The good, the bad and the ugly in Czech music business
Does it make any (business) sense nowadays to run a music club in the Czech Republic? What are the biggest obstacles Czech promoters face? Are there too many festivals in the Czech Republic? What type of line-up is more attractive for Czech audiences and what is an appropriate price for a ticket? Should festival and club promoters bring new acts or just please the crowds with already well-established artists?
David Urban (DSmackU Promotion, CZ)
Petr Choura (Divadlo Pod Lampou, Plzeň, CZ)
Lukáš Stara (Fléda Club, Brno, CZ)
Přemysl Černík (Mighty Sounds Festival, CZ)
Crossing borders, fundraising, branding, sponsorship and other forms of music event support
Until recently, the entire music industry was based primarily on record sales; while bands used to tour in order to promote their albums. Today, the traditional record market is gone. Bands record albums to make sure they have something to tour with. From the promoter’s point of view, it seems that bands get greedier and greedier day by day. What other sources of income are available to venues and festivals – apart from ticket sales? How can artists or promoters use them? What types of governmental, regional and municipal funds are there to support live music? What is the role of music export offices in different countries? When can you expect support from businesses? How can bands access home and international markets?
Shain Shapiro (Sound Diplomacy, UK)
Adam Lewis (Planetary Group, USA)
Jonas Vebner (Music Norway, NOR)
Marta Smolíková (Pro Culture, CZ)
Vojta Kalina (Pipes and Pints, CZ)
Is booking a band only a question of money, or does booking involve any secrets invisible to the naked eye? Is Eastern and Central Europe still considered an emerging market? Do Czech promoters have any advantages or disadvantages compared with the rest of the world? What is the current state of booking business in Europe?
Martin Elbourne (Glastonbury Festival, UK)
Kem Lalot (Eurockeennes Festival, FR)
Angus Baskerville (13 Artists, UK)
Christof Huber (Yourope Associtation, Open Air St. Gallen, Switzerland)
Michal Kaščák (Pohoda Festival, SK)
Sustainable music events
Running a sustainable event is another current requirement. There is a rapid increase of expenses festivals have to face in order to clean up their sites. If you care about green riders, using energy from renewable sources to power your event, waste management plans or other just green issues in general, you should not miss this panel.
Fruzsina Szép (Sziget, Hungary)
Clare O´Neill (A Greener Festival, UK)
Ben Challis (Glastonbury Festival, UK)
Julia Gudzent (Melt! Festival)
Štěpán Suchochleb (Rock for People, CZ)
Current music media / streaming / going digital?
Should you stream your festival live? Do fans actually want go to concerts and festivals or do they just want to sit in front of a computer? What is a fair-for-all price for an album download?Do printed music media have any future or are we just going to stare into our computer screens to get the latest music news? A panel dedicated to new technologies and trends in the music world. What is (or may be) the future of music media? Which of the footpaths are soon to become the new highways and which shall be dead end streets?
Chris Cooke (CMU/The Great Escape, UK)
Jana Grygarová (Full Moon, CZ)
Luděk Motyčka (Google, CZ)
Michal Novák (Bandzone.cz, CZ)