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Femnøise launches map of female and non-binary pros

Femnøise, a digital platform aimed at fighting the gender gap on a global level, has launched a new map feature to help locate and connect women and non-binary professionals in the industry and empower them to monetise their skills.

The map allows users to find other music professionals by filtering geographical area, type of activity and musical genres. Profiles can request to connect to each other, send and receive private messages with other users, and participate in forums and discussion groups.

The platform already boasts 2,000 registered users ranging from tour managers to artists, photographers to designers, conductors to bookers.

“Our idea is to serve as a bridge between different needs, and profiles that fit the demand,” says Natalia San Juan, founder and CEO of Femnøise.

“Our idea is to serve as a bridge between different needs, and profiles that fit the demand”

“For example, if you are preparing your tour and need a guitarist or tour manager; if you want to look for a photographer to renew your book or find a designer for the cover of your next album, you can find her on Femnøise. The connections are as diverse as the profiles that connect.”

Users will also be able to create and monetise small courses using the platform’s nano learning functionality, in turn, helping others on the platform to strengthen their skillsets.

Alongside helping professionals to connect and skillshare, the platform will also give visibility to associations around the world which are promoting women and non-binary professionals in the industry and encourage collaboration to find solutions to diminish the gender gap.

The non-profit has received support from the likes of Keychange, the European Music Manager Alliance, the Spanish Ministry of Culture, and the Barcelona local development agency.

Similar initiatives serving women and non-binary people in the music industry have popped up across Europe, including Helvetiarockt’s one-stop shop for festivals, promoters, bookers, producers, musicians and more in Switzerland and Vick Bain’s F-List directory of UK female and non-binary musicians.

 


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GEI13 will honour ‘transition and transformation’

Registration is now open for the Green Events & Innovations (GEI) conference 2021, which will take place in a virtual format on 2 March 2021.

The 13th edition of the conference on sustainability in events is presented by A Greener Festival (AGF) in partnership with the International Live Music Conference (ILMC), which is also taking place virtually from 3 to 5 March.

Noting that the number 13 is associated with upheaval and destruction – and with a nod to the pandemic – organisers say GEI13 will honour the theme of transition and transformation.

The conference will reflect on how the industry can be ‘both receptive and active to co-create a better future,’ taking in topics including transport; food systems; equality and inclusivity; health and wellbeing; power systems; design; and materials usage for circularity and more.

“We’ve seen the determination during this difficult year to keep the eye on the ball and come together for sustainability”

Some of the first confirmed speakers include Dale Vince, (Ecotricity, UK); David Ojay (Naam Festival, KE); Tom Schroeder, Paradigm Agency (UK); Gina Perier, Lapee (DK); Gordon Masson, IQ Magazine/ILMC (UK) and Claire O’Neill, AGF (UK).

“We’re really happy to be launching this edition of GEI, be it online,” says Claire O’Neill, AGF co-founder and GEI producer.

“We’ve seen the determination and commitment from all parts of the events industry during this difficult year, to keep the eye on the ball and come together for sustainability, despite the financial hardships we all face.”

GEI13 will welcome industry leaders, professionals, visionaries, governments and all individuals and organisations working to bring environmental and social sustainability to the live events, sports and creative sectors.

The event is now on sale via Ticketsellers, with £35 limited launch price tickets available while they last.


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Stagehand launches prize draw for crew relief fund

Live production hardship fund Stagehand, along with Crowdfunder, has launched a prize draw to raise funds for production staff and stage crew impacted by the loss of work caused by the Covid-19 pandemic.

The #ILoveLive draw will give fans the chance to win unique memorabilia from artists and live music organisations such as signed guitars from Nile Rodgers, Liam Gallagher, Nick Cave and Warren Ellis, Mark Knopfler, Eric Clapton and more; hand-written lyrics by Florence Welch, Robbie Williams and Years & Years; and a rare mask worn by FKA Twigs during her live show.

Fans can choose which artists they want to buy tickets for and can increase their chances of winning by purchasing multiple tickets, which are priced at £5 each. The draw is now live until 17 December and winners will be chosen on 23 December.

“We know that when live shows can take place again in financially viable ways, the industry will be extremely busy,” says Mike Lowe, the chair of Stagehand’s board of trustees.

“Artists, festivals and venues just want to get back to work and the public are hungry to see live entertainment again. No live show of any kind can happen without the skills and expertise of the army of live events workers. I am sure that the live events industry workers who we can help, will join me and my fellow trustees in expressing our massive appreciation for making all of this happen in the most difficult and unprecedented of times.”

