Cover

Masthead

MUSEXPO, Worldwide Radio Summit

Table of Contents

Editorial, Andrew Phillips, Robert Bresson, ABC Radio, XFM

All Access

UMG, Columbia, Clear Channel, Global Radio

BBC, ITV, Ultra Music

CHUGG Entertainment

Rolling Stones, Global Radio, CBS radio

VIP Executive Profile, Michael, Chugg, Promoter

VIP Executive Profile, Michael Chugg, Bill Graham, Tsmania

VIP Executive Profile, Michael Chugg, Fleetwood Mac

WW-Radio-News, EON, Mohammed Al Mulhem, Clayton Fitts

WW-Radio-News,

Passport Approved

WW-Radio-News,

A&R WW, Paul Epworth, Adele, Steve Barnett, Columbia Records, John Janick, Deag Entertainment, Makeshift Innocence, Daniel Werner, Island Records, Dangerbird, Jeff Castelaz, Elektra

A&R Worldwide

A&R WW, Evan Bogart, Klassner, Charlie Pinder, Crunchy Frog, mercury, The Drums, Just music, Madness, Jaba music, Mike Flynn, Epic

KIFORCE

Global Synch & Brands,Rachel Levy, Universal Pictures, MTV, Global Synch Consumer Brands summit, Tracy McKnight, Alexandra Patsavas, Bruce Gilbert, Oum Pradutt, John Melillo, Frankie pine, Isabel Pappani

Just Music

Georgette Bivins, Mel Elias, Brian Reitzell, Kelsey Grammer, Cybele Pettus, Sat Bisla, Russell Ziecker

Know Your Rights, CLiff Fluet, Lewis Silkin LLP

NIMEX

Know Your Rights, Charley Londono, Peter Schulz, Budde Music, Andrew Sharland, Peter Lewit, Davis Shapiro, Helen searle, David Vodicka

Global Management, Music Mangers, Kai Robole, Waterfall Music, Chris Rene, Susan Sundfor, Peter Leak, Bruce Garfield, Womack-cooke, Peter Torres, Troy carter

Global Management, Slaes Olson, Paul Simon, Steve Lee, Mannix Strachner, Richard Jones, Sheppard, Rob McDermott

Flymore

Essential Beats, PSY, BBC, New Order, Roy Music, Mumiy Troll, Kai Song, WMC, Thomas Azier

Essential Beats, Top 5, Rob Da Bank, Dr Don Don, The Toxic Avenger

Retail 2 Etail,Sammy Hagar, Nirvana, Digital Music Index, Daniel Savage

Retail 2 Etail, Megaupload, Kim Dotcom, Elton John, David Cameron, google

MUBU TV

Publishing & Copyright, CV America, Cooking Vinyl, Peermusic, Matthem Donlevy, Carsten Dracmann

Publishing & Copyright, Wegener, AMV Talpa, Budde Music

Scarlette Fever

Publishing & Copyright,Jean-Noel Tronc

Global Live Forum, Primary Talent International, The red Paintings, taksirat, IMC, AIF

Life Down Here

Global Tastemaker Charts

Makeshift Innocence

Global Players, Kai Robole, Waterfall Music, Matthew Lazarus-hall, Chugg Entertainment

Eye on You,CMJ, MUSIC Finland, Iceland Airwaves, Nimex, Midem

HHA, Arjan Writes, Benjy Grinberg, Bonnie Mckee, Eric Alper, Evan Bogart

Snapstar Live

Tech know logic, iphone 5, Clio, rumblefish, Mark Mulligan, NPD group

Music Void

Tech know logic, Deezer, a2im, Merlin, RDIO

Market Spotlight, South Africa, RISA, Damon Forbes

SoundOff,ROn Spaulding, Jeff Watson, Zachary Gould

XPOSURE,Supergrass, Infectious, Ellie Goulding, Breakout West

XPOSURE, Waves Vienna, Diane Warren, Victoria Swarovski, Sam Jagger

New Releases

Music Reviews, Shields, The Kicks, Thomas Azier, Makeshift Innocence

Gear Up, Virtual Tape Machines

Andaz

Wine 4 split,Wente, Sheppard, Krutz, Featurecast, wine & sounds

WTF, ICP, SImon Cowell, Kanye West

CONTINUED FROM READ MORE

Your Festival has a brilliant atmosphere. I have walked through the crowd and across the site and people seem very respectful of each other. What is the secret to this?

