More and more local communities are developing mini-SXSW's. Here's Nashville's.
Next Big Nashville: "Q&A with NBN creator and producer Jason Moon Wilkins: Q: What is the purpose of the event? A: 'The inaugural NBN was conceived and executed in three and a half weeks in 2006 as a way to celebrate what was a banner year for Nashville's rock/pop/indie community. It was originally meant to be just a one-night party, but it quickly grew into a three-day festival that drew nearly three thousand people. Obviously, this year has expanded exponentially, which is a reflection of how dynamic Nashville's music scene is at the moment. The basic reasoning behind it was that it seemed like we needed an event like this and the artists, the industry and the city as a whole have overwhelmingly agreed with that assessment. It's a truly exciting time to be a part of the music community in Nashville and to be living in such a vibrant and growing city. More than anything else, I wanted to build an event that echoed that excitement. Nashville is evolving and expanding beyond its former image into something more cosmopolitan and eclectic but still decidedly southern and I wanted to create a musical reflection of that.'
Is this a showcase/industry event or a public festival?
A: "It's both. It's an easy 'one stop shop' for any out-of-town or in-town industry professional interested in what is happening in Nashville's music scene at the moment. It's also a chance to showcase the growing community of industry professionals who work outside the Music Row mainstream but whose work helps tie Nashville to the international arena. And it's an opportunity for Nashville music fans to see their favorite acts play together in a festive and communal atmosphere and hopefully to be introduced to their new favorite band along the way.""
Showing posts with label music festival. Show all posts
Showing posts with label music festival. Show all posts
Friday, August 10, 2007
Thursday, July 26, 2007
Is this a good scene?
Here is a review of an underground music festival in Baltimore. I'm not really sure if it is meant to be a good review or not. You decide.
Pitchfork Feature: Live: Whartscape Music Festival: "But enthusiasm is one of the only real unifying factors at Whartscape: Performers ranged from the folk and lo-fi beats of Lizz King (who hopped around on a sprained ankle as big as an orange) to the shoegaze synth-punk of Videohippos (who played in front of three projection screens) to West Coast spazz legends xbxrx to, well, a band like Santa Dads, who wallowed in a 20-minute prog-folk number with a whole faux-liturgy to go along with it; it was like a nursery school doing a rock opera. Dig a stroke deeper though, and the connections are clear: Baltimore's foreboding landscape and rotted-out, no-bubble depression is just the place for a bunch of wayward kids in neon avoiding the bodice of career, pulling shifts at Whole Foods between their self-directed studies in the occult. The filmmaker Jimmy Joe Roche, who screened videos on Friday night, told the Baltimore blog Butter Team, 'The wizards of Baltimore and Wham City deal powerful magic, we'll need it soon, the dawn of this post-postmodern age is upon us.'
There's no sense of cool, there's no spiritual sobriety. There are a lot of very bright colors. There are machines modified to blare industrial light at changes in synthesizer frequency. "
Pitchfork Feature: Live: Whartscape Music Festival: "But enthusiasm is one of the only real unifying factors at Whartscape: Performers ranged from the folk and lo-fi beats of Lizz King (who hopped around on a sprained ankle as big as an orange) to the shoegaze synth-punk of Videohippos (who played in front of three projection screens) to West Coast spazz legends xbxrx to, well, a band like Santa Dads, who wallowed in a 20-minute prog-folk number with a whole faux-liturgy to go along with it; it was like a nursery school doing a rock opera. Dig a stroke deeper though, and the connections are clear: Baltimore's foreboding landscape and rotted-out, no-bubble depression is just the place for a bunch of wayward kids in neon avoiding the bodice of career, pulling shifts at Whole Foods between their self-directed studies in the occult. The filmmaker Jimmy Joe Roche, who screened videos on Friday night, told the Baltimore blog Butter Team, 'The wizards of Baltimore and Wham City deal powerful magic, we'll need it soon, the dawn of this post-postmodern age is upon us.'
There's no sense of cool, there's no spiritual sobriety. There are a lot of very bright colors. There are machines modified to blare industrial light at changes in synthesizer frequency. "
Tuesday, July 24, 2007
The economics of a folk festival
Folk festivals spin off profit for both artists and venues -- Vancouver Sun, 7/13/07: "Though Canadian folk festivals are grassroots affairs where lots of patrons reflect the ideals of the 1960s, they nevertheless generate big dollars.
The Edmonton Folk Festival, largest in Western Canada, attracts 85,000 people for a box office of $1.4 million. It has sold out all its tickets in 11 of the last 13 years. The smaller Winnipeg Folk Festival draws 60,000, but 40 per cent of the audience comes from the United States, resulting in an economic spinoff to the area of about $20 million.
The three-day Vancouver Folk Music Festival, which begins today, attracts people from all over B.C. and the U.S. (Americans make up 30 per cent of the audience), and even some from Europe and Australia. Smaller than events in Edmonton, Winnipeg and Calgary, last year's Vancouver festival operated on a budget of $1.2 million, attracted 30,000 people and took in $551,000 at the box office.
Dancing at the Vancouver Folk Music Festival
Dancing at the Vancouver Folk Music Festival
Peter Battistoni/Vancouver Sun
One lucrative side business at folk festivals is on-site CD sales. Festival patrons prefer buying recordings directly from the artist or the artist's label on-site because more of their money goes to the music's creator. These sales won't show up on SoundScan or Billboard, but they nevertheless add up. At last summer's 17 western Canadian folk festivals -- which include events in Vancouver, Victoria, Salmon Arm, Duncan, Comox, Mission and Harrison Hot Springs -- CD sales amounted to $754,594.
At the 2001 Edmonton festival, the Waifs from Australia sold 1,000 CDs in a single weekend, a figure matched by Xavier Rudd one year at the Calgary Folk Festival.
CD sales at last year's Vancouver Folk Festival totalled about 15,000. A top artist can sell as many as 700 CDs in a single weekend at the Vancouver festival....
