of experienced specialists and proven
experts. Our Booking Manager is Catherine
Stoy, who has been an agent for Dixon and
Âme and worked for Richie Hawtin’s agency
Clonk before. Our Marketing Manager is
Sebastian Martison, who has been responsible
for the marketing of Adam Beyer’s Drumcode
label and events. Marina Zakharevitch is
managing the record labels of our artists as
well as other artist projects, such as event
concepts. She has been a Label Manager at
!K7 and a Campaign Marketing Manager at
Festicket before she joined us. Responsible
for operations at Frills is Diana Foster, who
previously worked for the legendary nightclub
Fabric in London and for Clinic Talent, the
booking division of Hospital Records. Andy
Bell is developing creative strategies and
concepts for our artists, before he was the
head of marketing for HYTE and later worked
for various renowned artists, such as Chris
Liebing. The youngster in our team is Marie
Claire de Voil, who’s mainly managing the
social media marketing for our artists. And my
partner in crime is David Lewis. We founded
Frills together. Besides Frills he’s the co-owner
of several other companies, such as David
Lewis Productions, Armada and ALDA.
Why did you decide to start your own
company?
That’s easy: it was long overdue! And both
David and I had the feeling such a concept
as Frills was missing in the electronic music
world. We just had to fill that gap!
What is/was your biggest concern about
starting up your own company?
I can’t say that we were concerned when we
started Frills. We had a convincing concept
and a well-thought-out strategy, a motivated
team and massive portion of idealism. We
fully believed in what we are doing. And
then came Corona – and brought up some
concerns, of course. We had plenty of
internal discussions, started to think about
restructuring the company and about other
strategies and concepts. But very quickly
we realised: our concept is still perfect, our
strategies are ace. We still believe in the idea
of Frills and in what we are doing. So, we
wiped all concerns aside and moved on.
Did you bring your full roster with you?
I know usually you are an agent or manager
somewhere else, take some artists with you
and start a new venture with them as a
foundation, but we intentionally didn’t want
to start the company with any artists that may
go on to dictate how the rest of the roster or
the company develops, or expect to have an
influence in that respect. We have our own
idea and want to build the roster from the
ground up, with every artist selected based
on their own merits and vision. The strength
of our concept, services, creativity and our
holistic approach, as well as our principles,
authenticity and our understanding of
underground electronic dance music culture,
is how we want to appeal to artists. We
understand artists and know how to develop
their profiles and personalities, whilst never
forgetting the values of the electronic music
culture we all represent.
Name: Aga Heller
Company: Frills
Country: Germany
Type of company: Full Service Artist Agency
Aga HellerPhoto by Kasia Zacharko
VIPNEWS > NEW BIZ > JANUARY 2021
15
Gives us a brief update on your career
before launching your own company?
I started off backing singing for Carleen
Anderson after studying vocals at BIMM.
From there I worked in management for Phil
Nelson/First Column. It was then I started my
Live Agency career at 13 Artists as a booking
agent. I then set up my own Agency ‘The
Village Agency’, followed by moving to The
Agency Group for ten years (which then
became UTA), then the last 4 years at Coda
/ Paradigm
Have you taken on any employees yet
and/or planned on growing or is it a one
man band?
News on that to be announced soon.
Why did you decide to start your own
company?
I am starting this company alongside my
brother Mark Bent (IDLES management)
someone I admire, trust and feel empowered
by. It’s very rare to find someone that works
with the same ethos and drive. We have
spoken about this dream for a while and if
there is one thing this last year has taught us,
it’s to just go for it.
What is/was your biggest concern about
starting up your own company?
I don’t believe that’s the right way to start a
company. No negativity at all – hard work,
good ethics, leading with compassion and
empathy is the best start we can give this
company; for us, our clients and the industry
professionals that we love working with.
Did you bring your full roster with you?
I am lucky that my core roster is joining
me on this new venture. Alex Amor, Amy
Macdonald, Benjamin Booker, Cate Le Bon,
CMAT, Darwin Deez, Do Nothing, Electric
Guest, First Aid Kit, Foster The People,
Gotye, IDLES, RY X, The Antlers, The Magic
Gang, The Teskey Brothers, Thomas Headon,
Unknown Mortal Orchestra, Violet Skies,
Westerman – with more to follow.
How do you see the potential for your
company in this disrupted Live Music
industry?
We wouldn’t have started this venture if we
didn’t 100% believe in ourselves, our clients
and everyone’s abilities. There is no secret
trick, no shortcut. Just cut out the bullshit,
put your heads down and fight for your
clients like you would your family, but with
respect kindness and hard work ethics at
the core. Simple.
Name: Natasha Gregory (Bent)
Company: Mother Artists
Country: United Kingdom
Type of company: Live Agency & Management Company
Natasha and Mark BentPhoto by Jarowslaw Hipisowki
VIPNEWS > NEW BIZ > JANUARY 2021
16
Gives us a brief update of your career
before launching Superswell?
