Forum Palace, Vilnius, May 24/25 2007
The British Council and Lithuania Music Export are proud to announce the Baltic Music Industry Conference 2007.
The conference this year will move to Vilnius, Lithuania, after two years in Riga, Latvia, to further cement its commitment to the whole Baltic region.
This is the only music event specifically designed to address the needs of the music industry in the Baltic, and offers a unique forum for music professionals in the region to come together with experts and peers from the UK and elsewhere.
• Catch up on the latest developments in the global industry
• Get new ideas
• Question international experts face to face
• Get answers to your problems
• Make new contacts and strengthen your network within the region
• Make yourself known to potential clients or collaborators
PROGRAMME
Thursday, 24 May
0900 – 1000 Arrival and registration
1000 – 1020 Welcome and Introduction
1020 – 1140 Session 1: working for the artist – who needs labels in the 21st
century?
Recent years have seen more artists working independently and the increasing importance of independent labels. When any artist can create a webpage, sell online or cheaply press a CD what is the role of a record label? do we need them or are they just relics? This session will bring together independently working band and representer of the major record company, working mainly with the bands from EE region.
Erik Nielsen, Business Director, Marillion, England
Marillion established themselves in the early 1980s, initially working with EMI. However, when the contract came to its end, EMI were unhappy with sales and Marillion were unhappy with how the band was being marketed, so the relationship was ended. But rather than sinking into security the band decided to run things for themselves, one of the first artists to do so, asking fans to fund their albums and building an incredibly strong global support network.
Jaro Slavik, Business Development Manager Eastern Europe, Warner Music Austria
Born in Bratislava, at the age of 21 Jaro Slavik became the youngest MD of EMI, and among the majors in Slovakia. In the year 2000 joined EMI Eastern Europe team and spent year in Kiev, Ukraine (setting up the operations of the EMI licensee). At the end of 2001 joined the EE team of Warner Music – responsible for business development and marketing questions in the licensee territories. Worked on the international careers of the artists as Zdob Si Zdub, Brainstorm, Ruslana, Haydamaky, Funmaster, Ilona Csakova, and some others.
Grandmaster Gareth, Misty’s Big Adventure, England
1140 – 1200 Break
1200 – 1300 Case Study 1: Creating infrastructure with EU cash –
building a music industry from the ground up in Northern Ireland
Tony Doherty, Programmer, The Nerve Centre, Northern Ireland
The Nerve Centre was established in 1990 with money from the EU as a focal point for youth culture in Derry, Northern Ireland’s second city. It brings popular music, film, video, animation and interactive media under one roof, and offers rehearsal and studio facilities, practical courses in music technology and business skills, has a professional venue hosting international artists, and works as a production house for material created in the building. They estimate 100,000 people directly benefit from the facility, while the 650 capacity venue has attracted a range of diverse acts from Sinead O’Connor to the Zutons.
The countries of the Baltic region are well-primed to obtain large scale funding and to create something on this scale. This session will examine how the Centre was established, the need for co-operation between companies and agencies when working on this scale, and the benefits that have resulted for the local music scene as a whole.
Tony Doherty has been the marketing and venue promoter for the Nerve Centre for the past 5 years. He has been involved with the Centre on and off for over 10 years, initially running events and designing education packages for its early incarnation as the northwest musicians collective.
He has also been involved with artist management, and sat on the steering committee for the development of the Northern Ireland Music Industry commission.
1300 – 1430 Lunch break
1430 – 1545 Session 2: Live or die –
how to develop a healthy live music scene and why it matters
While record sales slump, live music is booming, and the UK market is bigger than ever before. This session will compare the live scenes in the UK with the Baltic region, look at how different sectors co-exist and look at why, as well as being a source of income, a good live scene is crucially important to the development of a music industry as a whole.
Allan North, Director, Plum Music, England
Founded in 1998, Plum Music is a key promoter of unknown, unsigned and up and coming bands in London, working in the small live venues that are the bedrock of the UK pop scene and a crucial entry point into the industry for many artists, from Oasis to Bob Dylan. They have promoted early shows by Muse, Doves, Bright Eyes, Keane, the Libertines and many more.
Bryn Ormrod, Contemporary Programmer, Barbican Centre, England
As a state funded venue the Barbican has established a unique position as a trailblazer for live music in the UK, with a music programme internationally acknowledged as unique and adventurous. It takes risks where others can’t and often breaks new artists in the UK – particularly foreign artists. Starting in the commercial sector with the Mean Fiddler organisation, Bryn has been with the Barbican throughout its journey from a predominantly classical venue to one that crosses all musical boundaries.
Vee Diawara, Tabami Events, Lithuania
1545 – 1615 Case Study 2: Where are we now?
The Baltic context – researches on the current state
of the industry
Latvia – Natalie Gorochova, Buckinghamshire Chilterns University College
1615 – 1645 Break
1645 – 1800 Session 3: When bands meet brands:
product endorsement, and new sources of revenue
In age of declining record sales is it still possible to make money out of music? This session examines the sometimes controversial relationship between artists and brand marketing – how does it work, who does it, and what is there to be gained and lost?What are the best practices that should be followed? What do brands really want and need from music and what type of players they want to work with?
