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livemusicawards.co.uk 

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live uk, a sister publication to audience, is the only publication dedicated to the country's contemporary live music business, providing news, features, tour plans and information to the people that drive the industry – promoters, festival organisers, venue operators, artiste managers, booking agents, ticketing companies, media and key professionals in dozens of related sectors. the uk's best venues for contemporary live music as an annual round-up of the most prominent and proactive venues, from pubs to stadiums and open-air sites, that play a part in keeping the uk a world leader in contemporary music. this 84-page publication features interviews with venue operators, profiles key personalities – from pub landlords to stadium bosses, and includes a survey of trends in areas such as ticketing and marketing. view digital magazine here . audience is the world's leading monthly magazine for the international contemporary live music industry, providing news, features and information to professionals in more than 80 countries worldwide. circulation includes thousands of promoters, festival organisers, venue operators and key people in dozens of related sectors. view digital magazine here . summit report from 2017 matt bates, paul crockford, andrew zweck and neil warnock during the masters of the universe panel the impact of the far-reaching influence of live nation entertainment (lne), the best solution for beating ticket touts and how former agent and dire straits manager “bluffed” his way to getting the band, were among the highlights of the . held at the radisson blu portman hotel in london’s west end, the 11 th edition of the annual conference and networking event, took place on 12 october with more than 300 delegates in attendance. the masters of the universe panel brought together some of the world’s top agents, united talent agency’s neil warnock, sensible event’s andrew zweck and primary talent international’s matt bates, to share their experiences and observations – moderated by paul siimon and mark knopfler manager paul crockford. “i know a major promoter in europe who lost four acts in a year [to lne],” said zweck, who represents roger waters, mark knopfler and booked depeche mode’s tour for 25 years. “he had done every show they had ever done in that territory but because live nation opened competitive offers he didn't even get a phone call. he just found the tour on sale with live nation. he said, 'i'm losing business and the only way i can compete is to join another big consolidated global team’.” he added that there was also a growing trend of emerging acts getting “big pay days” of $20-30 million advances for long-term touring commitment. the trio also touched upon the changes in international markets, with china and india opening up. “five years ago i didn’t do anything there, now i have 10 bands there every year,” said bates, whose roster includes the 1975, alt-j and the libertines. long-time agent for david |gilmour, deep purple, dolly parton and alice cooper, warnock noted, “it’s not the record labels dictating the tour around the album anymore and the world is a bigger place to play in now. “we are booking our artistes right the way through south america, mexico and into cuba and then right the other way through eastern europe, through russia.” stopping touting presented in association with anti-touting campaign group fanfair alliance what price ethics ? brought together ignition management’s alec mckinlay, music glue’s mark meharry, and mps sharon hodgson and nigel adams to discuss ways to prevent artistes and fans being ripped-off by ticket touts and facilitating websites. mckinlay, whose acts include noel gallagher’s high flying birds and catfish and the bottlemen, explained how he had worked with promoters, agents and venues to personalise tickets to deter the big 4 resale platforms – ebay-owned stubhub, viagogo and ticketmaster’s get me in and seatwave – from listing them. “you have to be consistent in doing it and repeatedly remind customers about bringing id to a venue, as this is new behaviour,” mckinlay said. “you also need to communicate with secondary sites and make it clear you will not tolerate this activity [louting] and will enforce a ban. the first time we did it with noel, they [big four] didn’t think we would see it through and there were 10-100 people being turned away each night.” although the approach can be brutal mckinlay explained the aim was not to punish fans, but the ticket agencies. “they don’t want fans on their doorstep the next day complaining,” he said. co-chair of the all party parliamentary group on ticket abuse hodgson revealed that facebook group victim of viagogo, which was set up by claire turnham – also present – following an alleged ‘glitch’ in the resale sites system that led to overcharging (see live uk issue 206), had recouped £173,000 in refunds. “there’s still 1,460 people waiting to join the group and get help, so that could be another £100,000 to be recovered,” said hodgson. she also disclosed that the result of the competition and markets authority’s investigation into the big 4 and whether they were complying with the consumer rights act was due to be announced before christmas. festival innovation the dominance of lne was also broached during fields of dreams, with dhp family’s anton lockwood, paul reed of the association of independent festivals (aif) and goc o’callaghan of 2000 trees and arc tangent festivals debating problems surrounding exclusivity deals. “i had booked an act and another bigger festival agreed a deal with them so they dropped out,” said o’callaghan. “it damages our brand and there was nothing we could do about it. we are fighting a big corporate company to get the bands we need.” reed told delegates exclusivity deals can falsely inflate the value of artistes, with lockwood, whose company runs events including multi-venue dot to dot and nottingham’s splendour (cap. 25,000), explaining this could mean having to spend an extra £20,000 on a headliner - money which could result in increased ticket prices or a reduced bill. “making offers stupidly early is the only way to circumnavigate exclusivity,” lockwood said. however, the panel felt the squeeze on the market helped generate more innovation and creativity among independent festivals, and they also felt glastonbury (cap. 140,000) festival’s fallow year in 2018 would have little impact on the sector. legendary tales in one of the most popular sessions the live story: ed bicknell saw the manager of artistes including mark knopfler and bryan ferry share stories from his career, among them how he became dire straits agent and then manager. “i needed an opening act for a talking heads tour in 1978 and had £50 to spend,” said bicknell. “i saw dire straits playing at [london club] dingwalls and mark had a red stratocaster like hank marvin, and i said i’d like to manage them purely on that.” when the band visited him at the nems agency, bicknell created an elaborate “bluff” to make himself appear more successful – placing gold and platinum album discs by the beatles and deep purple strategically around his office. “i also told the receptionist to keep ringing me,” explained bicknell. “each time i’d say ‘tell them i want £10,000’ and put the phone down. i got the band and it changed my life.” bicknell was also brought in by us agency william morris to launch its london office in 2007, although the corporate environment wasn’t for him. “i knew after two weeks i’d made a mistake, but i lasted two years,” he said. the winning ticket with skiddle’s ben sebborn, nick blackburn of eventim uk and paul newman from axs, featured blackburn revealing there is still a demand for souvenir tickets and sebborn extolling the virtues of data. “it’s about getting the message out to people where they are spending their time, through notifications,” he said. “people expect the information to come to them now and you need to know data about a