I started booking concerts professionally
in 1997 at the Mean Fiddler in London. In
1999 I found myself working as a promoter
at Welldone Agency in Helsinki which
eventually became Live Nation Scandinavia. I
also worked as an artist manager and adviser
to acts like The Rasmus and The Crash. I
moved to Berlin in 2009 and became festival
booker at Popkomm then Berlin Music Week
before joining Reeperbahn Festival. In 2017 I
became Booking Director at AEG Europe and
oversaw the 2018 opening of the Verti Music
Hall in Berlin with shows including Jack
White, George Ezra and Dave Chappelle. I
finished that job in September last year and,
like many of us, been spending most of my
time at home since then.
What gave you the idea to start your
own podcast, what are your intentions
with it and what do you hope your
listeners will get out of it?
I had a few late night zoom calls with friends
who I hadn’t seen for a long time. We had a
lot of meaningful conversations about some
of the interesting times we’ve had over the
years. Someone said we should record some
of these talks as others might enjoy them
too. I’m fortunate to have met such a diverse
range of remarkable people who give me so
much to talk about with them. As well as
their life and work I like to get deeper into
the human parts of them. The good stuff!
I planned to just do 3 episodes but received
such positive feedback and enjoyed doing
it so much that I decided to continue doing
new episodes every couple of weeks. I hope
it offers some hope and encouragement
to people listening. I like the fact that
in a small way the podcast can act as a
document of our times. I’ll be able to look
back on it as a personal record of how we
managed our lives and emerged from this
traumatic period.
Who have you interviewed so far and
who have you got lined up?
So far, guests have included Mark Davyd
(Music Venue Trust), Julia Gudzent
(Lollapalooza Berlin), Allan McGowan (IQ/
VIP), Helen Sildna (Tallinn Music Week),
Adam Lewis (Planetary Group), Alex Maiolo
(Journalist/Musician), and Ian Salmon
(Playwright/Author). I’m in the middle of
producing the next couple of episodes and
have more really great chats lined up. You
can be informed by joining the mailing list:
www.thesuperswell.com/sign-up
Have you got any partners or are you
doing this alone?
I’ve been initially producing the podcast on
my own but talking to a handful of people
around the world about them joining the
project and producing their own content as
part of the SuperSwell Collective. We just
launched a new monthly edition called The
Delicates’ Lounge which reviews/previews
news and events of that particular month.
I’m sure other new ideas will be appearing
on the platform soon. I can’t tell you how
much fun it’s been and how rewarding it
is to be collaborating with people like this.
Is the podcast generating any income
and if not do you have plans for this for
the future?
It started purely as something useful and
interesting for me to do to keep me occupied
during lockdown but it’s already taking on a
life of its own. Potential sponsors have been
in touch and, more interestingly for me,
several event organisers have asked if I can
record episodes or arrange online panels
for their conferences this year. That is
something I would like to do and eventually
curate physical SuperSwell panels and
showcases when it’s possible.
Have you got plans to come back into
the Live Music Industry at some point?
I haven’t left the Live Music Business!!
The Live Music Business has left us for
the moment but I haven’t stopped being
involved in discussions and ideas with
companies about how concerts and events
can be brought back as we emerge out of
the Covid/Brexit double-whammy. I have to
wait and see if the right opportunity comes
along and how I can keep the podcast
going once I get a “proper” job again.
www.thesuperswell.com
www.heartburstman.com
Name: Paul Cheetham
Company: The SuperSwell
Country: Germany
Type of company: Podcast
Paul Cheetham
VIPNEWS > NEW BIZ > JANUARY 2021
Tones, who was previously a booker at
Paradigm Agency, will be reunited with
former Paradigm colleague Natasha Gregory
(formerly Bent), but also build his own roster
and help to grow the new business alongside
the core team.
Siblings Mark Bent and Natasha Gregory
– who joined the Music Week Women In
Music Roll Of Honour in 2016 – joined forces
to launch Mother Artists as a management
and live agency at the end of 2020.
Natasha Gregory, Mother Artists co-founder,
said: “James is basically superman. Not
only to us, but to our clients, his peers and
all industry professionals. He leads with
kindness, empathy, extreme efficiency and
a go get attitude. We have no doubt that
James will be running the company within a
year. Like all our team, he starts as an equal
and we, and our clients are so lucky and
excited to have him with us. Let’s go!”
James Tones said: “I’m so excited to join
Mother Artists and start the next chapter of
my career as an agent with Natasha, Mark
and the team. As a mentor, I am so grateful
to Natasha for teaching me invaluable skills
and for giving me opportunities to keep
progressing over the past four years, but also
to grow as a person and treat everyone with
respect and kindness, and lead by example.