VANCOUVER FOLK FESTIVAL
Attendance: 30,000
Box office: $551,000
CALGARY FOLK FESTIVAL
Attendance: 48,000
Box office: just under $1 million
EDMONTON FOLK FESTIVAL
Attendance: 85,000
Box office: $1.4 million
Winnipeg Folk Festival
Attendance: 60,000
Box office: $1.3 million
The Edmonton Folk Festival, largest in Western Canada, attracts 85,000 people for a box office of $1.4 million. It has sold out all its tickets in 11 of the last 13 years. The smaller Winnipeg Folk Festival draws 60,000, but 40 per cent of the audience comes from the United States, resulting in an economic spinoff to the area of about $20 million.
The three-day Vancouver Folk Music Festival, which begins today, attracts people from all over B.C. and the U.S. (Americans make up 30 per cent of the audience), and even some from Europe and Australia. Smaller than events in Edmonton, Winnipeg and Calgary, last year's Vancouver festival operated on a budget of $1.2 million, attracted 30,000 people and took in $551,000 at the box office.
Dancing at the Vancouver Folk Music Festival
Dancing at the Vancouver Folk Music Festival
Peter Battistoni/Vancouver Sun
One lucrative side business at folk festivals is on-site CD sales. Festival patrons prefer buying recordings directly from the artist or the artist's label on-site because more of their money goes to the music's creator. These sales won't show up on SoundScan or Billboard, but they nevertheless add up. At last summer's 17 western Canadian folk festivals -- which include events in Vancouver, Victoria, Salmon Arm, Duncan, Comox, Mission and Harrison Hot Springs -- CD sales amounted to $754,594.
At the 2001 Edmonton festival, the Waifs from Australia sold 1,000 CDs in a single weekend, a figure matched by Xavier Rudd one year at the Calgary Folk Festival.
CD sales at last year's Vancouver Folk Festival totalled about 15,000. A top artist can sell as many as 700 CDs in a single weekend at the Vancouver festival....
VANCOUVER FOLK FESTIVAL
Attendance: 30,000
Box office: $551,000
CALGARY FOLK FESTIVAL
Attendance: 48,000
Box office: just under $1 million
EDMONTON FOLK FESTIVAL
Attendance: 85,000
Box office: $1.4 million
Winnipeg Folk Festival
Attendance: 60,000
Box office: $1.3 million
Saturday, July 07, 2007
Travel lightly or not at all
This article criticizes Live Earth, and particularly the stars appearing in it, for by hypocritical by wasting so much energy to get to these events. It does mention what some of the venues are doing to offset the carbon emissions and trash, but overall it does not consider this event to be environmentally friendly.
There's something to be said for keeping live music local -- going to see local bands who don't tour, and using public transportation, to see them. Now we just have to get the local music press and the fans on board to give props to bands that refuse to tour.
Live Earth is promoting green to save the planet - what planet are they on? | the Daily Mail, 7/07/07: "A Daily Mail investigation has revealed that far from saving the planet, the extravaganza will generate a huge fuel bill, acres of garbage, thousands of tonnes of carbon emissions, and a mileage total equal to the movement of an army.
The most conservative assessment of the flights being taken by its superstars is that they are flying an extraordinary 222,623.63 miles between them to get to the various concerts - nearly nine times the circumference of the world. The true environmental cost, as they transport their technicians, dancers and support staff, is likely to be far higher.
The total carbon footprint of the event, taking into account the artists' and spectators' travel to the concert, and the energy consumption on the day, is likely to be at least 31,500 tonnes of carbon emissions, according to John Buckley of Carbonfootprint.com, who specialises in such calculations."
There's something to be said for keeping live music local -- going to see local bands who don't tour, and using public transportation, to see them. Now we just have to get the local music press and the fans on board to give props to bands that refuse to tour.
Live Earth is promoting green to save the planet - what planet are they on? | the Daily Mail, 7/07/07: "A Daily Mail investigation has revealed that far from saving the planet, the extravaganza will generate a huge fuel bill, acres of garbage, thousands of tonnes of carbon emissions, and a mileage total equal to the movement of an army.
The most conservative assessment of the flights being taken by its superstars is that they are flying an extraordinary 222,623.63 miles between them to get to the various concerts - nearly nine times the circumference of the world. The true environmental cost, as they transport their technicians, dancers and support staff, is likely to be far higher.
The total carbon footprint of the event, taking into account the artists' and spectators' travel to the concert, and the energy consumption on the day, is likely to be at least 31,500 tonnes of carbon emissions, according to John Buckley of Carbonfootprint.com, who specialises in such calculations."
Tuesday, July 03, 2007
Do free concerts hurt clubs or build audiences?
This article suggests that while the free jazz concerts in Chicago increase the popularity of jazz, they hurt small club discouraging fans from going to them and by driving up prices for artists.
Chicago Tribune news, 7/01/07: Scatting from clubs to larger concert venues: "Perhaps no one did more to affect that change than Lois Weisberg, commissioner of the city's Department of Cultural Affairs under Mayor Richard M. Daley and a cultural advocate in previous administrations. By steadily expanding free concerts in Grant Park and helping to transform the old Chicago Public Library building into the bursting-with-music Chicago Cultural Center, Weisberg put the city's muscle and money behind music.
'There's no other city in the country that does so much free music,' says Weisberg, noting that the city now spends about $2 million a year on various music events, much of it jazz.
Furthermore, by joining forces with organizations such as the Chicago Jazz Partnership -- a collection of blue-chip corporate foundations that committed $1.5 million to Millennium Park's 'Made in Chicago' jazz series and other jazz events -- the city has leveraged additional resources to jazz concert-going."
Chicago Tribune news, 7/01/07: Scatting from clubs to larger concert venues: "Perhaps no one did more to affect that change than Lois Weisberg, commissioner of the city's Department of Cultural Affairs under Mayor Richard M. Daley and a cultural advocate in previous administrations. By steadily expanding free concerts in Grant Park and helping to transform the old Chicago Public Library building into the bursting-with-music Chicago Cultural Center, Weisberg put the city's muscle and money behind music.
'There's no other city in the country that does so much free music,' says Weisberg, noting that the city now spends about $2 million a year on various music events, much of it jazz.
Furthermore, by joining forces with organizations such as the Chicago Jazz Partnership -- a collection of blue-chip corporate foundations that committed $1.5 million to Millennium Park's 'Made in Chicago' jazz series and other jazz events -- the city has leveraged additional resources to jazz concert-going."