“No live show of any kind can happen without the skills and expertise of the army of live events workers”

Stagehand, which is this year’s Nikos Fund – the ILMC charity of the year, aims to raise at least £1 million before Christmas.

The charity has already raised £280,000 in donations from PPL, the BPI, major record labels and artist management companies – most of which went to the 300 crew members in the most desperate need earlier this month.

Stagehand has also launched several fundraising initiatives including Prints For Music, which launched earlier this week.

Organised by photographer Ed Robinson, a slate of celebrated photographers including Rankin, Tony McGee and Jill Furmanovsky have donated iconic music shots to raise money for Stagehand’s Covid-19 Crew Relief Fund.

Over 100 iconic prints of globally treasured artists such as David Bowie, Grace Jones and The Rolling Stones, are now on sale for £95 each for a limited time of four weeks, with 100% of proceeds going to the fund.

Stagehand is one of the many funds for live technicians, most of which were set up during the pandemic. According to the charity, over 60% of the people working in the industry are freelancers without any support from a larger company and over 20% of all crew have discovered that they don’t qualify for any government support at all.

Join the prize raffle here or make a donation to Stagehand here.

 


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Registration opens for IPM 14

Registration is open for the 14th ILMC Production Meeting (IPM), which will take place in a virtual format on 2 March 2021.

For 2021, IPM returns to its traditional slot the day before ILMC, which is also taking place virtually from 3 to 5 March. IPM 14 will welcome production managers, health, safety and security specialists, crewing companies, sound and lighting companies, venue personnel, tech companies and production services and suppliers, as well as representatives from promoters, venues and others with an interest in international event production.

According to organisers, next year’s programme is looking “bigger and bolder” than ever before, with additional sessions and speakers from across the globe. The agenda team are welcoming suggestions for panels or other topics, including ideas for guest speakers and new products or services.

The IPM 14 agenda team are welcoming suggestions for panels or other topics

A ticket to IPM 14 will provide access to all panels, as well as the Production Notes sessions and a selection of break-out discussions shared with the Green Events & Innovations Conference, which takes place simultaneously.

Delegates will also have numerous opportunities to network throughout the day, with options to organise one-to-one and private meetings, hang out in networking lounges, visit exhibition stands and talk with old friends, and make new ones, during virtual speed meetings.

Tickets are now available at a discounted earlybird rate of £35 + booking fee. To join the biggest names in the international production community next March, register for IPM here.

 


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Virtually Live: ILMC 33 launches with Azoff keynote

The organisers of the International Live Music Conference today (25 November) launched ILMC 33, the 2021 edition of the conference and the first in an all-virtual format.

Without the physical confines of a conference space, the annual event – which typically welcomes 2,000 professionals annually – will programme an expanded schedule of panels, meetings, workshops and keynotes.

Also announced today is ILMC 2021’s first keynote interview, featuring legendary music executive Irving Azoff. Hosted by Ed Bicknell, The (Late) Breakfast Meeting with Irving Azoff sees Azoff join the raconteur and former Dire Straits manager to discuss his remarkable career in music, from managing Eagles and Jon Bon Jovi to running Ticketmaster and being inducted into the Rock & Roll Hall of Fame.

Given the unprecedented circumstances, next year’s ‘Virtually Live’ ILMC will be opening its doors to non-members for the first time, allowing a wider range of live music professionals to attend.

“It’s important that the whole business is able to come together at such a pivotal time for the industry’s recovery,” explains ILMC head Greg Parmley. “With that in mind, we’ve decided to open up ILMC to the wider live music family for the first time, ensuring as many delegates are possible are able to exchange ideas and benefit from each other’s expertise.”

“It’s important that the whole business is able to come together at such a pivotal time for the industry’s recovery”

ILMC 33 also includes a fully online version of the Arthur Awards, the live music industry’s Oscar equivalents, which feature several new award categories – including Unsung Heroes and Tour of the Decade, which will be voted for live on the night. The ILMC Production Meeting (IPM) and Green Events & Innovations Conference (GEI) will both precede ILMC on Tuesday 2 March.

Confirmed speakers for ILMC 2021 already include Tim Leiweke (Oak View Group), Bob Lefsetz (Lefsetz Letter), Emma Banks (CAA), Sam Kirby Yoh (UTA), Tony Goldring (WME), Tom Windish (Paradigm) and Phil Bowdery (Live Nation). The first conference sessions will be announced in the coming days.

