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New associations find common ground in 2020

Way back in April, Stuart Galbraith, CEO of UK promoter Kilimanjaro Live, told IQ that one of the small silver linings to come out of the giant corona-cloud that is 2020 was the spirit of increased cooperation among those who had just a month earlier been bitter rivals. “What has been very pleasant is that, with one or two exceptions, everyone’s been mucking in,” explained Galbraith, who is also vice-chairman of the UK’s Concert Promoters Association (CPA).

Another key takeaway from the then still-young coronavirus crisis, he said, was the importance of industry associations: “Government don’t want to talk to individual commercial organisations,” Galbraith explained, but officialdom will deal with representative bodies.

While there are no shortage of those in the UK, representing all aspects of the business – including new umbrella group LIVE (Live music Industry Venues and Entertainment), whose members include the CPA, Entertainment Agents Association and Association of Independent Festivals, as well as One Industry One Voice, a similar body representing the broader events sector – elsewhere the Covid-19 pandemic has spawned the creation of a number of new associations, as industry professionals pool resources to ensure the business is properly represented in its discussions with the powers that be.

In Finland, Kati Kuusisto and Maria Sahlstedt have managed to unite not only the concert business, but the wider events sector, with Events Industries of Finland (Tapahtumateollisuus) – an achievement it took the coronavirus crisis to make possible, says director Kuusisto.

“We’d been thinking about setting up an association for the past two years, but it wasn’t until April 2020, when I saw an industry person on LinkedIn asking if anyone was interested in launching a union for the event industry, that it became reality,” she explains.

“It was important to start talking to each other, because the industry doesn’t exist in the eyes of the government otherwise”

“We started to call around all the different entities in the sector, and within two days we’d set up meetings with 60 different organisations, from sports clubs to concert organisers, theatres, venues, festivals, religious institutions, subcontractors, technical staff and more.”

What unites the diverse members of Event Industries of Finland is that they have fundamentally the same business model, despite differences in the content of what they organise, adds Kuusisto. “We have different formats, different content, but we are all fundamentally running business with same kind of problems and solutions.”

Quoting figures that will be familiar to event organisers across the world, Sahlstedt, the association’s director of communications, says those in government were surprised to learn of the extent of the event business’s losses, which are around 90% compared to 2020, according to Event Industries of Finland research.

“The chamber of commerce told us that restaurants and travel agents have suffered the worst [of any industry] this year because their losses are around 30%!” she comments. “So that was a moment of black humour for us…”

Over the border in Russia, Nadia Solovieva of SAV Entertainment, the country’s leading concert promoter, is the driving force behind the new Association of Concert, Theatre and Ticket Organisations (KTiBO), which largely picks up where the now-defunct Soyuz Concert left off in providing a representative association for the Russian live business.

“When the pandemic started, people started to realise that, believe it or not, we all have common interests,” explains Solovieva, “and there is a need to think about how we can help ourselves and the industry in general.”

“Within two days we’d set up meetings with 60 different organisations”

Unlike state-funded theatres and operate houses, which receive subsidies of up to 100%, private concert businesses have largely been left out in the cold when it comes to state support, Solovieva says, with payments worth employees’ minimum wage in May and June the extent of the help extended to SAV and businesses like it this year.

“It was important to start talking to each other, because the industry doesn’t exist in the eyes of the government otherwise, which is why it was so important to form some kind of organisation,” she continues. “I was the one going to all these government officials and asking for help, but it’s difficult when you don’t have an association – and you want to represent the whole industry, not just yourself and your friends.”

“It’s partly our fault, too,” she adds, “because we’ve tried to stay away from officials as much as possible, which means they don’t have any idea what we do – the economics, and how we survive. But in times like this, we need to be speaking to them and we need their help.”

In Portugal, a new association, Circuito, is fighting for grassroots venues, which have been particularly hard hit by the on-off lockdowns, curfews and states of emergency imposed since March.

The brainchild of three clubs, Lisbon’s Musicbox and LuxFrágil and Oporto’s Maus Hábitos, the association was formed earlier this year to address an “urgent need to secure the survival of grassroots music venues”, says Circuito director Gonçalo Riscado, by calling for “support measures and fight[ing] for the recognition of the circuit” by the Portuguese authorities.

