IMFCON Client in the News: October 29, 2012

The IMFCON Client’s in the News is a collection of articles and features about professionals and collaborators in the music festival industry.  This section helps keep those working in the music festival business stay updated on relevant news and information regarding the people within these organizations.

The Mojo Barriers

Mojo Barriers Opens Australian Office
Mojo Barriers has opened a permanent Australian office giving event organisers and venues across the continent access to the full Mojo Barriers product range with enhanced logistical capabilities and customer service.

Mojo Barriers Australia officially opened doors on 2 October, and the operation is already in full swing for the start of the Australian event season. The main office and storage premises are based in Sydney and will house over 1,500m of stock, with additional barriers located across other major cities to allow for the most efficient and cost effective service.

Something Wicked… Kasade, Nero, Flux Pavillion and More Headline a Spooky New Festival this Weekend.

NightCulture Inc.’s First Branded Music Festival “Something Wicked” Takes Place This Saturday

HOUSTON, Oct. 25, 2012 (GLOBE NEWSWIRE) — NightCulture Inc. (OTCBB:NGHT) and SFX-Disco Operating have confirmed world renowned Producer & DJ Kaskade to headline Houston’s largest electronic music festival, this Saturday, October 27th, at Sam Houston Race Park (www.shrp.com).

The Halloween themed electronic music festival will also feature global heavy weight electronic acts Nero (DJ set), Flux Pavilion and Zedd, as well as other international performers such as Danny Avila, Deorro, Jack Beats, Killsonik, Le Castle Vania, Modestep, Tritonal, tyDi, W&W, and Zomboy.

Watch the Something Wicked Official Festival Trailer http://youtu.be/dX-spcJ6p4o

“We are thrilled to add our first branded festival “Something Wicked” to our family of products, as well as create jobs and an economic impact for the city of Houston,” stated Mike Long, CEO of NightCulture Inc.

Something Wicked, event details:

• Saturday, Oct. 27, 2012 / 2 p.m. – Midnight / Ages 18+
• Sam Houston Race Park, 7575 N. Sam Houston Parkway West, Houston, TX 77064

Contact: 800-211-3381 / http://www.shrp.com

Tickets are now on-sale to the general public and tickets and more information can be found at http://www.SomethingWickedFestival.com or can be purchased in person at the Stereo Live Box Office located at 6400 Richmond, Houston, TX 77057, between the hours of 10 a.m. and 6 p.m. Monday through Friday. For phone orders, call 832-251-9600. For hard ticket orders, please email tickets@nightculture.com.

More information is available at:

http://www.somethingwickedfestival.com / http://www.nightculture.com / http://www.discodonniepresents.com

About NightCulture Inc.

NightCulture Inc., “Concerts that Change Your Life”, is a premier producer of live concerts and events. NightCulture operates in the following markets: Houston, TX, Austin, TX, Dallas, TX, San Antonio, TX, & Oklahoma City, OK.NightCulture is the first Electronic Music company to trade in the public markets.

Stereo Live, LLC, a wholly-owned subsidiary of NightCulture, operates Stereo Live, a 25,000 square foot venue located on 2 1/2 acres of land at 6400 Richmond Avenue in Houston, Texas.

NightCulture, Inc. has produced hundreds of concerts featuring world class artists such as: Tiësto, David Guetta, Deadmau5, Skrillex, Armin van Buuren, Benny Benassi, Kaskade…

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Warner Music Group Expects Improved Revenues in Q4

By Ed Christman, First Posted on Billboard, October 16, 2012

When the Warner Music Group (WMG) reports its financials for the three-month period ended Sept. 30, the company expects revenue to total $721 million to $741 million, an improvement over the $719 million reported in the corresponding period for the prior year. 

Of total revenue for the quarter, recorded music is expected to generate $598 million to $614 million, as compared with $583 million in the prior-year period. Publishing is expected to report $130 million to $134 million, down from the $141 million reported in 2011’s final quarter. 

WMG expects to generate $100 million to $110 million in operating income before interest, taxes, depreciation and amortization — an improvement over the $41 million reported in the fourth quarter of fiscal 2011. 

For the full year, WMG expects its earnings before interest, taxes depreciation and amortization to range from $460 million to $470 million. The company also said it had $300 million in cash on hand at years-end, before it made a $54 million interest payment on Oct. 1. 

