Archive for the ‘IMS 2010’ Category

Tommie Sunshine interview at the Ibiza International Music Summit 2010

June 14th, 2010

Amongst all the Americans here this week, our two favourite characters are probably Jason Bentley and Tommie Sunshine. Bentley hosts Morning Becomes Eclectic on California’s KCRW (acknowledged as the best dance music programme in the US), and was the music superviser on the Matrix films. He’s also recently finished working with Daft Punk on the soundtrack to Tron: Legacy. Pete Tong engaged him in a fascinating discussion about working with the duo. Later Bentley moderated a panel discussion of the recent and long overdue surge of interest in dance music in the US. One of his panelists was the super cool Tommie Sunshine. Afterwards in the press room he filled us in about what’s happening in New York, the importance of authenticity and his love for the Australian party scene.

First off, let me say this. Ibiza is absolutely the heart and soul of dance music. It’s clear this island lives and breathes electronic music.

I started in ’86 and I’ve been making music for a decade now. The first big thing that I worked on was I co write Silver Screen with Felix da Housecat which went on to be quite a seminal track, and from that started getting into my own production. I’ve done well over 100 remixes in my career and I have a new single that’s just now breaking in Australia on Nova which is one of the biggest national stations.

Here’s what I love about New York. When I get home on Sunday I’m going to David Mancuso’s loft party which he’s been doing since the early 70s. He does something that’s completely out of this world in that he doesn’t mix. He puts on a record and plays it all the way to the end, and everybody claps, and he puts on another record. He plays records in their entirety and pretty much mainly plays disco, real proper ten minute long crazy disco from the ’70s. But then he’ll play a DFA remix of M.I.A. It’s from 4.30 in the afternoon to midnight, and he’s got little kids running around as well as people in their 70s. Then there’s the deep and dingy warehouse parties in Brooklyn. So there’s all of this going on at the same time and it’s all connected. It’s a pretty legitimate history in New York. There is a community there, but it’s not as big as you would hope, or as big as the mythology would lead you to believe. As I said in the panel, NY and the way it’s perceived is a myth. People think it’s this amazing place for dance music and it’s not. I mean you can go see the DFA guys throw a party and there’ll be only 200 people there. Derrick Carter can’t get 50 people in a room in Chicago!

We’re living in a very tricky time. I think one of the biggest problems in America right now is that you’ve got an entire cast of characters, especially on the major labels, who are old and probably do too much cocaine, and they’re trying to make decisions about music that’s completely divorced from all of that attitude. How can you have progress when these are the people pulling the strings. And these are the guys who fucked the whole business up in the first place. We still haven’t even progressed to figuring out how the industry got ruined in the first place, and now they’re doing it exactly the same way and only just now plugging dance music into the equation. But you know the biggest problem I think in America is that the radio doesn’t support this music. You can count on one hand I think the commercial radio stations in America that are dance music stations. One of the only real radio stations is Jason Bentley’s, because otherwise it’s all Clear Channel and controlled by inane corporate shit. When 9/11 happened they sent out a list of songs you couldn’t play any more. You couldn’t play Burnin’ Down The House, Edwin Starr’s War…all these songs came off the playlist because of what was going on.

The most perplexing part of all this I think is that in America things are the most fucking insane that they’ve ever been. We have a better president now, but nothing is fixed. We’re still in a really bad place. You would think now would be the time we’d have PE or Rage Against The Machine, all the people that were pissed, but you know what, no artist is gonna be PE because you won’t get your video or airplay tour support. You won’t play in any of the venues that Clear Channel own because they run the radio. The most dangerous person that we have is M.I.A and what is that? That’s a fucking dog and pony show, it’s like a political handjob that’s not real. It’s insincere and that is exactly what I was talking about earlier. This authenticity thing really bothers me. It’s my achilles heel. It’s “business music”, and here’s my motto: Music business, not business music.