I think I have already shared with you many of our secrets. The most important one is probably the love for rock’n’roll. We do not treat our festival as a business but rather as a chance to do things we like. Organizing Woodstock is a great pleasure for us, and we share this positive energy with the audience. Being a father of two, I know what it means to be a parent. When I stand on the stage and see all these people, I feel a bit like their father. I want them to have fun and be happy but I do not hesitate to give them a talking-to if they do something wrong. At the first editions, I had to remind them a couple of times that they should go through this festival experience sober. We do sell beer but we do not put up with excessive drinking. We also very clearly warn against drugs. The Polish anti-drug law is very harsh and even possession of small amount of drugs is punishable. When someone in the audience behaves in a dangerous way, I am not afraid to stop the concert. For a couple of days, we are forming a true civic society, a real community. The festival is like a whole town built from scratch in the middle of nowhere. It has all the elements a town should have: streets, junctions, post office, banks and even courts and a prison. We really all feel we are all co-authors of Woodstock.
It’s a one-off kind friendly place where all subcultures can coexist peacefully.

The festival's motto is "Love, Friendship, and Music" and it is organized by the Great Orchestra of Christmas Charity foundation as a way of thanking its volunteers. You also set up this amazing Charity. Can you explain a little bit about the charity?

Coming back to the Foundation, in the 20 years of its work it has purchased medical equipment worth of 150 million U.S. dollars. It also runs nation-wide medical programs, including one aimed at teaching children from elementary schools the basics of first aid. The Great Orchestra of Christmas Charity sets an example for other NGOs how they deal with money. Our finances are transparent and fair. We are introducing the best practices created by charity foundations worldwide. In our work, we are vigorous and creative, and we have rock’n’roll in our hearts. All this helped us create a foundation liked and respected by all Poles, regardless of their age, religion or political views. This year, Woodstock Festival Poland was opened by two special guests: President of Poland Bronis?aw Komorowski and President of Germany Joahim Gauck. The Polish-German reconciliation is a beautiful and historically important process.

Finally, one important piece of information; As the president of the Great Orchestra of Christmas Charity I do not receive any salary. My source of income is my private TV production and DVD/DC release company. Please visit the official website of the foundation (www.en.wosp.org.pl) and my personal video-blog (www.owsiaknet.pl).

The Charity foundation has I believe raised in excess of $170 million USD to help Polish Children with cardio-surgery, neonatology, pediatric oncology, kidney diseases, congenital defects, newborns and children under 5 years of age. That is in itself a feat that deserves immense recognition but your want to help the young of Poland is something I think many could learn from.

Thanks for those kind words. This money was used to do good. It helped introduce a tangible improvement in the standard of children healthcare, and greatly lower the mortality rate among newborns. The Great Orchestra’s sister project is now being developed in Ukraine. A group of young Ukrainians came to our office 4 years ago to acquire know-how in order to improve the charity situation of our eastern neighbor. The Ukrainian Orchestra seems to be really successful as well, and this year, in August, Ukrainians also created their own Woodstock Festival. The Ukrainian Grand Finale was held on August 28th all over the western part of the country.

Did you always have a plan in your head as to how to involve the Police and Red Cross in training volunteers and have them help Police and look after your festival? How did that idea come about as it’s an inspiring exercise for any young person to do and gives them the opportunity to work at the festival?

As mentioned before, the idea for the Peace Patrol volunteer community was taken from the U.S. Our volunteers are deeply involved in their work and ready to make personal sacrifices to make it a success every year. Before becoming a member of the Peace Patrol, each candidate has to complete special first aid training based on the program created by the American Heart Association from Pittsburg. Apart from first aid, we also teach Patrollers-to-be how to work in a group, how to deal with crowds and how to behave at a mass event. The Patrollers are not only trained to help us at the festival but also they are taught that it is important to remain active all year through and to be involved with the local community and to help emergency services. For example, the Foundation has provided many police stations with automated external defibrillators. Our Woodstock field hospital would not be able to work without the help of some 200 doctors and paramedics, most of whom have been working for the Great Orchestra of Christmas Charity Foundation for years now.

What are your future plans for Polish Woodstock?

We would love to attract some relevant big-name stars. We would like them not only to come and play but also to become involved in the very idea behind Woodstock Festival Poland. Their presence at our event would help us increase our positive influence over young people. Another plan for the future is to keep developing our “Academy of the Finest Arts”. It is a special place at Woodstock, where the audience has the chance to meet some great guests. The Academy has hosted meetings with many interesting people such as the first non-communist president of Poland and winner of the Nobel Peace Prize Lech Wa??sa, the president of the European Parliament Jerzy Buzek, a co-organizer of the American Woodstock Festival of ’69 Michael Lang and the incumbent presidents of Poland and Germany, Bronis?aw Komorowski and Joachim Gauck. A huge tent, filled to the brim with people, and interesting discussions about the world as it is today. We definitely want to develop the Academy and invite more international guests.

Do you have any other plans to do anything else?