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SCOPE and Fuse Hit VOODOO Music + Arts Experience with Crowd Courage Crusade

SCOPE and Fuse Hit VOODOO Music + Arts Experience with Crowd Courage Crusade

– SCOPE Mouthwash Challenges VOODOO Music + Arts Experience Fans to be Socially Courageous –

CINCINNATI–(BUSINESS WIRE)– SCOPE, the tingly, fear-destroyer that freshens breath and provides consumers with “kiss-ready” confidence, and Fuse, the national music television network of The Madison Square Garden Company, have teamed up as official partners of the 2012 VOODOO Music + Arts Experience – a 3-day music and arts festival in New Orleans over October 26^th through the 28^th. This year, to ensure festival-goers fill up with confidence before they hit the dance floor, SCOPE and Fuse have developed a unique experience both at the festival and online, helping to unleash courage in fans across the country.

The party will begin even before the artists hit the stage in New Orleans. SCOPE’s Facebook page and “VOODOO: Crowd Courage” tab will be a hub for exclusive interviews, line-up information and videos from 2011 and 2012 headliners. Fans will also be able to post comments and participate in daring polls and a photo caption contest on Twitter using #crowdcourage.

“The VOODOO Music + Arts Experience is one of the country’s most talked about music festivals of the year, and SCOPE is thrilled to be part of this cultural event,” said Rishi Dhingra, Marketing Director, Procter & Gamble. “SCOPE has created an exciting on-site experience so festival-goers can grab free swag and participate in challenges, photo dares and flash mobs with SCOPE as their partner each step of the way.”

Aimed to inspire confidence in all, festival-goers will be tasked with different dares such as, taking a photo with their doppelganger or capturing the most courageous (or outrageous) outfit, to forming a group hug or joining in on the world’s largest conga line. SCOPE will reward those that step outside their comfort zones with great prizes, including VIP ticket upgrades and fun SCOPE swag.

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Interested in learning more about music festival sponsorship strategies? Join Lagunitas, C3 Presents, Sunfest, Riverbend Music Festival, Bonnaroo, Forecastle Festival, Moogfest, Big Ears as they discuss the same topics during their panel, “Festival Sponsorship Strategies” at the upcoming International Music Festival Conference in Austin, Texas at the Hyatt Regency Austin, December 2-4.

Click here to learn more

Interview with Dean Budnick, co-author of Ticketmaster: The Rise of the Concert Industry

 
  Dean Budnick, who holds a Ph.D. from Harvard’s History of American Civilization program and a J.D. from Columbia Law School, is Executive Editor at Relix Magazine. His latest book, which he co-authored with Josh Baron, is Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped. Ticket Masters chronicles the previously untold story of the modern concert industry, revealing the origins, development and ongoing strategies of companies such as Ticketmaster, Live Nation, StubHub and the efforts of numerous independent competitors.

 

What do you think is the future of the live music industry?

Wow that is the big question, isn’t it? First off let me just say that despite broader economic concerns and the distractions brought on by mobile phone video capture, I am confident that live music will survive and thrive. I think that increasingly the emphasis will be on live music as an in-the-moment collective experience. There is a tangible, vital difference between watching a song on YouTube and engaging a performance in its many layers in the live setting. There may be some added pressure on artists and promoters for additional performance craft and production elements but I feel there’s a real opportunity. This also bodes well for festivals, which not only provide value in terms of the scope of music that is presented but also add a range of additional elements that elevate the context beyond just that of an audience member watching a musician on stage.

 

Online ticketing is a big business, what are some trends you have noticed within the industry?

The proliferation of secondary sales platforms has very much changed the game. What I think sometimes eludes people is not just that this has made it easier for professional ticket brokers, although that certainly is the case. What’s more significant though is the awareness and the ability for interested amateurs to make some pin money. When Bieber tickets go on sale, anyone from a soccer mom in Nebraska to a college student in Montana to a retiree in Maine, can make a little quick dough if they score some seats and then flip them on StubHub or TicketsNow. This has changed everyone’s perceptions about how to secure tickets and also how to monetize them as well.

Meanwhile, the online world has opened doors for venues and promoters to take charge in a new way. There are so many more opportunities to connect directly with a potential audience, share information and then ultimately sell tickets. Also, while customer data was once out of reach, in many cases it is now available and can be utilized for marketing purposes and to nurture relationships with fan communities.