“The timings and the conditions to do it never seemed right before”

“Even though the idea of creating a Portuguese network of music venues was envisaged previously, the timings and the conditions to do it never seemed right,” explains Riscado.

The new association recently organised its first major campaign, #AoVivoOuMorto (#LiveOrDead), to raise awareness of the difficulties facing venues and to encourage government to engage with the embattled grassroots sector.

Riscado describes 17 October’s #AoVivoOuMorto –which saw demonstrators queue outside shuttered venues in four Portuguese cities, forming lines up to five miles long – as a “a fruitful campaign” which led to important talks between Circuito and the government regarding a plan to protect small music venues.

“Being our first public demonstration, it was very important to build the foundations for our current and future work,” continues Riscado. “We had two simultaneous goals with it: to raise awareness for the importance and the value of  grassroots music venues, and call for immediate support measures. With that in mind, placing the grassroots venues circuit within the cultural map and highlighting its importance is the first visible result of this campaign.

“The way artists, the general audience and the media understood, adhered to and enhanced our position was fundamental for us to achieve this goal. In this sense, the ability to overcome this first stage in months, when usually it takes years, is definitely our first big achievement and is an effect of #AoVivoOuMorto.

“Furthermore, after the demonstration, Circuito had several meetings with the central government and city halls and important negotiations were started.”

“I’m glad that people understand that we have common interests”

Sahlstedt says she hopes the spirit of pan-industry cooperation in Finland can continue after the Covid-19 crisis passes, noting that – largely as a result of the work put in by Event Industries of Finland – the events sector is on its way to being officially recognised as an industry in its own right by the Finnish statistical office.

“It’s been a case of repeating the same thing over and over and people finally starting to hear us,” adds Kuusisto. “The whole idea of live events as an industry is totally new and will take some time to understand, but I have a feeling that we’ve finally started to find a framework for the future.”

“I’m glad that people understand that we have common interests,” adds Solovieva, who also says she “absolutely” hopes KTiBO will outlive coronavirus. “The industry needs representation, full stop,” she says. “It’s like a trade union – even in normal times, we need an organisation which can speak on behalf of the industry.”

Circuito, says Riscado, is a “real-life example of the visible strengthening of collaborative networks in the music industry” in 2020. “The sense of collectiveness and association gained renewed importance during the pandemic, given that there is a common need, goal and threat.”

“Keeping it alive when this is all over will be the main challenge,” he adds. “However, we believe many of these ties will not be lost after the pandemic.”

 


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New Portuguese association Circuito launches

A new association of independent music venues, Circuito, has launched in Portugal.

Circuito, which has 27 members across the country, will function as a “national network for the enhancement, protection and development” of grassroots music venues, aiming to secure further support while the majority are shuttered by coronavirus restrictions.

A recent Circuito campaign, #AovivoOuMorto (#LiveOrDead), aimed to raise awareness of the difficulties the sector is facing and spur the Portuguese government into taking concrete action to protect music venues.

Hundreds of people took to the streets in four Portuguese cities (Lisbon, Oporto, Viseu and Évora) on Saturday (17 October) in support of #AovivoOuMorto, queueing outside closed venues to raise awareness of their plight.

According to Espalha-Factos, the lines in Lisbon and Oporto were each more than a kilometre long.

“The coronavirus crisis accelerated the need for a representative association” in Portugal

Umbrella association Live DMA welcomes the creation of the new body. “The coronavirus crisis undoubtedly accelerated the need for a representative association which advocates for the great cultural, social and economic value of the independent live music scene, which needs to be supported,” it says in a statement.

The Portuguese live music industry is asking for greater financial help from the government, which, in common with its European neighbours, is allowing concerts only with social distancing and a very limited capacity.

Daniel Pires, of the 100-cap. Maus Hábitos in Oporto, says a recent increase in Portugal’s culture budget by nearly 8%, to €563.9 million, is “not enough” to safeguard music venues. “There must be a correction,” he adds.

Other industry associations in Portugal include promoters’ association APEFE, festival body Aporfest and the new Audiovisual Union.

 


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