More on environmentally friendly events
I'm a bit skeptical that the event industry is the second-largest contributor to carbon emissions in the world, but it's still a good thing to be environmentally friendly.
7/1/07 --Rock bands find new ways to go green: "'The event industry is the second-largest contributor to carbon emissions in the world, next to construction,' said Joseph Malki, vice president of business development for green events consultant Seven-Star Inc., which will be overseeing the environmental efforts of four of the Live Earth concerts taking place around the world July 7.
Adam Gardner, guitarist-vocalist for the Boston-spawned band Guster, became so interested in finding ways to reduce his band's carbon footprint that he and his wife, Lauren Sullivan, both Tufts University graduates, began Reverb, a nonprofit green tour-consulting organization, in 2004.
Reverb does everything from offering suggestions to providing full-service consultants who will coordinate backstage recycling and biodiesel refueling for trucks and buses, set up 'ecovillages' at venues, and more. The group has assisted the Chili Peppers, Lavigne and Jones in the past, and is working with the Fray and Mayer this summer."
7/1/07 --Rock bands find new ways to go green: "'The event industry is the second-largest contributor to carbon emissions in the world, next to construction,' said Joseph Malki, vice president of business development for green events consultant Seven-Star Inc., which will be overseeing the environmental efforts of four of the Live Earth concerts taking place around the world July 7.
Adam Gardner, guitarist-vocalist for the Boston-spawned band Guster, became so interested in finding ways to reduce his band's carbon footprint that he and his wife, Lauren Sullivan, both Tufts University graduates, began Reverb, a nonprofit green tour-consulting organization, in 2004.
Reverb does everything from offering suggestions to providing full-service consultants who will coordinate backstage recycling and biodiesel refueling for trucks and buses, set up 'ecovillages' at venues, and more. The group has assisted the Chili Peppers, Lavigne and Jones in the past, and is working with the Fray and Mayer this summer."
Sunday, June 24, 2007
Music festival sponsorship
A discussion of how sponsors are maximizing their sponsorship London's Wireless Festival.
I find far more articles about sponsorship in the British press than in the American press, which has been the case for quite awhile. For as much sponsorship as you see in the US. there still seems to be more focus on sponsorship there than here.
BBC NEWS, 6/21/07| Why just a logo is now a no-no: "Existing users could receive a barcode by text message, allowing them access to a VIP area with a bar and music.
Other offers included text messages containing news and gossip from backstage, while onstage performances were recorded and have been made available via mobile on the network's Wap site, advertised under the banner, 'Relive it'.
'It has gone beyond mere badging an event with our logo. We want to drive an emotional connection with our customers,' said the network's head of sponsorship, Amanda Jennings.
'I hope that everyone had a good time at Wireless, but that if you were an O2 customer, that you had an extra good time.'...
Digital consultant Ben Carter says that a brand can only bring its sponsorship to life by encouraging the customer to engage with it.
'Having exclusive content is a must-have,' he says.
'Signing up to sponsor a festival, concert or act is a very good way of securing the content that your customers want.'
Creating such 'exciting, original' content is a priority for broadband provider Tiscali UK, says its head of entertainment Rob Andrews.
It broadcast sets from the main stage at the Wireless Festival live on its website, which was viewed by 'thousands'.
And it also held 15 backstage gigs, each for less than 100 people, with acts including Badly Drawn Boy, newcomers Scouting for Girls and a rare acoustic set by Faithless.
The performances will be made available on the web and, eventually, television.
I find far more articles about sponsorship in the British press than in the American press, which has been the case for quite awhile. For as much sponsorship as you see in the US. there still seems to be more focus on sponsorship there than here.
BBC NEWS, 6/21/07| Why just a logo is now a no-no: "Existing users could receive a barcode by text message, allowing them access to a VIP area with a bar and music.
Other offers included text messages containing news and gossip from backstage, while onstage performances were recorded and have been made available via mobile on the network's Wap site, advertised under the banner, 'Relive it'.
'It has gone beyond mere badging an event with our logo. We want to drive an emotional connection with our customers,' said the network's head of sponsorship, Amanda Jennings.
'I hope that everyone had a good time at Wireless, but that if you were an O2 customer, that you had an extra good time.'...
Digital consultant Ben Carter says that a brand can only bring its sponsorship to life by encouraging the customer to engage with it.
'Having exclusive content is a must-have,' he says.
'Signing up to sponsor a festival, concert or act is a very good way of securing the content that your customers want.'
Creating such 'exciting, original' content is a priority for broadband provider Tiscali UK, says its head of entertainment Rob Andrews.
It broadcast sets from the main stage at the Wireless Festival live on its website, which was viewed by 'thousands'.
And it also held 15 backstage gigs, each for less than 100 people, with acts including Badly Drawn Boy, newcomers Scouting for Girls and a rare acoustic set by Faithless.
The performances will be made available on the web and, eventually, television.
Thursday, June 21, 2007
Why have a festival
For all of those musicians who have wondered if SXSW, MOBfest, and similar festivals are good career moves, here's an opinion.
Chicagoist: MOBfest ... BLAHfest.: "Their mission statement, according to the MOBfest website, is: 'We are a three-day music business seminar focused on building a buzz, aiding in awareness, and peaking the interest of the music business community ... Networking, schmoozing and simply attending the panels can be a great way to make new contacts, secure current connections and start new relationships.'
... none of the above really happens. Instead we get the usual suspects within the local scene congratulating each other, attending shows at only the largest venues, and largely ignoring the majority of the schedule. And why wouldn't they? Even we, who are neck deep in the local scene, are hard pressed to recognize more than a smattering of bands on their schedule....
In the end we are withdrawing our support for MOBfest because we honestly can't see how the whole thing is helping anyone out, except for possibly the bands being managed by the folks at the top of the MOBfest food chain, and even most of them can't seem to get signed to any sort of sustainable career .... It's not as egregious as, say, Emergenza, when it comes to taking advantage of the naivety of hopeful bands, but they have no problem spreading the belief that by associating yourself with MOBfest you still have a chance a label will walk into their show and sign them on the spot."
