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Black Gold: How metal became a cultural phenomenon

Last year, Iron Maiden singer Bruce Dickinson was bestowed with two very unique honours.

In April, he was made an honorary citizen of Sarajevo in recognition of a concert his solo band Skunkworks played there in 1994, during a prolonged siege of the Bosnian capital. Presenting the award, mayor Abdulah Skaka said: “The arrival of Mr Dickinson in Sarajevo, in 1994, was one of those moments that made us realise that we will survive.”

The other accolade was bestowed upon Dickinson by Dr Cristina Rheims, a Brazilian biologist and metal fan who gave a newly discovered species of spider the name Extraordinarius brucedickonsoni.

If these honours anecdotally demonstrate metal’s soft power, its global reach and the deep devotion of its fans, then the fact that Amon Amarth, a melodic death metal band whose principal lyrical inspiration is Viking folklore, will shake the fields of Wacken Open Air festival with 75,000 roaring fans this summer should be considered testament to metal’s undaunted commercial clout.

“It feels like there’s a cultural movement happening where, if you’re in the metal game and you’re good at what you do, you have a specific brand and you put on a great live show, things are moving,” enthuses Justin Arcangel, president of 5B Artist Management and Touring, who represent Amon Amarth, Babymetal, Slipknot and more.

“All our data – streaming numbers, ticket numbers, merch sales, whatever – are all bigger in 2020 than in 2019. The funny thing is when you speak to some people that don’t work in this genre, they have no idea. Metal is, to this day, outsider music, but let me tell you, it’s a major cultural thing, especially in Europe.”

“What we’ve witnessed across our events is metal is really a community – this outlaw feeling that unites us”

Summer knights
“Some of our hardcore audience think maybe metal is too mainstream now, because in Germany there’s a lot in the charts,” chuckles Thomas Jensen, CEO of International Concert Services and Wacken co-founder, pondering the sea change since he first staged the festival in the German village’s gravel pit in 1990.

Now in its third decade, with all 75,000 tickets for 2020’s edition snapped up in an astonishing 21 hours, Wacken is a major force, with good company in France’s Hellfest (55,000-capacity), Belgium’s Graspop (50,000-cap.), plus the UK’s Bloodstock Open Air (20,000-cap.) and Download, which attracts 110,000 fans over the weekend – a “heavy music summer,” as Jensen calls it. Which is not even to dig into the boom in boutique festivals offering bespoke experiences, such as Italy’s Rock the Castle or the Netherlands’ Roadburn, whose reputation as a tastemaker event means 75% of its 4,000 attendees travel from abroad.

“What we’ve witnessed across Wacken events is that metal is really a community, this outlaw feeling that unites us,” says Jensen. “Our music is a live experience and the whole festival circuit allows bands to survive. For international acts, it’s easier to put a festival run together than it was in the 90s, and you see bands working their way up the bill each year.”

“I’ve only ever seen the metal market over the years grow,” agrees Vicky Hungerford, co-director at Bloodstock, which celebrates its 20th anniversary this year with headline spots from Polish black metallers Behemoth and the UK’s Judas Priest. As well as fostering new talent with their popular Metal to the Masses series of regional shows, where unsigned bands compete to play the festival, Bloodstock strongly believes in paving the way for tomorrow’s monsters of rock.

 


Continue reading this feature in the digital edition of IQ 88, or subscribe to the magazine here.


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Ex-RTN agents launch Cobra Agency

Two of Austria’s best-known international hard rock agents, RTN Touring alumni Dominik Meyer and Guenther Beer, have announced the launch of Cobra Agency, a new boutique booking agency that represents some of the biggest names in metal.

Beer and Meyer – who had been with RTN (Rock the Nation) since 2005 and 2008, respectively – bring their full rosters, which include the likes of Sepultura, Sabaton, Danzig, Testament and Amon Amarth, to the new agency, whose offices are in Salzburg.

“We’re more than excited to announce Cobra Agency,” says Meyer. “Our intention was to form a new agency with a very strong network of contacts and partners that delivers even better services and opportunities to our clients. We’re confident that Cobra will meet these requirements.”

“Our intention was to form a new agency with a very strong network of contacts that delivers even better opportunities to our clients”

Cobra’s full roster includes Amaranthe, Amon Amarth, Amorphis, Arch Enemy, Backyard Babies, Battle Beast, Behemoth, Beyond The Black, Blues Pills, Danzig, Eluveitie, Equilibrium, Kreator, Mantar, Me And That Man, Sepultura, Powerwolf, Sabaton, Tesseract, Testament and Watain, all of which it represents throughout Europe.

“The new company set-up offers our clients a great opportunity to expand their possibilities,” adds Beer. “At the same time, we are able to further extend our strategy of providing innovative services to our clients and improve the comprehensive support and individual care for each of our artists tremendously.”

 


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