In addition to three days of conference sessions, the digital ILMC platform will feature hosted networking lounges, speed meetings and virtual exhibition spaces, while a schedule of nighttime events also includes a series of livestream showcases from emerging artists.

Last year’s conference programme included keynotes from Peter Rudge and team Mumford & Sons, and guest speaker slots from executives including David Zedeck (UTA), Phil Rodriguez (Move Concerts), Roberta Medina (Rock in Rio), Ashish Hemrajani (BookMyShow), Detlef Kornett (DEAG), Maria May (CAA), Scott Mantell (ICM Partners) and Jim King (AEG Presents). The full 2021 agenda will be published in January.

Companies supporting ILMC 33 include Live Nation, Ticketmaster, CTS Eventim, Showsec and Tysers.

For more information, visit the new ILMC website, which invites the industry’s top gamers, avatars and cyberpunks to join us in the conference mainframe from 3 to 5 March 2021.

 


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Iconic music photography donated to Stagehand fund

Celebrated photographers including Rankin, Tony McGee and Jill Furmanovsky have donated iconic music shots to raise money for Stagehand’s Covid-19 Crew Relief Fund.

Over 100 iconic prints of globally treasured artists such as David Bowie, Grace Jones and The Rolling Stones, are now on sale for £95 each for a limited time of four weeks, with 100% of proceeds going to the hardship fund.

Stagehand was launched over two decades ago by live production trade association PSA and claims to be the only UK charity specifically dedicated to providing hardship funding for crew who have fallen on tough times.

“The livelihoods of people working in live music productions has been decimated by the effects of Covid-19,” says Mike Lowe, chair of Stagehand’s board of trustees. “Every day we hear from people who are struggling and Stagehand is raising funds to help those in most need, with the simple aim of helping to keep roofs over heads and food on tables.”

“None of these photographs would have been possible without the artists and those who support them”

The launch of Prints For Music for Stagehand was organised by leading photographer Ed Robinson who says: “Like so many others, the struggles of the Covid-19 pandemic has affected me deeply on a personal level as well as professionally. I have reached out to the people I know in the music and photographic industries with the simple idea to try to help those who are not getting the support they need to survive this crisis.

“For many photographers who have been privileged enough to have been given access to photograph these artists, it has only been made possible by the efforts of their production teams. None of these photographs would have been possible without the artists and those who support them. This initiative is our way of giving back in their time of need. It will help preserve their livelihoods and enable the shows to go on in the future.”

 

 

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A post shared by Prints for Music (@prints_for_music)

Prints For Music also features artists including Coldplay, Arctic Monkeys, Bob Marley, Yeah Yeah Yeahs, Marina Diamandis, The Streets, Florence and the Machine, Liam Gallagher, Jonny Greenwood, Beth Ditto, Tina Turner, Brett Anderson, Alice Cooper, Sting, Stormzy and Kate Nash. The sale is open on Prints For Music until 21 December 2020.

The Stagehand fund opened for applications last month (15 October) and initially awarded grants of £500 to help with “keeping a roof over heads and food on the table”.

The charity is working on a number of fundraising initiatives for crew who have been financially impacted by Covid-19 including a virtual tip jar and an upcoming memorabilia raffle.

 


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Beyond solidarity

The Black Lives Matter movement and Black Out Tuesday galvanised many teams to reflect, connect with Black communities, and come together as a global music industry in solidarity against anti-Black racism, bigotry and prejudice. And the momentum for change kept up in the UK through Black History Month celebrations.

It is also great to hear a groundswell of ‘building back better’ discussions to ensure that the industry’s Covid-19 recovery allows the music community to act on systemic injustice, inequitable financial benefit and the many barriers that prevent underrepresented creators and professionals from fulfilling potential and forging long-term successful careers.

We know the pandemic disproportionately impacts underrepresented groups and we must counteract that with a greater sense of urgency. At PRS Foundation, we know we will play a vital role in recovery and in shaping the future of music to build a stronger, connected and sustainable music community.

We have made much progress to address gender inequality, launching Women Make Music in 2011, achieving gender balance across our grants programmes in 2018, and co-founding the global Keychange movement, which has over 370 music companies working together towards achieving gender balance by 2022.

“Goodwill amounts to little more than window-dressing if not followed up by commitments, action and accountability”

And we are building on our strong track-record for inclusivity and industry collaboration to develop a long-term ambitious programme to power-up Black creative and executive talent.