 

What band revolutionized online ticket sales?

I’d have to start things out with the Grateful Dead. Josh Baron and I devote an entire chapter of our book to the origins and growth of Grateful Dead Ticket Sales. The Dead really were at the fore in terms of securing 50% of the inventory to all of their shows and then selling them to fans. Of course this raised the ire of Ticketmaster in the face of the company’s exclusivity agreements with venues but as we detail, the “Wooly Freaks” as Bob Weir described them held their own after a sit-down with CEO Fred Rosen.

Still, while the Dead changed the nature of what could be accomplished, they were selling hard tickets. Once we move into the online realm, it was groups like Phish and Dave Matthews Band that really picked up the mantle. In this context, I also think it’s important to single out the String Cheese Incident. We devote a chapter to their story in Ticket Masters. They too were selling online and also had been able to receive 50% of the seats but in the summer of 2003 they were shut down resulting in their decision to sue Ticketmaster. They eventually settled out of court and were required to abide by a non-disclosure statement but they were allowed to keep their allotment.

How has social media affected ticket sales?

Social media has facilitated a new ease and grace of communication. Information can flow directly from bands, promoters and festivals to fans and enthusiasts. Not only does this assist with ticket sales and related opportunities but it draws audience members into the circle earlier and more directly, creating an enduring connection for many people. The ability to have an exchange with one’s favorite artist or receive answers from a promoter or festival insider just makes for a deeper, more satisfying experience all around.

Big Day Out 2013 Reinvents Festival Food, Announces Chow Town

By Esther Semo, First Posted on ToneDeaf, October 23, 2012

Australia’s most iconic music festival is turning 21 and with its coming of age, the Big Day Out has undergone some exciting and radical new changes.

One of Australia’s most esteemed annual music events already underwent some big changes at the start of the year, when festival promoter Ken West – following the dissolution of his business partnership with Vivian Lees – announced a new creative partnership with C3 Presents, the promotional brains responsible for Lollapalooza and Austin City Limits Music Festival.

An industry move that helped establish greater artist buying power and expansion of both the Big Day Out and Lollapalooza brands. The new partnership also helped create many opportunities for Australian and international artists to play across the Northern and Southern Hemispheres, and promised a fresh, bold reinvention of the music festival.

“We felt the result of last year was that the brand was damaged, but not unrepairable. Otherwise I wouldn’t be sitting here doing it and C3 wouldn’t have foolishly gotten involved,” said West in a recent interview.

First there was the lineup,  featuring headliners Red Hot Chili Peppers and The Killers, along with a strong indie bill that includes Yeah Yeah Yeahs, Animal Collective, Vampire Weekend, plus the likes of Bloody Beetroots, Death Grips, Alabama Shakes, Gary Clark Jr, Band of Horses and many more.

Now, as part of the reinvention from the bottom up, West and the whole team at Big Day Out have announced they are embracing the art of creating great festival food as part of the expanding BDO experiential lifestyle experience.

Proving that really good food should be egalitarian and everywhere, the concept is called ‘Chow Town’ and is named after the tasty town from its sister festival, Lollapalooza in Chicago.

The Australian version of Chow Town will provide music lovers another dimension to their Big Day Out experience, a taste experience. Think a Rock’n’Roll version of the Good Food and Wine Festival; a grazing ground paradise for foodies, vegetarians and those who cannot stomach another greasy chicken nugget.

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Webinar: The Mobile Festival App They Can’t Stop Talking About!

Last Wednesday, IMFCON and CrowdTorch by Cvent hosted a webinar discussing advantages, analytics and strategies for your music festival mobile app. It seems hard to imagine an event without one now! Download the webinar to see for yourself everything these apps have to offer. Learn about why CrowdTorch’s native app will win the crowds over when wireless fails. Interested in an interactive map? They put all your information in one place. See it as a marketing tool; everyone is going to be talking about your event, let them spread the word with social streams. Update and innovate your event…these app’s are revolutionizing the festival experience.  

Click here to see the webinar for the Festival App We Can’t Stop Talking About! 

Slideshow Presentation 

IMFCON Client in the News: October 24, 2012

The IMFCON Client’s in the News is a collection of articles and features about professionals and collaborators in the music festival industry.  This section helps keep those working in the music festival business stay updated on relevant news and information regarding the people within these organizations.