Chicagoist: MOBfest ... BLAHfest.: "Their mission statement, according to the MOBfest website, is: 'We are a three-day music business seminar focused on building a buzz, aiding in awareness, and peaking the interest of the music business community ... Networking, schmoozing and simply attending the panels can be a great way to make new contacts, secure current connections and start new relationships.'
... none of the above really happens. Instead we get the usual suspects within the local scene congratulating each other, attending shows at only the largest venues, and largely ignoring the majority of the schedule. And why wouldn't they? Even we, who are neck deep in the local scene, are hard pressed to recognize more than a smattering of bands on their schedule....
In the end we are withdrawing our support for MOBfest because we honestly can't see how the whole thing is helping anyone out, except for possibly the bands being managed by the folks at the top of the MOBfest food chain, and even most of them can't seem to get signed to any sort of sustainable career .... It's not as egregious as, say, Emergenza, when it comes to taking advantage of the naivety of hopeful bands, but they have no problem spreading the belief that by associating yourself with MOBfest you still have a chance a label will walk into their show and sign them on the spot."
Sunday, June 17, 2007
Environmentally friendly festivals
Summer of Love's spirit blossoming in green movement | Reuters/Billboard, 6/16/07: "Willie Nelson's biodiesel company (we predict) will influence virtually every tour to travel green within five years.
MusicMatters introduced 'carbon offsetting,' planting trees and supporting alternative sustainable energy sources equal to your sins of emission.
The Vans Warped tour is using solar-powered sound. Bonnaroo, Coachella and Lollapalooza give prizes for recycling. The Hove Festival in Norway has pledged 100 percent carbon neutrality. The Wakarusa Festival will include a sustainability symposium. And on it goes."
MusicMatters introduced 'carbon offsetting,' planting trees and supporting alternative sustainable energy sources equal to your sins of emission.
The Vans Warped tour is using solar-powered sound. Bonnaroo, Coachella and Lollapalooza give prizes for recycling. The Hove Festival in Norway has pledged 100 percent carbon neutrality. The Wakarusa Festival will include a sustainability symposium. And on it goes."
Thursday, June 14, 2007
Music Festival Sponsor Promotions
This article reads like a press release, but does give some ideas of what sponsors do at festivals to maximize their investments/associations.
::UTalk Marketing, 6/12/07:: Analysis: Experiential Marketing at Music Festivals: "Music festivals are hot property for FMCG and telephony brands. You’ve got access to an audience of thousands of predominately youthful and early-adoptive consumers with a high-disposable income.
The other bonus is they’re in a relaxed and fun frame of mind meaning they’re all the more receptive to brand trial.
Get a brand in their hands, get consumers to associate it with a good and pleasant experience and chances are they’ll try it again following the event. It’s not rocket science.
So who’s getting busy at festivals? What are they doing and why?
At O2 Wireless London Festival this weekend the principal sponsor will be erecting a bubble structure, working with experiencial agency, Sledge.
It’s designed to treat O2 customers to an experience above and beyond the main festival environment. The area will only be accessible via a text message barcode mechanic, available only to O2 customers. Comfortable tiered seating areas and deckchairs will give a great view of the stage.
Once within the bubble structure, customers will be treated to a fully stocked bar, DJ’s and live acts playing on rotation and seating areas where lucky O2 customers could enjoy the hi-tech, exclusive environment and entertainment.
External minibubble structures will offer consumers further entertainment in the form of starring in a pop video and free CD giveaways with consumers’ photos being used to create the cover insert.
The O2 VIP area, located directly behind the main stage, will offer selected guests a stylish and tranquil area to see and be seen....
In a bid to associate themselves with the greatest legends in rock music, Ray-Ban are presenting ‘Never Hide’, an area offering a VIP retreat from the main stage action.
There’s a lounge to chill out in, a garden and a Studio where a photographer and professional stylist will help festivalgoers recreate their own iconic rock picture
The brand is also offering 150 people attending to exchange their old sunglasses for new pair of Ray-Bans.
Meanwhile at the same festival the Fender Experience is giving the public a chance to get up close to the worlds most famous and recognised guitars.
There’ll be tutors on hand for beginners to get them playing their first chords on the electric guitar!
Games company, Ubisoft will be at Wireless and Creamfields this year with a new and unique gaming truck hosting 2 x 68 plasma screens....
As the ‘Official Beer of Live Nation’, Tuborg will be presenting stage 3 at the 02 Wireless Festival London, showcasing a wide range of musical talent.
The brand is also taking advantage of social networking by taking photos of festival-goers and posting them at myspace.com/Tuborguk.
Tuborg has also set up a dedicated website to promote their association with music events this summer, tuborgmusic.co.uk
Broadband, telephone and media company, Tiscali, will be webcasting acts from the main stage of the show in Hyde Park as the official internet partner for the O2 Wireless Festival.
Visitors will be able to view the exclusive webcast content on the official Tiscali festival microsite tiscali.co.uk/wireless over the course of the festival and exclusive edited sessions will be made available after the event.
The brand will also be hosting an exclusive Sessions Tent backstage in the festival's VIP area....
::UTalk Marketing, 6/12/07:: Analysis: Experiential Marketing at Music Festivals: "Music festivals are hot property for FMCG and telephony brands. You’ve got access to an audience of thousands of predominately youthful and early-adoptive consumers with a high-disposable income.
The other bonus is they’re in a relaxed and fun frame of mind meaning they’re all the more receptive to brand trial.
Get a brand in their hands, get consumers to associate it with a good and pleasant experience and chances are they’ll try it again following the event. It’s not rocket science.
So who’s getting busy at festivals? What are they doing and why?
At O2 Wireless London Festival this weekend the principal sponsor will be erecting a bubble structure, working with experiencial agency, Sledge.
It’s designed to treat O2 customers to an experience above and beyond the main festival environment. The area will only be accessible via a text message barcode mechanic, available only to O2 customers. Comfortable tiered seating areas and deckchairs will give a great view of the stage.
Once within the bubble structure, customers will be treated to a fully stocked bar, DJ’s and live acts playing on rotation and seating areas where lucky O2 customers could enjoy the hi-tech, exclusive environment and entertainment.
External minibubble structures will offer consumers further entertainment in the form of starring in a pop video and free CD giveaways with consumers’ photos being used to create the cover insert.