To bring about meaningful and lasting change, public solidarity is not enough. Goodwill amounts to little more than window-dressing if not followed up by commitments, action and accountability.

So, what does action and change look like? And to paraphrase the ever-inspiring Keith Harris, OBE, how do we seize the momentum to avoid this becoming “another false dawn in terms of equality in the industry”?

If you don’t know where to begin, you are not alone. Perhaps you feel that personal action may not be enough. Or that the pandemic means you or your company cannot contribute financially.

Or perhaps you’re one of the hundreds of first-time organisation grantees receiving lifeline support from the Culture Recovery Fund or similar Arts Council funds across the UK. You might not know where to start when it comes to the crucial commitment you have made to increase organisational diversity and the diversity of audiences, visitors and/or participants.

I want to stress that there are already very clear pathways to meaningful change. You don’t need to reinvent the wheel. You can connect with the many who have worked tirelessly for decades on diversity and inclusion, or to brand new collectives and initiatives launched this year. And there has never been a bigger opportunity (and responsibility) to come together to address social injustice.

“You don’t need to reinvent the wheel. Connect with the many who have worked tirelessly for decades on diversity and inclusion”

Below are some individuals, initiatives and organisations whose work might inspire you:

Black Music Coalition (BMC) – launched by senior music execs following Black Out Tuesday, the BMC set out five priorities to tackle discrimination in the UK music industry, followed by a must-read manifesto that includes the creation of a resource pack available to music companies.

Nadia Khan – the Women in CTRL network has 800 members and its Seat at the Table report sparked considerable commitments to improve board representation at UK trade bodies.

Ammo Talwar – through the UK Music Diversity Task Force, Ammo has been working tirelessly with colleagues on the 2020 Diversity Report.

Michael Rapino – the Live Nation CEO set global commitments and ambitious targets to build diversity by 2025. Crucially, he is committed to holding himself accountable – something our Keychange pledge has been encouraging for years.

Oslo World – have adapted to the pandemic with an innovative 3D virtual festival and, acting on their ‘Solidarity’ theme, have made all tickets free, with optional donations going to the Beirut music scene.

Creative responses – Native Instruments’ Covid-19 response saw them collaborate with artists to launch a donation-based charity sound pack, benefitting initiatives including Keychange and Heart n Soul. And we’ve had two indie companies donating in-kind support (e.g. residencies/marketing campaigns) to grantees of our Sustaining Creativity Fund.

Personal commitment – countless thousands have been donating to vital causes to support the music ecosystem during the pandemic. Beggars CEO, Paul Redding, swam for 16 hours across the English Channel to raise over £120,000 for a new racial inclusivity programme and for Sweet Relief’s Covid-19 fund in the US.

 


Joe Frankland is CEO of PRS Foundation.

Live Nation Germany announces Crew Nation benefit

Live Nation Germany has announced a livestream charity event for Crew Nation to benefit self-employed professionals who have been financially impacted by the pandemic.

The event, called #becomelouder (#lauterwerden), will see German artists including Die Fantastischen Vier, Milky Chance (pictured), Peter Maffay, Rea Garvey and The BossHoss perform on a mixed reality stage which first premiered at this year’s Wacken World Wide.

All artists will perform without pay and, while the event is free to stream on 12 and 13 December at MagentaMusik 360 and on the MagentaTV programme, viewers will be encouraged to make a donation. Fans can also view the performances afterwards on demand.

“All of us live music fans have our concert tickets pinned to the fridge by a magnet and are just waiting for it to get going. Meanwhile, a lot of the service providers that produce these shows are falling on hard times as a result of the pandemic,” says Smudo of Die Fantastischen Vier.

“Let’s get together and support those affected with this event, in the hope that we can soon take those tickets off the fridge and go out and have a good time again.”

“All of us live music fans have our concert tickets pinned to the fridge by a magnet and are just waiting for it to get going”

The Crew Nation relief fund was launched in April by Live Nation to support touring and venue crews through the coronavirus pandemic.

The live entertainment behemoth committed $10 million to the fund, contributing an initial $5m directly – including $250,000 personally from CEO Michael Rapino and his family – and matching the next $5m donated by artists, fans and employees dollar for dollar.

Since, a number of national events have taken place to benefit the fund, including Live Nation Spain’s ‘Crew Nation Presents…’ – a concert series which raised more than €150,000 through a €1 levy on each ticket.

Similiar fundraising concerts and tours have been organised by artists including Elisa, Nick Cave, Niall Horan, Amy MacDonald, and Marillion.