I sometimes catch myself being very impulsive about things happening in my life. Quite often, my spontaneous reactions breed new ideas and help me trigger some positive changes. Right now, I am already thinking what this interview might cause. I like new, surprising situations and challenges. We meet somebody, we hear something, somebody suggests something… At first, it seems a lot in our lives is sheer coincidence, but then it turns out it was supposed to be like that, it was written in the stars.

To international agents and managers who would like their acts to play at your event how should they go about contacting you or your team?

You can contact us simply by sending an e-mail. No message will be left unread. Please keep in mind that the next Woodstock Festival Poland will be held on August 1st-3rd 2013 (Thu-Sat). Our site is only 80 miles from Berlin. For more information, please contact our booker Bartek Stolarek: (b.stolarek@wosp.org.pl).

What acts would you love to see perform at your festival?

I think it is easier to talk about the preferences of our audience. They would love to see Soundgarden, Pearl Jam, Metallica, Red Hot Chili Peppers, System of a Down, Offspring, Slipknot, Motörhead, Slayer, Foo Fighters, Rage Against the Machine and Megadeth. Of course this is a dream ticket and at the moment we really only can dream about it but who knows what the future brings.

CONTINUED FROM READ MORE

OMFM: Rob Wells of Universal stated that there's not a single road map for development of digital in all markets, and that territories are unique in economic conditions, broadband and device penetration. How can the IFPI assist in this cause of expansion?

FRANCES MOORE: "It is certainly true that each market is unique and that services that work in one country may well not work in another. IFPI has 45 affiliated national groups that are able to supply its members with local knowledge about the legal environment and market conditions. We are pleased to see the expansion of digital music services into new territories and the establishment of local services, tailored to their local environment. We also reach out to individual governments worldwide to try and improve the legal environment members have to operate in."

OMFM: Many factors hurt music sales which resulted in the closure of record stores. Can this be reversed? How do we encourage increasing the presence of physical stores?

FRANCES MOORE: "We have seen record stores open in recent years in markets such as Sweden and South Korea, which are predominantly digital. I think there will continue to be a role for the physical product, particularly in the gifting market and the increasingly buoyant super-deluxe collectors market. Our members are committed to distributing innovative and interesting physical products that retailers can use to attract customers, but it is consumer demand that will ultimately shape the future of physical record stores."

OMFM: What are the key areas of growth the IFPI sees? How does the forecast for music consumption look for the next decade?

FRANCES MOORE: "We hope to see the recorded music market return to growth on a global scale in the next few years, although we never make revenue projections. An increase in the value of the recorded music market will not wipe out more than a decade of decline, but it does enable the industry to face the future with confidence. Digital offers the opportunity to develop markets, such as China and India, which were never significant players in the global physical format market. Governments and Internet intermediaries around the world have an opportunity to help ensure the broader creative industries can benefit in a sustainable way from the opportunities afforded by digital technology by taking steps to ensure the rule of law applies online."

PULLQUOTE: The generation of a digital music industry worth more than US $5 billion took place in the shadow of mass online piracy.

CONTINUED FROM READ MORE

Did you make money on that tour? It was Paul Dainty's. I was tour manager. Except for Gary Glitter and Fairport Convention, I didn't start promoting as a national promoter until Michael and I started Frontier in 1979. All those tours, Fleetwood Mac, Abba, I was Dainty's tour director and put all the tours together.

Were you onto New Wave before anyone else in Australia?

Not quite. I said to Paul, let's start touring all this New Wave English shit and Paul— wanting to be an English gentleman and would die for the day he's called Sir Paul Dainty—he said, "I'm not going to tour that East End shit." So we were at the meeting at Premier Artists, a directors' meeting about two weeks later. Gudinski had just gotten back and I said to Michael, it's about time we started thinking about doing tours. I said I want to tour all the English stuff…and he [pulled out] the publishing contracts for The Clash, Elvis Costello and the Attractions, for the Police, for Squeeze, for the Specials, for Madness. He had them all... he'd signed them all up while he was there.

By your own admission, something happens to you when you get a microphone in your hand on stage: The Queen outburst, the Narara Festival in 1983 when you begged Cold Chisel to do an encore to the detriment of the acts following them. Do you feel like these outbursts hurt you?

Not really. A lot of the early day stuff was anger at myself for screwing up and guilt at screwing up and you'd yell at other people, but you were really yelling at yourself. It took me a long time to work that one out. But also the yelling thing too was when you're running gigs and there were dramas and moments that could have gotten out of control, being able to yell like I can yell saved a lot of people's lives.

You broke off from Frontier and started Chugg Entertainment in 1999, but it sounds like it was a tough start: you had a heart attack, your former partners were coming after you... Was there any point where you said, "It's not worth it, I don't want to do this?"