What I find so fascinating is at no other point in history could you learn as much as you can learn about this music. You can go online and in an afternoon teach yourself the entire timeline to this music. You can learn about Kraftwerk, Giorgio Moroder… every single person that mattered in the grand scheme of things and no one’s doing it because they’re too distracted by Facebook and all this other nonsense. They have everybody totally distracted with this shit. The thing that’s really kind of a bummer is I feel like a lot of this stuff is being lost in time, and they would like you to believe that it’s always been this way, like everyone’s always had a computer. Like it’s never been any different. When I came into this we would go to the absolute worst side of Chicago, like where no sane person would ever go, right into the south side of Chicago. As a white kid from the suburbs you would never go there, but we would. Without a cellphone, without real directions. We didn’t Mapquest how to get there, we just figured it. It was dangerous and crazy, and people got their cars stolen at parties and it all was part of it, the element of danger which I feel has been completely removed. Because there is something about having to search these things down and go into situations that maybe weren’t comfortable that actually push you into having a bit more of a comprehensive experience at the end of the day.

Here’s an example of how slowly things are taking off here compared to Europe. I stood in a room and I have never seen anything like this. It was at Terminal Five in New York, two and a half thousand people, Ed Banger’s 7th anniversary and FEADZ was on the decks playing an absolutely perfect sound. There were 25 hundred kids with their feet firmly planted on the ground staring at him as if he was playing a piano. There wasn’t one person dancing, not one. I mean I’m not gonna lie. At the Guetta show at Pacha in New York there were definitely more people taking pictures with their phones than dancing, but at least everyone there was excited. I was just happy because there was a general excitement in the air at that show. Most people in modern times have such poor social skills because of how little human interaction they have on a daily basis. When they go to a nightclub they don’t even know how to act. They don’t even know that it’s ok to dance, like they’re not comfortable enough with themselves to get on a dance floor and act the fool, because they’re too worried about who’s watching, and how it’s going to look on Facebook the next day.

Understand something. In 1986 when I started going out there was no danger of having your photograph taken in a nightclub, and if anybody did take out a camera somebody would rugby tackle them. The minute that you involve a camera everyone changes how they act and the authenticity of the moment goes right down the shitter. I’m hoping the underground will recultivate this authenticity. I hope that there’s a bunch of kids that are throwing parties and booking DJs that I’ve never heard of, playing a genre of music I don’t know about and what’s going on in the underground for teenage kids shouldn’t have anything to do with me anyway.

The craziest place in the world I think for dance music right now is Australia. Absolutely. When you go out in that country it’s as if everyone in the room just got a text message that said that the world is ending in five minutes and that if they don’t fucking party as hard as they can its gonna end sooner. I just got back from Creamfields there where I played right before the Bloody Beetroots who were headlining to ten thousand people and it was one of the craziest things I’ve ever seen. The thing about Australia is that you can play anything, as long as you’re playing music from an authentic place and it comes from the heart they will react accordingly. I did an interview for my new single on Nova and the Action Battle Team as they’re called, – the presenters are 19, 20 and 21 years old, so it’s coming totally from a youth perspective. It was hysterical. One of the things they made me do and this just goes to show you the perspective, was a station ID in which I insult them and they record it. So I abused them verbally and they play it on the radio all the time. When you put power into kids’ hands and you let them decide what they’re gonna play and they take the reigns – that’s when things get interesting.

But back to the inauthenticity thing in corporate business music. When it gets like that it gets dirty to me. I feel lke itchy when I hear music like that as it seems totally contrived. It is being made to make money and if you’re going to do that, then do it the KLF way and have your little finger up. I’m all about that. Every single person in the music biz needs to read KLF’s The Manual. To make them more real about the whole thing. It’s all in there and that’s the baby that really tells it like it is….

Interview by Helen Donlon
Pix by Frank Fabian.

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Interview with Mark Ronson at IMS Ibiza 2010

June 10th, 2010

The Third Ibiza International Music Summit (IMS) came round as ever to coincide with the first big summer opening parties in the beach bars and clubs. The respectably later starts to each day’s panels were really most welcome given the heat and the palpably more laid back and confident vibe of this year’s event. Once again, the Gran Hotel in the marina was the mothership for the daytime events, with evening sessions at Grial and Pacha, and the grand finale event on full moon up in Dalt Vila.

For me the act that will feel the most pressure is the one who carries the week’s finale gig through sunset and into the rising full moon night and weekend, effectively warming up the medieval ramparts for the summer season. This year the job went to Mark Ronson who, just before heading up to Dalt Vila to face his music, was increasingly feeling the heat. We managed to grab a few minutes alone with Mark after his keynote interview with Pete Tong. Mark was somewhat panicky so we tried to reassure him all would be ok. After all , we told him, he would be playing not only to relaxing IMS delegates but also to quite a lot of local music lovers, many of whom would be coming up specifically to see him. Whoops… Head in hands, his trademark frown appeared. He seemed like a rabbit in the headlights. It was sweet. He was taking his role really seriously.

