01 February 2013
Co-founder, The Orchard.
It’s been great. We’ve done a lot of really interesting deals and met the right people. That’s the most important thing, and that’s what makes Midem really valuable. It’s not the specific thing that you take away something tangible from it, but it’s about the relationships that you gain. It has a big place in the business. When I first started coming to Midem, I’d come over from America and bring some masters and I could walk down the aisle and find a deal with a German company or Scandinavian company, or British and Orchard could license music back. It’s no longer that kind of business. You have to understand that with the changes (in the business), we grow in a different way. You don’t need the same structure that we had then, but you need this meeting place. I think that’s critical. It’s a place where people can gather and exchange ideas and reinvent the future together. That’s the value of it.
President of the American Association of Independent Music
To a certain extent the decline has been helpful to us, because it’s weeded out a lot of people who weren’t good, prospective business partners, people who weren’t ready for prime-time so to speak either as a buyer or seller. You’d have to waste 20 minutes to figure that out with people. In addition to that, we used to get a whole line-up of certain artists who’d walk up and they’d say, I’d love you to take my disc. We’re really not too interested in that. It’s better for us. We prepare all our members when they come here so they usually have half or two thirds of their meetings in hand. Midem has the best database by far of any conference that we go to in the world. It just facilitates good research, figuring-out who it is and setting up an appointment. A smaller Midem is better for us. We’re as busy as we ever have been, in terms of business meetings.
Founder, Wall of Sound
I actually prefer to see the positives as is it with the new layout. It’s not crazy busy. But it was like a market stall before; where you were wondering around confused, staring at stands and stalls. It was like being in a market. Now you can actually converse, and see people. The new layout is actually more positive. It’ll stay important for a while yet, because it appeals to the industry as a whole, and not just a small part. I’ve come and I’m free for the world having split with the PIAS guys, so it’s going back to that basic thing I did with the beginning of the label, which is communication and relationships with people globally. It is a different world, obviously, to what it is. Have I picked up business at MIDEM? Absolutely. I haven’t been for a while, but people have been grabbing me and chatting with me a lot. The sun has been shining. It could be worse. I’d definitely come back.
Australian correspondent, Billboard Magazine
There’s an inescapable truth about MIDEM; it’s only a fraction of what it was. In its glory years when the record industry was also at its peak in the late 1990s and early 2000s, MIDEM was a beast. Attendance was somewhere in the region of 15,000, and the foyers of the Majestic, Martinez and Carlton were overflowing, night after night. Attendance now has dropped to 6,400, down 7% from last year. And only the Carlton has any action going on at the bar. And yet, this year’s event was a success. A leaner Midem means less time-jackers. The new format of building debate spaces into the main conference areas is a tactic that works; in years past, the convention element dislocated from the action on the floors. After last year’s torturous event – it bucketed down all week and the live music venue was erected in another timezone – Midem pulled it off this time. Midem is still the most important music trade fair on the planet. But for those of us who experience the best years, it ain’t what it was.
17 May 2013
The President of the Wee Waa Show Society, Brett Dickinson tells us more about the annual agricultural event, which starts today.
17 May 2013
We chat to the founder and CEO of Kobalt Music Group about changing the game of music publishing and copyright administration.
16 May 2013
We chat to Paul Jackson – dmg Radio’s Group Program Director – about smoothfm's impressive first year.
09 May 2013
Thom Yorke's favourite festival OutsideIn is coming back on September 21, and the curators are planning to up the ante, which probably means that Bowie will be dropping in this year. We chat to Astral People's Leron Danilewitz to find out what to expect.
09 May 2013
We put Paul Higgins, Managing Director and A&R Director, Empire Records & Publishing, also playing in pop against the majors.
06 May 2013
MusicNSW invited 16 musicians to take part in the roundtable, selecting representatives of diverse scenes such as electronic, underground and improvised music.
03 May 2013
We chat to Colin Blake, the newly-appointed head of Rdio Australia, a joint venture with DMG Radio.
26 April 2013
Lars Brandle catches up with Dwayne Cross, Director of Paperchase Sports and Entertainment and Promoter of Supafest, to find out what went wrong.
18 April 2013
We caught up with Nick Adams, Director of One to One Marketing at Telstra, to chat about their new ticketing service.
17 April 2013
Nominations have just opened for this year’s National Indigenous Music Awards, which makes this the perfect time to chat to Music NT Manager Mark Smith.
16 April 2013
We heard reports of a new musical about the Rugby League State Of Origin, being penned by noted author Hugh Lunn. Naturally we had a few questions...
12 April 2013
Stephen Halpin from Cattleyard Promotions chats to TMN about Groovin' The Moo and his recent trip to SXSW.
12 April 2013
Feel Presents is behind the Dig It Up! national concert series, which starts April 18 at Brisbane’s Tivoli.
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18 March 2013
One of the most important aspects of the policy is that some initiatives will allow the music industry to be more involved in funding and policy-making policies. We ask the industry for early reactions.
15 March 2013
We ask Jack Flanagan, co-owner of Weathermaker Music, all about their one-stop-shop setup.