Donations to Crew Nation can be made directly or through purchasing limited edition Crew Nation merchandise.

 


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UK live industry grew 17% in year before Covid

The worth of the UK’s live music industry increased by 17% in 2019, according to UK Music’s flagship annual economic study.

The Music By Numbers 2020 report says that the live sector enjoyed its most successful year to date in 2019 and that 2020 was “shaping up to be even stronger” but due to the pandemic is now in “urgent need of a lifeline”.

According to the recently published UK live music: At a cliff edge report, the live sector contributed £4.5 bn to the UK economy in 2019 but its revenue has dropped to almost zero this year due to the pandemic.

“The Music By Numbers report shows that pre-Covid-19 the live music industry was growing rapidly, up 17% in 2019 and delivering increasing value to UK plc. The pandemic literally stopped the show. Targeted help is needed to support our proudly entrepreneurial sector through this economic uncertainty and return it back to growth,” says Phil Bowdery, chair of the Concert Promoters Association (CPA).

UK Music chief executive Jamie Njoku-Goodwin says: “2019 was a fantastic year for the UK music industry, and we were firmly on track to be one of the great British success stories of the coming decade.

“Music By Numbers 2020 shows just how successful our industry was before the catastrophic blow of Covid-19 knocked it down, and how important it is that we get it back on its feet.

“When the time comes to recover from this pandemic, our world-leading music industry can be a key part of our country’s post-Covid economic and cultural revival – but we need the right support to get us there.”

“The pandemic literally stopped the show. Targeted help is needed to support our proudly entrepreneurial sector”

In the report, UK Music says the live sector’s increase in worth was partly due to a high number of stadium tours and “a consistently strong performance across the sector,” along with data collection improvements among grassroots venues.

The report nods to 2019 stadium shows from international artists such as Bon Jovi and The Eagles alongside domestic superstars such as the Spice Girls and Take That.

Major touring artists contribute massively to the live sector’s GVA and supports festivals and enables promoters to reinvest in
developing acts.

However, this year, social distancing has prevented most events from taking place – operationally and economically – while travel restrictions have made touring impossible for both UK and international artists.

The Music By Numbers 2020 report concludes by noting that the government-backed Culture Recovery Fund was welcome but says “more support is needed so that the industry can get through this period with as many organisations and companies surviving as possible”.

The report calls for five specific actions to restart the live music at the earliest opportunity including an extension of the VAT rate reduction on tickets beyond 31 March 2021; government backing for a live music events reinsurance scheme; an extension of business rate relief for venues for 2021/22 financial year and removal of festival sites on agricultural land from the business rates system.

It also calls for 2020 local authority license fees for festivals to be rolled over to 2021 and for the continuation of joint industry/government work to establish clear protocols with health agencies regarding testing and live events.

Read the full Music By Numbers 2020 report here.

 


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Chicago industry veterans launch Auris Presents

Auris Presents, a new promoter and event production company led by seasoned local live music professionals, has launched in Chicago.

The firm is co-founded by partners Nick Karounos and Stuart Hackley and managing partners John Curley (Paradigm Presents) and Joe Quade (Bam Creates). Karounos is owner of venues Radius (4,000-cap.) and Prysm (650-cap.), partner in Concord Music Hall (1,450-cap.), and former partner of React Presents (Spring Awakening Music Festival), while Hackley is the founder and operator of Loud Crowd, a national events company, and a former senior talent buyer at promoter Disco Donnie Presents.

“I’m excited to bring this strong Chicago-based team together, along with Stuart and the Loud Crowd team, who will continue to produce events throughout the country,” comments Karounos. “They bring incomparable energy and experience to Auris Presents’ midwest focus.”

“The formation of Auris Presents and bringing this team together was essential for our venues to survive”

Joining the team as operating partners are Carson Rhoads, Dom Brown and Mike Lang, with Garrett Birch and Joe Calderone rounding out the team in marketing and design.

Auris will promote “innovative, experiential and curated events at unique locations”, including owned venues, as well as partnering with other promoters and venues in the midwest and across the US, with a slate of socially distanced shows for the remainder of 2020 set to be announced soon.

“The formation of Auris Presents and bringing this team together was essential for our venues to survive, especially Radius, which opened just two weeks prior to the pandemic,” continues Karounos.

“The survival of independent promoters and venues is important to ensure one company isn’t able to monopolise the industry, causing [fewer] options for the artists and fans, inflated service fees and complacency with the fan experience.”

 


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