The O2 VIP area, located directly behind the main stage, will offer selected guests a stylish and tranquil area to see and be seen....
In a bid to associate themselves with the greatest legends in rock music, Ray-Ban are presenting ‘Never Hide’, an area offering a VIP retreat from the main stage action.
There’s a lounge to chill out in, a garden and a Studio where a photographer and professional stylist will help festivalgoers recreate their own iconic rock picture
The brand is also offering 150 people attending to exchange their old sunglasses for new pair of Ray-Bans.
Meanwhile at the same festival the Fender Experience is giving the public a chance to get up close to the worlds most famous and recognised guitars.
There’ll be tutors on hand for beginners to get them playing their first chords on the electric guitar!
Games company, Ubisoft will be at Wireless and Creamfields this year with a new and unique gaming truck hosting 2 x 68 plasma screens....
As the ‘Official Beer of Live Nation’, Tuborg will be presenting stage 3 at the 02 Wireless Festival London, showcasing a wide range of musical talent.
The brand is also taking advantage of social networking by taking photos of festival-goers and posting them at myspace.com/Tuborguk.
Tuborg has also set up a dedicated website to promote their association with music events this summer, tuborgmusic.co.uk
Broadband, telephone and media company, Tiscali, will be webcasting acts from the main stage of the show in Hyde Park as the official internet partner for the O2 Wireless Festival.
Visitors will be able to view the exclusive webcast content on the official Tiscali festival microsite tiscali.co.uk/wireless over the course of the festival and exclusive edited sessions will be made available after the event.
The brand will also be hosting an exclusive Sessions Tent backstage in the festival's VIP area....
Bumbershoot and AEG
I thought I posted this when it first came out, but looking through my blog, I couldn't find it. At any rate, here it is. AEG has been moving into the festival biz, most recently getting involved with the Monolith Festival at Red Rocks.
Bumbershoot hopes new partnership will bring big headliners: Local News: The Seattle Times, 2/20/07: "One Reel, the non-profit arts organization that produces Bumbershoot, has announced a five-year deal with national concert promoter AEG Live, hoping it will bring more headline acts to the annual arts festival at the Seattle Center.
Under the agreement, AEG will share the financial risk (and profit) of booking music headliners, help secure sponsors and become an underwriter of the three-day fall festival. It is unclear what effect, if any, the new relationship will have on ticket prices....
Bumbershoot will remain independent and is not merging with or being 'bought out' by AEG, nor will AEG be billed as a title sponsor — as in 'AEG presents,' Scoleri said.
'One Reel is still going to book Bumbershoot,' said Scoleri.
As the concert business has consolidated, it has become more difficult for annual festivals to compete for major rock acts. In the past, Bumbershoot has booked artists on the way up or established acts without a recent popular album. One Reel also enjoyed extra booking clout when it presented the Summer Nights concert series. But that series was sidetracked last year when a lawsuit prevented it from being held at Gas Works Park and there are no plans to hold the concerts in Seattle this summer.
With a promoter such as AEG sharing the financial risk — and the profit — major pop music acts may become more available....
Bumbershoot turned a profit last year of $200,000, even after shortening the festival from four days to three. It drew about about 40,000 people a day, according to estimates. In 2005, because of bad weather, the festival lost close to $300,000.
Bumbershoot hopes new partnership will bring big headliners: Local News: The Seattle Times, 2/20/07: "One Reel, the non-profit arts organization that produces Bumbershoot, has announced a five-year deal with national concert promoter AEG Live, hoping it will bring more headline acts to the annual arts festival at the Seattle Center.
Under the agreement, AEG will share the financial risk (and profit) of booking music headliners, help secure sponsors and become an underwriter of the three-day fall festival. It is unclear what effect, if any, the new relationship will have on ticket prices....
Bumbershoot will remain independent and is not merging with or being 'bought out' by AEG, nor will AEG be billed as a title sponsor — as in 'AEG presents,' Scoleri said.
'One Reel is still going to book Bumbershoot,' said Scoleri.
As the concert business has consolidated, it has become more difficult for annual festivals to compete for major rock acts. In the past, Bumbershoot has booked artists on the way up or established acts without a recent popular album. One Reel also enjoyed extra booking clout when it presented the Summer Nights concert series. But that series was sidetracked last year when a lawsuit prevented it from being held at Gas Works Park and there are no plans to hold the concerts in Seattle this summer.
With a promoter such as AEG sharing the financial risk — and the profit — major pop music acts may become more available....
Bumbershoot turned a profit last year of $200,000, even after shortening the festival from four days to three. It drew about about 40,000 people a day, according to estimates. In 2005, because of bad weather, the festival lost close to $300,000.
Radio at Bonnaroo
A good article on the radio set-up at Bonnaroo. It might give other festivals some ideas. Read the entire article, because I have only quoted parts of it here.
Nashville Scene, 6/14/07 - Radio Daze: "...roughly 30 Bonnaroo acts will record three-song sets and give interviews that will be broadcast throughout the weekend to about 30 of the country’s biggest rock stations, including KFOG (San Francisco), DAVE FM (Atlanta) and WXRT (Chicago), and in Nashville, on WRLT Lightning 100. It’s all part of Bonnaroo’s unique approach to radio outreach, designed by Asheville, N.C., music marketing company Music Allies....
Imagine a reality show called Build a Studio. That’s how carpenter David Gehrke describes the task ahead of him—building the recording and radio studios essentially from scratch. 'Every year they throw changes in,' says Gehrke, drummer for The Bees (U.S.) and co-owner of Niko’s bar in East Nashville. 'This year, I’m doing a proper control-room window. I’m really polishing a turd...trying to make a room that is in no way, shape or form acoustically fit for recording, trying to make it sound, look and feel good.'...
According to Gehrke, the setup is just as much a boon for the artists and radio stations as it is for Bonnaroo. “When you’re on the road pushing a record, you usually have to do a bunch of radio interviews, and it’s exhausting. Here, in 20 minutes, they can do one interview that’ll go to the biggest stations all over the country, then they can go watch the other bands. The artists love us. And the stations have access to all these artists in one space, and can reap the benefits of each others’ questions.'...
