On February 26th , Mr. Earlier that day, he conducted a Music Business class, in which he discussed how he started out in the business and the recent merger of Live Nation with Ticketmaster. He answered as well many questions about the global touring business.
Later, during the spring break, I had the pleasure of interviewing Mr. Barad at length. He was the vice president of Client Acquisition for Brockum, which serviced some of the biggest tours of the s and s. Barad has worked in the music industry for more than 35 years. The first part of the interview focused on international tours. Barad then answered questions about the merger with Ticketmaster, deals, digital vs analog and the current state of the music industry in general.
MBJ: Which artists are you currently working with? MBJ: Which one has been the most challenging? GB: U2 when it started, because of the nature and size of the production. And Lady Gaga, because when we took over we had to help her re-tool her show and book a tour in very short notice. But it has been great so far.
So they all have different challenges. Tokyo and London were great. It depends on the act too, and U2 in Dublin was special. Also going to cities that we were visiting for the first time, such as Istanbul, or Madonna in Tel Aviv, was very satisfying. You need to know whom you need to be involved with locally; you always need a local person to work on these things.
Also, taxation and border regulations, as well as customs are important. Every country has its own idiosyncrasies and unique cultural differences. Also, Madonna played in Romania and Bucharest recently, which was interesting to learn about. We have offices around the world, so we are able to tap into the local knowledge of each country. MBJ: This is something that you must really master after visiting so many countries. GB: Yes, and many times we have a very tight schedule, so we have learned a lot about how to deal with local rules regarding carnets merchandise passports , work permits, custom documents, licensing, currency exchanges, and taxation, among other topics.
MBJ: While you were at Berklee, you mentioned important international touring markets. What would those be? GB: Japan is a big market. It is not big as it used to be because of the economy but it is still a good viable market. In Europe, cities like Paris and London. London might be the single best music market in the world for the amount of shows played, the amount of tickets sold, and the supply of artists.
MBJ: Apart from the American market you mean? GB: No, I think London could be the biggest concert market in the world. And remember that you have some markets where domestic acts are bigger as well. In France, for example, an artist like Johnny Hallyday has sold more stadiums than any international act over the years.
GB: The merger enabled us to distribute tickets easier, more efficiently, and helped us know who our customers are. Now we have an incredible distribution network to get the music out there and sell tickets, records, merchandising, etc. The technology has enabled us to reach a wider base of actual and potential fans. Also, because of the Internet age, we are able to use a nice database to find out who our customer is, which is important to us.
But every country presents its unique challenges and situations. MBJ: Do you think live music has taken the lead role in the music business as the main source of revenue for the artist? If so, is Live Nation playing a bigger role? GB: Most of the revenue will be generated from live income until the whole digital distribution is sorted out.
What happened is the owners of those formats lost control because their product could be copied. People need to figure out a different economic model of how you get your distribution out there other than putting records in record stores or doing mail orders. It is a different era. No different than publishing, though. Now you can get books digitally. The other problem we had with live music is that there are all these big chain stores, which are fine- they all serve their purpose, but the older kind of record store was a place where you went to hang out.
You went and turned on the music and had people in common who loved it too. That is why concerts are a good thing. I like the whole notion of the gathering of the tribes, and the social aspect of the concert is important to people. MBJ: So the live experience is irreplaceable, even in the digital age. GB: Exactly, and you can get more technology in live performances to make shows sound better and have better lighting and video, which we have done.
MBJ: What about other sources of music revenue? GB: Publishing and copyrights are still a big part of it and they have changed dramatically. There a lot of new applications that did not exist before, like music for games. Also syncronization rights for movies and soundtracks.
A lot of people can take your music and download it for free, so how can you control that at the end of the day? I liked the concept of what Prince did. He charged a certain amount for his concert ticket, and that included his record, so he would give the record out to every person who came to the show. There are also other artists who offer a download when you buy a ticket.
There are lots of ways to get these things across, and much has changed. The shows are getting bigger now and therefore more challenging to take around the world. You will need to upgrade your browser or click below to download the latest version.
Browse News. Pollstar Live! Digital Sessions. Charts Live Quarterly Worldwide Ticket Sales Charts. Data Data Cloud. Search results for Festivals. Customer Info. Sign In. Tour Histories. View Cart. Special Features. Industry Hotwire.
Digital Edition. Live Global Concert Pulse. Live Boxoffice Databse. Elite Artists. Top Tours Research. Data Cloud. Artist and Venue Tour Histories. By: Pollstar Staff. The awards ceremony will mark the close of the Pollstar Live!
Powerhouse acts like Garth Brooks, Pink, Ed Sheeran, Eric Church, Elton John, and The Rolling Stones are nominated for Major Tour of the Year, but the broader list also includes nominees from various sized tours, venues and operations across the full spectrum of the industry. To properly honor everyone who has led the concert industry into the prosperity it now enjoys would be impossible, but this is an attempt at recognizing some of the most noted figures leading the way.
Notably, not only were more people surveyed, but the rate of response increased nearly 30 percent over last year. Continuing with the procedures put in place last year, the awards will primarily be swung by subscriber voting. However, box office performance will also be weighted in some categories. Subscriber voting begins Friday, Nov. We thank you for your participation and look forward to your selections.
Congratulations and good luck to all the nominees! Major Tour of the Year — Recognizing the most commercially and artistically successful tour of the year. Box Office Weighted. Best Rock Tour — Recognizing professionalism and dedication to the art and craft of live performance in the previous year by a touring rock artist or band.
Best Pop Tour — Recognizing professionalism and dedication to the art and craft of live performance in the previous year by a touring Pop artist or band. Best Country Tour — Recognizing professionalism and dedication to the art and craft of live performance in the previous year by a touring Country artist or band.
Best Latin Tour — Recognizing professionalism and dedication to the art and craft of live performance in the previous year by a touring Latin artist or band. Comedy Tour of the Year — Recognizing the most commercially and artistically successful comedy tour of the year.
Best Residency — Recognizing the most commercially and artistically successful run of 10 or more shows at a single venue.
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