Dominic Hodge, Strategist, Frukt Ltd, England
FRUKT is a unique agency that seeks to bring together technology companies and consumer brands with the music industry. Their clients include Nokia, O2, EMI Music, MTV, Sony BMG, Heineken and Vodafone.
Guna Zučika, PR & International Relations, Brainstorm, Latvia
Brainstorm are Latvia’s most successful musical export, supporting REM on tour and playing regularly all over Europe. Several years ago they established a unique sponsorship arrangement with Hansabanka that continues to this day.
Lauras Lučiūnas, Managing Director, Monaco Production, Lithuania
Representative of the Lithuanian mainstream label gives a snapshot of some of the most innovative brand funded music marketing initiatives in Lithuania, from sponsorship deals to longer term relationships and some new executions.
Conference language – English.
BMIC BUZZ BANDS: Pop / Rock / Electronica / Dance Showcases
Galaxy
Konstitucijos pr. 26
20.00 ROCK/POP SHOWCASE
Brainers (LT)
Under Marié (EE)
Double Faced Eels (LV)
dr. Green (LT)
Pieno lazeriai (LT)
also Go Gaga VJs & DJs (LT)
& special guest
Misty's Big Adventure (UK)
Gravity
Jasinskio str. 16
23.00 DANCE/ELECTRONIC SHOWCASE
Martinez Gonzalez (LV)
Def. Räädu & J.O.C (EE)
Golden Parazyth (LT)
Fusedmarc (LT)
NGC-5128 (LV)
& special guest
UK turntable champion JFB
Tickets to both showcases can be purchased at Tiketa. Ticket price: 18 Lt
Ticket for Gravity showcase can be purchased at the club before the event. Ticket price: 10 Lt
Friday, 25 May
1000 – 1100 Case Study 3: It’s getting busy in here:
Arctic Monkeys and the art of making a noise in cyberspace
There’s no shortage of marketing opportunities on the internet, but with 1,400,000 bands registered on MySpace in 2006 how do you get your artist seen and heard? The International Director of Domino Records’ tells the story behind the Arctic Monkeys and Britain’s fastest selling debut album, and examines whether or not anything has changed in the age-old science of hype.
John Dyer, International Director, Domino Records, England
John Dyer started out in sales for Rough Trade and London Records and has a background in marketing. He is currently a Director of Domino Records looking after the day to day running of the label and its companies. Previously positions include: General Manager of PIAS Recordings and PIAS Joint ventures including Fat Cat Records, responsible for the marketing of, amongst others Mogwai, 2 Many DJ's and Sigur Ros ; Marketing Manager at Mute Records looking after Depeche Mode, Erasure, Nick Cave and Inspiral Carpets, and as a consultant for various independent labels including Creation, Produce, KLF and One Little Indian. Has also partnered a small retail chain of record stores.
1100 – 1300 Session 4: BMIC Band Review – Round Table
Analysis of the showcases with a panel of experts
Jaro Slavik, Business Development Manager Eastern Europe, Warner Music Austria
John Cloud, Head of Playground Label & International, Sweden
Mark Bona, Programmer, Sziget Festival, Hungary
Sarah Turtle, Programmer, Plum Music, UK
Tony Doherty, Programmer, the Nerve Centre, Northern Ireland
Bryn Ormrod, Contemporary Programmer, Barbican Centre, England
Ramūnas Zilnys, Music Journalist, Daily Lietuvos rytas, Lithuania
BMIC Band Review round table is unique and enjoyable way to reflect on lots of great new music, and for industry experts to give us their tips. BMIC Band Review will discuss each band or artist of the showcase, and whether one or another type of music would work in their event / certain industry / territory. The audience is invited to get actively involved, discuss and give their opinions too. The panel members are mix of major and independent record labels, promoters, programmers of the festivals and venues.
1300 – 1430 Lunch break
1430 – 1545 Session 5: Still shifting units:
selling music online – what are the options and what works?
Traditional retail stores are suffering, but are online sales a viable alternative? Does it pay off to sell music online? What range of digital roots exists for you and what are the most successful to sell and promote your music online (or via mobile)? What is the right way to go about it? What is better way to sell your music: to work with an aggregator, a large online retailer, go specialist or go independent? Does some music sell better online than others? Monitor the progress of digital music and get answers to your questions.
Anders Hjelmtorp, Managing Director, Music Export Sweden
Anders Hjelmtorp has a solid background in the music business in which he has been working most of his active business life. He started working at the CBS Records, in 1983 establishing Vrigin Records & Publishing in the Nordic countries and staying its CEO till 2000. In 2000 Anders Hjelmtorp co-founded digital music video distribution company Musicbrigade, which was first in Europe to sell videos from both major and independent companies over the 3G net.