“Having worked with Natasha and Mark on
Idles, I have seen first-hand what they can
achieve as a team. Mark has already built
an incredible reputation for Mother Artists,
so with Natasha joining on the live side,
the sky`s the limit. I’m looking forward to
building my own roster as well as being able
to continue working closely with Natasha
and everyone at Mother Artists. Exciting
times ahead!”
Mark Bent heads up the management
division, while Natasha Gregory runs the live
division. The management roster includes
Idles, Heavy Lungs, Avaera, Daffodils and
newly signed Magazines.
The live side of the company launched with
Alex Amor, Amy Macdonald, Benjamin
Booker, Cate le Bon, CMAT, Darwin Deez, Do
Nothing, Electric Guest, First Aid Kit, Foster
The People, Gotye, Heavy Lungs, Idles, Kills
Birds, Laura Misch, Ry X, The Antlers, The
Magic Gang, The Teskey Brothers, Thomas
Headon, Unknown Mortal Orchestra, Violet
Skies and Westerman.
Warner Music Group has terminated the
contract of Scott Maclachlan after inidents
of sexual harassment have come to light.
Maclachlan, originally from the UK, is best
known for discovering and then managing the
Grammy-winning artist Lorde at his own Saiko
Management, which he founded in 2013.
Following 20 years in the UK music industry,
Maclachlan moved to New Zealand in 2008,
where he discovered Lorde when she was
13 years old.
The dismissal of Scott Maclachlan on Sunday
came after an investigation prompted him to
publicly admit years of harmful actions towards
staff and colleagues. He said on Friday he was
in intensive psychotherapy and was trying “to
live a simpler, less egotistical life”.
Maclachlan said he had been guilty of
“stupid, insensitive and ignorant comments”
to women in the industry, including asking
them if they wanted sexual contact with him,
and making comments about their bodies.
“There’s not a day goes by that I don’t regret
the harm I have caused people around me and
most importantly the pain and embarrassment
I have caused my wife and children. I have
to live with that guilt, knowing that people
I worked with have also endured pain and
stress because of my actions,” Maclachlan
told news site Stuff.
James Tones joins Mother ArtistsFrom VIP-Daily News
Warner Music sacks former Lorde manager Scott MaclachlanFrom VIP-Daily News
James Tones
Scott Maclachlan
NAMES & JOBSVIPNEWS > JANUARY 2021
17
19
The management board of DEAG around Prof. Peter Schwenkow has
secured the support of the largest single shareholder of DEAG.
In an agreement signed today with Apeiron Investment Group Ltd.
and its bidder company (Musai Capital Ltd., “Bidder”), the submission
of a public delisting-takeover offer was agreed as a requirement for
the Delisting.
In the course of the planned Delisting, it is intended to retain the
Company`s legal form as a stock corporation and to continue the
listing of the corporate bond on the Open Market (Freiverkehr) of the
Frankfurt Stock Exchange.
All members of the management board as well as the supervisory
board will also accompany DEAG on its further growth trajectory.
Furthermore, all existing contracts with employees, service providers
and artists shall remain in full force and effect.
The withdrawal from the regulated market of the Frankfurt Stock
Exchange requires a prior public delisting-takeover offer to the
shareholders of DEAG, so that all shareholders can still sell their
shares prior to the Delisting. As a wholly-owned subsidiary of
Apeiron, DEAG`s longstanding and, with a shareholding of approx.
18%, largest single shareholder, in accordance with the agreement
entered into, today announced such an offer with a consideration
in cash, calculated according to the volume-weighted average share
prices of the last three and the last six months as required by law for
a delisting-takeover offer.
According to the Bidders calculation, this price is currently EUR
3.07 per DEAG share. The final price will be published by the
Bidder in the offer document after confirmation by the German
Federal Financial Supervisory Authority (Bundesanstalt für
Finanzdienstleistungsaufsicht, BaFin). As a delisting-takeover offer,
the offer will not be subject to any closing conditions.
Together with the U.S. investor Mike Novogratz, who holds approx.
14% of DEAG`s shares through his family office Galaxy Group
Investments LLC, as well as other existing shareholders of the
Company, Apeiron and the Bidder have agreed on the key terms
of a shareholders` agreement. The parties to the shareholders`
agreement, which in total hold approximately 47% of the DEAG
Shares, will not accept the planned offer for their DEAG shares. On
the basis of the shareholders` agreement, subject to the successful
closing of the transaction, they will exercise joint control over
DEAG. In the agreement with DEAG, Apeiron and the Bidder have
committed to support DEAG`s further growth strategy outside the
stock exchange listing.
CEO and founder of the Company, Prof. Peter Schwenkow
commented: “Despite the continuing uncertainties about the future
of the live entertainment industry due to the ongoing restrictions,
DEAG is pleased about the continuous support and trust of all
members of the management board, the supervisory board, all
managing directors, partners, co-shareholders and the current major
shareholders who wish to continue to jointly pursue DEAG`s existing
growth course in an unlisted environment of the company.”