These segments will also be broadcast on Radio Bonnaroo, which airs 24/7 to the campgrounds and surrounding area for the entire festival. 'We lease a local radio station [Manchester’s Fantasy 101.5] for five days and put a frequency on the air,' says [Music Allies CEO Sean] O’Connell. 'And we have speakers all throughout the campground. When you’re crawling into your tent at 5:30 in the morning after seeing the Flaming Lips do a late-night set, and that hot sun is starting to come up on the horizon, you may hear Brian Eno holding a note for 20 minutes. We want this to be part of your dreamscape. Nobody has the luxury to program a radio station like that.'"
Nashville Scene, 6/14/07 - Radio Daze: "...roughly 30 Bonnaroo acts will record three-song sets and give interviews that will be broadcast throughout the weekend to about 30 of the country’s biggest rock stations, including KFOG (San Francisco), DAVE FM (Atlanta) and WXRT (Chicago), and in Nashville, on WRLT Lightning 100. It’s all part of Bonnaroo’s unique approach to radio outreach, designed by Asheville, N.C., music marketing company Music Allies....
Imagine a reality show called Build a Studio. That’s how carpenter David Gehrke describes the task ahead of him—building the recording and radio studios essentially from scratch. 'Every year they throw changes in,' says Gehrke, drummer for The Bees (U.S.) and co-owner of Niko’s bar in East Nashville. 'This year, I’m doing a proper control-room window. I’m really polishing a turd...trying to make a room that is in no way, shape or form acoustically fit for recording, trying to make it sound, look and feel good.'...
According to Gehrke, the setup is just as much a boon for the artists and radio stations as it is for Bonnaroo. “When you’re on the road pushing a record, you usually have to do a bunch of radio interviews, and it’s exhausting. Here, in 20 minutes, they can do one interview that’ll go to the biggest stations all over the country, then they can go watch the other bands. The artists love us. And the stations have access to all these artists in one space, and can reap the benefits of each others’ questions.'...
These segments will also be broadcast on Radio Bonnaroo, which airs 24/7 to the campgrounds and surrounding area for the entire festival. 'We lease a local radio station [Manchester’s Fantasy 101.5] for five days and put a frequency on the air,' says [Music Allies CEO Sean] O’Connell. 'And we have speakers all throughout the campground. When you’re crawling into your tent at 5:30 in the morning after seeing the Flaming Lips do a late-night set, and that hot sun is starting to come up on the horizon, you may hear Brian Eno holding a note for 20 minutes. We want this to be part of your dreamscape. Nobody has the luxury to program a radio station like that.'"
Wednesday, June 13, 2007
Gangs and free concerts
Denver has lots of free concerts. The City Park Jazz series has been going on for 21 years and draws as many as 10,000 people to hear the weekly Sunday concerts. It's been considered a family-friendly event.
However, this year there are reports that gang members are using the event to show their presence.
More police to patrol at jazz series - Rocky Mountain News, 6/13/07: "Denver resident Dana Alexander has crossed the City Park Jazz series off his family’s calendar this year. ...
During the first two weekends this month, gang activity tarnished the popular jazz series, a normally peaceful and family-friendly event."
However, this year there are reports that gang members are using the event to show their presence.
More police to patrol at jazz series - Rocky Mountain News, 6/13/07: "Denver resident Dana Alexander has crossed the City Park Jazz series off his family’s calendar this year. ...
During the first two weekends this month, gang activity tarnished the popular jazz series, a normally peaceful and family-friendly event."
Tuesday, June 12, 2007
Festival VIP passes
This article mentions that there are a group of affluent music fans who want to attend festivals, but want to minimize the hassles involved. Offer them good parking, clean bathrooms, a nice place to stay, a VIP bar, and they will pay for those extras.
Older, wealthier fans go VIP at music festivals - Music - MSNBC.com, 6/12/07: "... access to a real bathroom, enjoy free and discounted food and drinks and then he’ll be driven to a hotel 30 miles away from the festival site in Tennessee....
Bonnaroo draws 80,000 people to a farm in rural Manchester, 65 miles south of Nashville, but not all of them want to sweat through four days of music under sometimes inclement weather, crammed into the crowded tent city....
At Lollapalooza in Chicago’s Grant Park, private cabanas on the shore of Lake Michigan cost more than $32,500 for a party of 30. Air-conditioned viewing stands were available for the New Orleans Jazz and Heritage Festival and Bonnaroo artists will perform a private show for VIP guests on opening night Thursday."
Older, wealthier fans go VIP at music festivals - Music - MSNBC.com, 6/12/07: "... access to a real bathroom, enjoy free and discounted food and drinks and then he’ll be driven to a hotel 30 miles away from the festival site in Tennessee....
Bonnaroo draws 80,000 people to a farm in rural Manchester, 65 miles south of Nashville, but not all of them want to sweat through four days of music under sometimes inclement weather, crammed into the crowded tent city....
At Lollapalooza in Chicago’s Grant Park, private cabanas on the shore of Lake Michigan cost more than $32,500 for a party of 30. Air-conditioned viewing stands were available for the New Orleans Jazz and Heritage Festival and Bonnaroo artists will perform a private show for VIP guests on opening night Thursday."
Sunday, June 10, 2007
The blurring of genres
Bang on a Can - Music - Review - New York Times, 6/5/07: "When Bang on a Can was founded, the purpose was to provide a home for music by Mr. Gordon, Mr. Lang, Ms. Wolfe and their colleagues: an eclectic post-Minimalism that openly acknowledged an indebtedness to rock, jazz and a variety of world-music idioms. Two decades later these composers still haven’t entirely entered the concert-music mainstream. Still, this year’s marathon indicated that they may have achieved something even more meaningful.
It wasn’t just that contemporary-classical adherents shared space with alt-rock fans here. Rather, what seemed clear was that Bang on a Can has played a central role in fostering a new kind of audience that doesn’t concern itself with boundaries among new-music composition, the pianist Vijay Iyer’s sophisticated modern jazz, the Uzbek folk ensemble Mashriq’s eloquent meditations and innovative post-rock experimentation from groups like he Books, Clogs and D�lek. The prevailing tone was that if music is made with originality and integrity, these listeners will come."