Tom Panton, Managing Director, Bleep.com, England
Founded as the online retail arm of pioneering cult electronica label Warp Records, Bleep has expanded beyond its original brief and now sells for a number of labels, but focuses on music attractive to Warp’s core audience. The site’s unique and excellently designed interface saw it winning “Best Music Store” at the Digital Music Awards in 2006.
Csaba Nasz, Digital Business Development Eastern Europe, Warner Music, Hungary
Csaba Nasz, responsible for the digital business development Eastern Europe at Warner Music International (and at the same time the Managing Director of Warner Music in Hungary). Agenda of Czaba Nasz includes constructing the digital distribution schemes, creating special digital A&R for EE acts, discovering new business opportunities for the business in Eastern Europe.
1545 – 1615 Break
1615 – 1730 Sessions 6: Music as tourism? The rise and rise of festivals
in the 21st century, and what they do for the industry
Within the last decade, many new events across Europe have profited from increased festival tourism. Whether in Spain, Hungary or United Kingdom youth increasingly travels to the events, and costs here are not the crucial issue. What are the most important components of successful festival? Stylish and ambitious music lin-up, un unusual setting, low prices or tourist bonus, not available at home? Are festivals relying on big names more successful than smaller niche events? What are the specifics of the Baltic region to make such festival happen?
Jozsef Kardos, Programme Director, Sziget Festival, Hungary
Sziget has grown to be Eastern Europe’s largest festival, equal in size to any of the major festivals in the world, and features headliners on the level of Radiohead, and operates across all genres of music; taking place on Obuda island in Budapest, it successfully attracts large numbers of foreign visitors and continues to build and grow year on year. Jozsef has headed up the programme for 9 years to the point where 400,000 now participate in the event over 7 days.
Dovydas Bluvšteinas, Programmer, B2gether, Lithuania
Lithuanian answer to the lack of large-scale festivals in the Baltic region the new festival ‘B2gether’ of a scale previously unseen in Lithuania will take place in a unique location at the eastern border of the European Union on August 25th. Brought to the political level, the event is actively supported by the Lithuanian Ministry of Foreign Affairs, the European Commission, diplomats of neighbouring and EU countries.
Cinema theatre Skalvija
A. Goštauto str. 2/15
1900 – 2100
Visualising Sound - Round Table
Screening: Antenna.UK – a selection of the most creative music videos from the UK
Discussion: what makes a successful video? Balancing budget and ideas
Vidmantas Čepkauskas, Talent & Music Manager, MTV Baltic
Giles Williams, Talent & Music Manager, MTV Emerging Markets
Justinas Čekuolis, Manager, G&G Sindikatas
Vaidas Stackevičius, Managing Director, M.P.3 Agency
Visualising Sound includes a screening of some of the most interesting recent music videos, What are the components of the successful video? Does it really depend on big budget and stylishly ambitious realization? On the other hand – what is the role of video for the artist, working in a small market? What are the limitations and opportunities here?
l’amour: music and cocktail bar
Vokiečių str. 2
2200 - ........ Final l’amour Party with Misty’s Big Adventure (England)
Gravity
J.Jasinskio g. 16
2200 - 0500 Oldskool vs Newskool: Ethan Reid (UK), Jeff Metal (UK),
Emery (LT), Quazar (LT), Ske (LT)
50% discount for delegates: 15Lt
Conference Fee
The Baltic Music Industry Conference is practical, helpful and tailor-made for your region and your business. Thanks to the generous support of the organisers registration is a tiny €20 (or 70 Lt).
The registration fee includes access to all the events of the conference, access to both showcases on 24 May, networking coffee breaks as well as conference package.
Registration
To register for the conference you have to make three steps:
1. purchase your e-ticket with a barcode here and save it on your computer;
2. fill in registration form attached below; please fill in the form carefully as the data will be used for your entry in the conference participants’ list and distributed to all the participants;
3. send both items by e-mail rimante@mic.lt
Registration form without the e-ticket will NOT be valid.
Upon presentation of your identity card or passport you will get your conference badge at the entrance to the conference.
The registration period expires on 18 May, 2007.
After that date tickets are available at the ticket counter only.
The walk-up registration will be charged €35 (or 120 Lt).
Press
Representers of various media channels can request accreditation for the whole event. Please fill out the registration form below and send it by e-mail: daiva@mic.lt You will be communicated details of the issue and collection of the accreditation by e-mail.
Hotels
Please book your accommodation separately from your registration. Upon receival of your registration form with the electronic ticket, we will provide you with the booking number of the hotel Holiday Inn Vilnius. Discounted price per room per night is Eur 50.
Keeping up to date
For further information about the conference, showcases and other matters please check the websites, which will be updated as more details are confirmed.
http://www.mxl.lt
http://www.britishcouncil.lv/bmic
Organizers
The BMIC is an initiative of the British Council and Music Export Lithuania with assistance from the Latvian Music Producers’ Association (LaMPA) and Music Export Estonia, LATGA-A, Gravity Club, Lithuanian Culture and Sport Support Foundation.
Conference Hotel: Holiday Inn Vilnius
Information partners: Verslo žinios, Pravda, ZIP FM, balsas.lt, Urbanation