Eventbrite

Social Commerce: A Global Look at the Numbers

Social Media’s Impact on the Bottom Line Around the World

As social networks continue to gain traction at incredible speeds, many corporations and small businesses are investing heavily in building communities online, and grasping for ways to measure the impact of this investment.  In 2010, Eventbrite was the first company to offer data in terms of the cold, hard cash benefits of “sharing.” That initial social commerce report revealed that every time someone shared a paid event on Facebook, it drove an additional $2.52 in revenue back to the event organizer, and 11 additional page views of their event page. Cha-ching!

And that was just the beginning…

Music producer seeks help for fall festival in Aspen

By Andre Salvail, First Posted on the Aspen Times, October 23, 2012

ASPEN — The Aspen City Council will deal with three special-event funding requests at a work session Tuesday, including one that would bring a music festival to Rio Grande Park in October 2013.

Mountain Groove Productions, which operates the PAC3 music venue in Carbondale, plans to ask the city for $70,000 to assist its efforts in producing the Aspen Autumn Festival next year. Mountain Groove President Josh Berman has been discussing the idea for the event with city officials, including two councilmen, since early summer. Mountain Groove was the founder of the Snowmass Chili Pepper & Brew Festival, which is now handled by another producer.

“It will be a mixture of music, food and spirits,” Berman said. “It would incorporate a lot of things that are already here in the valley, bringing in the season and all of the things that are already happening naturally and organically into a music festival.”

The company wants the city to provide half of the money for the production costs up front and the balance two weeks prior to the Oct. 5 event date. After the festival hits the break-even point of $70,000 in revenue, which would be reimbursed to the city, the city and Mountain Groove would divvy up profits in a 75-25 percent split.

Plans call for local and out-of-town vendors to participate, including Colorado craft brewers and possibly food and art purveyors connected with the Saturday downtown farmers market.

According to a memorandum from assistant city manager R. Barry Crook to the council, the festival would run from 11 a.m. to 6 p.m. and also would include a cider and pie-making competition, organized hikes so that visitors can experience what it’s like to “fall in love with Aspen” (a wordplay on the season), a grand beer-tasting, fruit-canning instruction and other activities.

Mountain Groove has proven “we are exceptional at planning and executing high-level events while staying within budget,” a letter from the company to the city states. “In addition, we have continually aspired to improve every event year after year, while listening and responding to feedback and criticism.”

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Sundance London Festival to Return for Second Edition in 2013

By Stuart Kemp, First Posted on Holllywood Reporter, October 22, 2012

Robert Redford, the Sundance Institute and AEG Europe re-team to bring the festival back to London’s O2 Arena in April 2013 and again in 2014.

LONDON – Robert Redford, the Sundance Institute and AEG Europe said Monday that the Sundance London film and music festival would return to the British capital in 2013 and 2014.

The backers of the inaugural film and music event earlier this year said the festival would return to the O2 Arena on the banks of the river Thames in Southeast London.

Next year’s event will run April 25-28 and will once again aim to program the international and U.K. premieres of U.S. independent movies fresh from the 2013 Sundance Film Festival in Park City, as well as live music performances, panels and events.

Organizers said the 2013 program aims to continue the 2012 focus on presenting “new work by American filmmakers and music artists.”

Sundance Institute will select the titles and related programming.

The inaugural Sundance London featured screenings of 27 films and performances by 17 musical acts. Highlights included the premiere of Harmony: A New Way of Looking at Our World, attended by Prince Charles, an intimate performance by Rufus and Martha Wainwright following the world premiere of Lian Lunson’s film about the music of their mother and an opening night event called An Evening With Robert Redford And T Bone Burnett.

Redford said: “The vibrant arts community in London has informed this decision [to bring back the festival] as much as anything. Seeing what comes of nurturing a broader global community for new voices and varied perspectives in American independent film and music seems a worthy 21st century endeavor.”

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Interested in learning more about combining music and film at your festival? Join The Creative Coalition, SXSW, The Mountain Jam, D & E Entertainment and Van’s Warped Tour as they discuss the same topics during their panel, “The Best of Both Worlds: Combining Film & Music at your Festival” at the upcoming International Music Festival Conference in Austin, Texas at the Hyatt Regency Austin, December 2-4.

Click here to learn more