URL analysis for liveuksummit.com

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http://www.liveuksummit.com/index.php
http://www.liveuksummit.com/privacy.php
http://www.liveuksummit.com/terms.php
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audience.uk.com
google.co.uk
livemusicawards.co.uk

Whois Information

Whois is a protocol that is access to registering information. You can reach when the website was registered, when it will be expire, what is contact details of the site with the following informations. In a nutshell, it includes these informations;

Domain Name: LIVEUKSUMMIT.COM
Registry Domain ID: 487498250_DOMAIN_COM-VRSN
Registrar WHOIS Server: whois.123-reg.co.uk
Registrar URL: http://www.meshdigital.com
Updated Date: 2017-06-08T06:32:24Z
Creation Date: 2006-06-15T21:15:15Z
Registry Expiry Date: 2019-06-15T21:15:15Z
Registrar: 123-Reg Limited
Registrar IANA ID: 1515
Registrar Abuse Contact Email:
Registrar Abuse Contact Phone:
Domain Status: ok https://icann.org/epp#ok
Name Server: NS1.Z-NETSERVER.NET
Name Server: NS2.Z-NETSERVER.NET
DNSSEC: unsigned
URL of the ICANN Whois Inaccuracy Complaint Form: https://www.icann.org/wicf/
>>> Last update of whois database: 2017-09-11T04:48:29Z <<<

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Registrars.

  REGISTRAR 123-Reg Limited

SERVERS

  SERVER com.whois-servers.net

  ARGS domain =liveuksummit.com

  PORT 43

  TYPE domain

DOMAIN

  NAME liveuksummit.com

  CHANGED 2017-06-08

  CREATED 2006-06-15

STATUS
ok https://icann.org/epp#ok

NSERVER

  NS1.Z-NETSERVER.NET 195.62.28.14

  NS2.Z-NETSERVER.NET 95.142.155.4

  REGISTERED yes

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