No. There was never a point. It was [tough], but I had a lot of great supporters. In the end we did it and Packer [family] backed me for a couple of years, which was a mistake on reflection, because they had no idea about music. Paul Dainty was in there at the time and every day he was trying to fuck me and get them to get rid of me. It was a pretty tough time, but I never lost... no. All these people just stood by me.

At one stage, it's no secret, I was about $5 million in debt and my good friend [British booking agent] Ian Huffam gave me [the] Robbie Williams' [2001 tour] and [US concert promoter] Jack Utsick gave me the $1 million deposit. Jack was later much maligned and falsely accused of all sorts of stuff that destroyed his life. He was never charged.

You've seen so many sea changes. More recently, Live Nation and AEG have changed the game by discounting tickets to boost sales as a slow-selling show approaches. How does that affect you?

It's had a [trickle down effect]. The patterns of selling have definitely changed because people are waiting for the cheap tickets. We don't do two-for-one tickets. What we do is if the top ticket price is $200, we do a $100 ticket in the back of the venue so the half-price tickets are already there. I won't [reduce] the ticket price because it's killing the business... [People] are sitting on their money. We recently did Dolly Parton. We went on sale and sold 52,000 tickets. A few years ago, that would have been death, disaster. We ended up doing 96,000 tickets because people are now buying when they can afford to buy them or when they find out about the shows. Four years ago, if you didn't sell 80% of your tickets in the first two days, you were in trouble, but today it's not relevant.

You've made an aggressive expansion into Asia. What has that been like?

Our first thing we ever did in Singapore was a festival on Sentosa Island in the early '90s with Bon Jovi, Jimmy Barnes, Bjorn Again and Andy Lau. It was only on the night before the festival that we found out that none of the Singaporeans would go onto Sentosa Island because it was where the Japanese kept all the prisoners of war. The advance sales were terrible and we couldn't figure out why... One of the directors of Sentosa Island finally admitted to us that none of the Singaporeans would go onto the island because they were frightened of the ghosts. It was a fucking disaster.

Is that where you see growth coming from?

For many years a lot of the international agents in America and England had never been there and still haven't. They don't really have a good idea of it and it's just, "Oh we've been offered a show in Singapore. Right. Let's charge them three times what we're worth and run." It's changing. It's now becoming a proper market. We're actually taking young bands in there and trying to do what we do in Australia, which is what we did with Coldplay, Robbie Williams, John Mayer, Dixie Chicks, Keith Urban... there's a lot more. We sold out Foster The People in January and this year's Laneway Festival in Singapore drew 6,000. Just help build them and that's what we're trying to do.

What are your favorite three events that you have promoted?

There's been so many. It's really hard to put it into any sort of [order]. Crowded House's Farewell to the World was very special. Wave Aid, the benefit that we did for the [2004] tsunami. It was an amazing thing. I would probably put Wave Aid at No. 1, Crowded House's Farewell to the World has to be there and probably Guns N' Roses at Easton Creek: the press predicted death, doom and destruction and the next day called it a boring evening.

You're 65. Any thought of retiring?

I want to die doing this. Hopefully not for at least 20 years.

CONTINUED FROM READ MORE

Going fast is what Tronc appears to be doing, indeed. After only four months on the job, he has refigured Sacem's management structure, accepted a pay cut compared to what his predecessor was earning, and swiftly pushed the society into the digital world. It is not that Sacem had not embraced the new digital world (it has licensed more than its share of digital services, including streaming service Deezer at a very early stage), but for Tronc it is more about positioning the society to be fully competitive, digital compliant and efficient, both at the service of its members and of its users.

"Service" is a word that comes high up in Tronc's vocabulary. "My main priority is to increase the level of service that Sacem can offer to our members and to the community of users in France and elsewhere," said Tronc. "If at this stage it is too soon to be specific, suffice to say that we are engaged into deep and significant reforms."

In addition, Sacem also has to deal with changes imposed by the European Union in the form of a Directive (a legally binding document that applies across the Union) on collective management, which is likely to impose new rules on transparency and governance, and a new approach with regards to multi-territorial licensing. Tronc is aware that the new situation will create competition among societies to attract artists and publishers - and he wants Sacem to be at the forefront of the movement.

"With the new market configuration in Europe, societies like Sacem have to be prepared to face competition from other societies," said Tronc, "and Sacem, which is already among the leading societies in Europe, will have a lot to offer. The new framework for rights societies as outlined by Brussels is going to be challenging but will also create a new, level playing field in Europe for which I do believe that Sacem will be well-positioned."

As OMFM was leaving, Tronc pointed to the sad, worn-out old-fashioned green visitors' seats outside of his office that have been there since the dawn of time and joked that here, too, change was in motion as his team was digging into the Ikea catalogue to find new furniture. Sometimes the revolution is in the details!