It wasn’t just that contemporary-classical adherents shared space with alt-rock fans here. Rather, what seemed clear was that Bang on a Can has played a central role in fostering a new kind of audience that doesn’t concern itself with boundaries among new-music composition, the pianist Vijay Iyer’s sophisticated modern jazz, the Uzbek folk ensemble Mashriq’s eloquent meditations and innovative post-rock experimentation from groups like he Books, Clogs and D�lek. The prevailing tone was that if music is made with originality and integrity, these listeners will come."
Saturday, May 26, 2007
How a jam festival got started in NJ
Drew Wajnert started out as music fan who decided he could improve upon the festival experience. One of his complaints was the lack of portable toilets. At his own events he has gone so far as to set aside some just for women and others just for mothers and kids.
Phanphest Takes A Leap Of FAITH on UpstageMagazine.com, 5/25/07"Phanphest Entertainment started out as a backyard tradition in late 2002 as Phan Phest 1.0; an intimate group of friends from The Gathering of the Vibes message boards were encouraged to gather on one acre of property for a barbeque, some keg beer, and some great music. Attendees were invited to camp out overnight on the property. Everybody had a great time, and the feedback encouraged the group of friends to do it again six months later but this time with two days of music.
Phan Phest 1.5 was held in May of 2003. Featuring two bands on both days, as well as many other acts, the backyard party maxed out the little acre with 62 tents. A larger, extended group of friends gathered for the event and were pleased with the results. But, it was pretty clear that the event had to move.
Friends helped make Phan Phest 2.0 happen in October of 2003, and realize the dream of a three-day music festival, so the event was moved to 2 acres. Thirteen bands played over 3 days on a stage that the company constructed.
The following May, Phanphest put together a festival featuring 22 bands over a 4 acres area. This was the show that truly launched the company and solidified its future. The festival was such a success that Phanphest began searching for a larger location to work with. They began producing indoor festivals and regular weekly shows in Asbury Park, NJ. Steadily, they were assembling a roster of acts dedicated to the Phanphest mission. Acts that will now be rewarded by a spot in Phanphest 3.0 this August.
Phanphest 3.0 will be held at Indian Lookout Country Club in Mariaville, NY. This was the location for The Gathering of the Vibes for the last several years. When that festival decided to move on, Phanphest eagerly moved their festival to the location.
'It's 200 plus acres of property,' said [promoter/creator Drew] Wajnert. "We're shooting for 3000 people. Our vision for it is to be family friendly. We're going to welcome Deadheads and Phishheads with kids who want to bring them to a safe environment. There's a great security solution that's already built in and they have existing facilities. This is the total package. It allows me to be the talent buyer and just focus on the production.'"
Phanphest Takes A Leap Of FAITH on UpstageMagazine.com, 5/25/07"Phanphest Entertainment started out as a backyard tradition in late 2002 as Phan Phest 1.0; an intimate group of friends from The Gathering of the Vibes message boards were encouraged to gather on one acre of property for a barbeque, some keg beer, and some great music. Attendees were invited to camp out overnight on the property. Everybody had a great time, and the feedback encouraged the group of friends to do it again six months later but this time with two days of music.
Phan Phest 1.5 was held in May of 2003. Featuring two bands on both days, as well as many other acts, the backyard party maxed out the little acre with 62 tents. A larger, extended group of friends gathered for the event and were pleased with the results. But, it was pretty clear that the event had to move.
Friends helped make Phan Phest 2.0 happen in October of 2003, and realize the dream of a three-day music festival, so the event was moved to 2 acres. Thirteen bands played over 3 days on a stage that the company constructed.
The following May, Phanphest put together a festival featuring 22 bands over a 4 acres area. This was the show that truly launched the company and solidified its future. The festival was such a success that Phanphest began searching for a larger location to work with. They began producing indoor festivals and regular weekly shows in Asbury Park, NJ. Steadily, they were assembling a roster of acts dedicated to the Phanphest mission. Acts that will now be rewarded by a spot in Phanphest 3.0 this August.
Phanphest 3.0 will be held at Indian Lookout Country Club in Mariaville, NY. This was the location for The Gathering of the Vibes for the last several years. When that festival decided to move on, Phanphest eagerly moved their festival to the location.
'It's 200 plus acres of property,' said [promoter/creator Drew] Wajnert. "We're shooting for 3000 people. Our vision for it is to be family friendly. We're going to welcome Deadheads and Phishheads with kids who want to bring them to a safe environment. There's a great security solution that's already built in and they have existing facilities. This is the total package. It allows me to be the talent buyer and just focus on the production.'"
Tuesday, May 22, 2007
The lure of the live music experience
San Francisco Bay Guardian, 5/23/07 - Show me: "Pavlov's e-mail robot knows what gets me salivating — aside from those wolf beach towels on Amazon.com (wintry wolves and hot sand go together about as well as infants and live grenades): namely, live music. Drive blearily into the Mojave for Coachella, jump through hoops to get to Seattle for Bumbershoot, make the red-eye to Austin for South by Southwest, take the midnight train to Tennessee's Bonnaroo, hock yourself for England's All Tomorrow's Parties, hazard reindeer sashimi for Reykjavik's Iceland Airwaves — take note of the chart; I have a history of doing anything for a life-altering show."
Friday, May 11, 2007
Coachella history
I just found this, though it came out a few weeks ago. The article gives a good overview of Coachella' history (read the entire article -- I've just included some excerpts). An on-going purpose of this blog is to show how festivals come together: what people have learned along the way in terms of successes and mistakes.
thedesertsun.com 4/27/07| Coachella evolves through the years: "Tollett, a soft-spoken native of the region who wears a trademark baseball cap, had been booking concerts since 1982. In 1993, he and his business partner, the late Rick Van Santern, booked Pearl Jam at Empire Polo Club because the Seattle band didn't want to perform in Los Angeles.
About 25,000 people showed up, but the polo field was so huge, Tollett said the crowd 'looked like 1,000.'
That's when he knew a big music event in Indio could be done. But, could it be successful with less popular bands? ...
In 1997, Tollett sketched some plans for the type of regional festival he'd like to stage.
He and Van Santern had worked the Lollapalooza festivals and knew the logistical problems of a traveling musical marathon. But they saw there was an audience for music that couldn't be heard on radio.