As required by law, the management board and supervisory board
of DEAG will issue a reasoned statement on the public delisting-
takeover offer after publication of the offer document.
DEAG Deutsche Entertainment plans Stock ExchangewithdrawalFrom VIP-Daily News
Prof. Peter Schwenkow
VIPNEWS > BUSINESS > JANUARY 2021
20
DEAG is acquiring 75% of the shares
in the Danish promoter and producer
CSB Island Entertainment via its wholly
owned subsidiary DEAG Classics AG. This
acquisition will significantly expand DEAG`s
activities and presence in Scandinavia.
Through the cooperation with CSB, DEAG
expects to achieve positive synergy effects
in the live entertainment business as well as
growth impulses for the ticketing business
in Scandinavia.
CSB was founded in 1994 and is one of
the leading promoters and producers in
Scandinavia, with around 300 events a
year. The company has an extensive partner
network, a broadly diversified portfolio and
its own worldwide rights to productions
and shows, some of which it has developed
itself. In the past, CSB has organized and
hosted numerous concerts and events in
Scandinavia with internationally renowned
artists such as KISS, James Blunt, Sir Elton
John, Kylie Minogue, Placido Domingo,
Anna Netrebko, Kris Kristofferson and Sissel
Kyrkjebø. In addition, shows such as “The
Show - A Tribute to Abba,” which has now
been performed in around 50 countries
worldwide, “Queen Machine Symphonic” or
“Disco Tango Eurovision Show” are among
the company`s own productions. With this
offering, CSB is an excellent addition to
DEAG`s portfolio.
CSB company founder and CEO Carsten
Svoldgaard as well as COO Kenneth
Svoldgaard will remain shareholders and
will continue to manage the company in the
long term with their team, which will remain
completely with the company.
“DEAG has been working closely and
successfully with CSB for many years,
especially in the UK and Scandinavia but
also in the Classics & Jazz sector. The
investment in CSB is the next logical step
of our trustful cooperation. Scandinavia is
an economically strong market in Europe
and is considered to be particularly
digitally minded. We see good growth
opportunities for our ticketing business in
particular and expect to see synergy effects
in our international business,” commented
Detlef Kornett, member of the Executive
Board of DEAG.
Adele manager Jonathan Dickins` company
September Management Ltd reportedly
earned £27,457 per day in 2019 – despite his
biggest star not releasing a song since 2015.
According to Daily Mirror, Dickin`s company
September Management Ltd, has filed yearly
paperwork to Companies House and has
declared impressive dividends for that year.
The company has assets worth nearly £30
million, meaning they post weekly profits
of close to £200,000. Dickins is still raking
it in despite Adele keeping a low profile
throughout 2019. He paid himself £6million
more than his global mega star, according to
the newspaper.
The music world is bracing itself for the
release of her latest album, first expected
last year but sure now to land in 2021. Her
last album 25 – which hit the shelves in
2015 – sold 22 million copies worldwide.
Adele “laid down some initial tracks” for
her upcoming record in a secret recording
session recently, it has been claimed.
DEAG to acquire 75% of Danish promoter CSB Island EntertainmentFrom VIP-Daily News
Adele manager big time earnings in 2019From VIP-Daily News
Jonathan Dickins
Carsten Svoldgaard Kenneth Svoldgaard
VIPNEWS > BUSINESS > JANUARY 2021
About Our Company
VIP-Booking’s core product is the largest database for the European Live Entertainment Industry www.vip-booking.com developed as a tool for industry professionals . Since it’s launch in the year 2000,
we have consistently offered our subscribers the very best in database services and now boast subscribers in over 50 countries.
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Companies presented here have our best endorsement...
Boasting three concert halls – the Main Hall that can accommodate
an audience of up to 6500 and the Club that can hold 1200 and
The Floor with a capacity up to 200 – the Rockhal, a complex
managed by the public institution Centre de Musiques Amplifiées
and co-financed by the Luxembourgish State, is Luxembourg’s No
1 concert venue.
The Rockhal is also a Music & Resources Centre, comprising no
fewer than six rehearsal rooms, a recording studio, a dance studio
and a documentation centre. In short, a place where players of
the Luxembourg music scene, professional and amateur alike, can
interact and share their views on the local industry.
Rockhal
VIPNEWS > MISC > JANUARY 2021
21
The No. 1 information resource for the European Live Entertainment Industry
HOWTO USEVIP-Booking.comfor Agents/Managers
Use VIP Analytics to locate where yourartist has the most interest:1
Use our Tour Builder to locate venues
or agents within a given area:2
Find the Talent Buyer and otherrelevant contacts:
3
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