'There's actually a really big crowd of people who like small, different bands. Maybe if you put a bunch of them together, that might be a magnet for a lot of people,' Tollett said.
He began scouting locations, considering the Santa Fe Dam in East Los Angles before returning to Empire Polo Club.
'We were blown away how it was just calling our name to do a festival there,' he said of Empire....
They wanted to pattern their event after European festivals featuring simultaneous acts on multiple stages....
'We just went for it," Tollett said. "We didn't really have any business plan - just do a big show. I'm glad we did now.'
They booked bands they wanted to hear even if they weren't big record sellers or concert attractions like the acts at the recent Woodstock festival. The top bands over the two days were Tool and Rage Against the Machine and Beck and the Chemical Brothers.
'There were two different factors on (programming) - the European festival feel and the rave scene,' Tollett said.
'A lot of that had nothing to do with the Billboard charts. A couple of the bands were on radio, but the other 80 weren't, and I knew it was those 80 that were going to make the show really have a life in the future.'
... 20,000 people showed up the first day ...
'The show turned out so well - not draw-wise, but just how fun it was,' said Tollett. ...
Tollett later said Goldenvoice lost $800,000 that first year."
thedesertsun.com 4/27/07| Coachella evolves through the years: "Tollett, a soft-spoken native of the region who wears a trademark baseball cap, had been booking concerts since 1982. In 1993, he and his business partner, the late Rick Van Santern, booked Pearl Jam at Empire Polo Club because the Seattle band didn't want to perform in Los Angeles.
About 25,000 people showed up, but the polo field was so huge, Tollett said the crowd 'looked like 1,000.'
That's when he knew a big music event in Indio could be done. But, could it be successful with less popular bands? ...
In 1997, Tollett sketched some plans for the type of regional festival he'd like to stage.
He and Van Santern had worked the Lollapalooza festivals and knew the logistical problems of a traveling musical marathon. But they saw there was an audience for music that couldn't be heard on radio.
'There's actually a really big crowd of people who like small, different bands. Maybe if you put a bunch of them together, that might be a magnet for a lot of people,' Tollett said.
He began scouting locations, considering the Santa Fe Dam in East Los Angles before returning to Empire Polo Club.
'We were blown away how it was just calling our name to do a festival there,' he said of Empire....
They wanted to pattern their event after European festivals featuring simultaneous acts on multiple stages....
'We just went for it," Tollett said. "We didn't really have any business plan - just do a big show. I'm glad we did now.'
They booked bands they wanted to hear even if they weren't big record sellers or concert attractions like the acts at the recent Woodstock festival. The top bands over the two days were Tool and Rage Against the Machine and Beck and the Chemical Brothers.
'There were two different factors on (programming) - the European festival feel and the rave scene,' Tollett said.
'A lot of that had nothing to do with the Billboard charts. A couple of the bands were on radio, but the other 80 weren't, and I knew it was those 80 that were going to make the show really have a life in the future.'
... 20,000 people showed up the first day ...
'The show turned out so well - not draw-wise, but just how fun it was,' said Tollett. ...
Tollett later said Goldenvoice lost $800,000 that first year."
Wednesday, May 09, 2007
The World's Top Festivals
Among US festivals, Burning Man made this list.
The World's Top Festivals -- Country Life:
The Young Season's Pick of the Festival Crop
Stanley May 26
Kimberly June 14
Glade June 22
The Secret Garden July 26–29
St-Tropez, Mykonos, St- Jean-De-Luz July/August
Ibiza (Space Opening Party June 3) August
Lyford Cay August
Burning Man End August
The World's Top Festivals -- Country Life:
The Young Season's Pick of the Festival Crop
Stanley May 26
Kimberly June 14
Glade June 22
The Secret Garden July 26–29
St-Tropez, Mykonos, St- Jean-De-Luz July/August
Ibiza (Space Opening Party June 3) August
Lyford Cay August
Burning Man End August
Sunday, May 06, 2007
Music festivals are a growth industry in Scotland
Sunday Herald - The best venue in the world? It’s Scotland: "Experts are even claiming that the events are creating a new social trend of serial festival-hoppers and enriching Scotland's cultural life.
'This summer will be amazing,' said Paul Bush OBE, chief operating officer of Event Scotland. We are keen to demonstrate that, while festivals are economic benefits, they also bring social and even environmental opportunities.
'Festivals are economically important - as a snapshot, the MTV awards, which were hosted in Edinburgh in 2003, brought in £8.8 million to the Scottish economy.
The economic boost that the various festivals will bring is likely to run into hundreds of millions of pounds by September. While a strong appreciation of music and a culture of live bands in Scotland are contributing factors, the boom has also been fuelled by a supportive public sector and no shortage of talented music entrepreneurs.
'Festivals of all kinds are definitely a growth area, and Scotland is very lucky in that local authorities and other public bodies actually want to help events,' said Jane Ali-Knight, head of the festival and events management degree programme at Napier University. 'South of the Border and elsewhere, organisers quickly run up against a lot of red tape. There is encouragement for festivals in Scotland which is a huge plus, and we are also lucky to have entrepreneurs such as Geoff Ellis and Pete Irvine who have pushed and pulled some events into being.'"
'This summer will be amazing,' said Paul Bush OBE, chief operating officer of Event Scotland. We are keen to demonstrate that, while festivals are economic benefits, they also bring social and even environmental opportunities.
'Festivals are economically important - as a snapshot, the MTV awards, which were hosted in Edinburgh in 2003, brought in £8.8 million to the Scottish economy.
The economic boost that the various festivals will bring is likely to run into hundreds of millions of pounds by September. While a strong appreciation of music and a culture of live bands in Scotland are contributing factors, the boom has also been fuelled by a supportive public sector and no shortage of talented music entrepreneurs.
'Festivals of all kinds are definitely a growth area, and Scotland is very lucky in that local authorities and other public bodies actually want to help events,' said Jane Ali-Knight, head of the festival and events management degree programme at Napier University. 'South of the Border and elsewhere, organisers quickly run up against a lot of red tape. There is encouragement for festivals in Scotland which is a huge plus, and we are also lucky to have entrepreneurs such as Geoff Ellis and Pete Irvine who have pushed and pulled some events into being.'"
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