You just keep heaping on these fucking expectations. Everyone keeps saying ‘are you ready for Dalt Vila?’ and I’m like ‘Fuck!! I don’t know…it is a really big deal to play there, and its such a brilliant location and especially as the sun’s going down.

It is a brilliant location. I point out that it’s probably the perfect place to play a whole new set, because here the crowd will know the difference; and because it’s sunset *and* full moon it will all be really intense up there in the ancient fortress. The words ‘full moon’ though set him off again.

Why do you keep saying these things?  I feel like I’m going in-fucking-SANE. To be totally honest when my last record Version came out I had a set that I knew would always kill it, but because the new record’s only just finished I haven’t quite worked out that set, and I don’t want to play the Version set because that’s stale now. I think I’ll just improvise and hopefully it’ll be ok. I just didn’t realise it was such a big deal, this gig.  That’s amazing though.  It’s really nice to play to a familiar sort of crowd, but it is also about turning other people on. You know, the English people here they know me, so there’s a comfort level there. They can come hear me having probably heard me play before, and it’s exciting to play for the kids too, and for people that are going to maybe hear your thing for the first time and, hopefully, like it.

He’s been here before. Indeed he headlined at Ibiza Rocks a couple of years back. He has his own style, reflected in his excellent sartorials, his warm and endearing relationship to everything he touches on and his music tastes, which say total street dude one minute, and great big softie the next. Now he’s weighing up where to set the dial for tonight’s crowd.

Each crowd in each place is like its own little enclave, that’s the thing. I’ve played Pacha on a Friday night where its super-Euro, like Italians coming in to hear your music and trying to figure it out. Then you can play in Eden or something in San Antonio, where it’s like playing Manchester, and that’s nice too. This is the mecca of dance music. People really come here to have a great time unless you really fuck that up for them.

One of the things Ronson has said in his audience interview with Pete Tong earlier that had caught my interest was how much he loved Duran Duran. So much so that in 2008 he re-worked the band’s catalogue with them, live at La Cigale in Paris at a one-off gig. I asked him where this had come from?

From when I was a kid. I can’t remember what the first Duran Duran track I discovered was but I definitely remember loving The Union of the Snake, and Seven and the Ragged Tiger. That was one of the first CDs that I ever owned in fact. Then The Reflex. When I was nine, with the very first band that I was ever in at school, we played at the school talent show. We played Wild Boys and it was a fucking catastrophe. We only rehearsed once. We just thought it’d be cool, ‘oh we’ll just plug in electric guitars and perform, and it doesn’t matter’.  We got the biggest screaming at from our teacher, she said ‘you were an insult to everybody!’ But the Duran thing is kind of amazing. To be able to get to a situation where you’re making a band sound like music that you loved when you were a kid, to get them to revisit and reclaim what they did so well.
Ronson’s production credits include Amy Winehouse’s Back To Black, Ghostface Killah’s More Fish, Kaiser Chief’s Off With Their Heads, Lily Allen’s Alright, Still, Ol’ Dirty Bastard’s Osirus and Robbie Williams’ Rudebox.  So I’m sure a few producers feature in his hero list.

Well yeah, and today I’m way more knowledgable because you get to study all the records and you get behind the people that you love. I definitely looked up to Phil Spector, but I really really loved Rick Rubin back then, because when you’re a kid and looking at someone that iconic…I mean he could be in a children’s book, like Where’s Waldo because he’s just so interesting.  I loved the Beastie Boys, The Black Crowes, Slayer. LL Cool J. And then I loved hiphop, Dre and DJ Premier who was definitely my favourite producer. Pete Rock. I mean they’re all amazing.

I had my own studio for a little while too, but I was on the road so much it just didn’t make sense me paying like crazy New York rent so I gave it up. The studio where I recorded my new album is a friend’s place in Williamsburg in Brooklyn. We kind of just set up shop there for six months. It was the first time I worked there but it did become my favourite because it’s got an amazing vibe. He just made it himself and you can tell it was made with love. It was like somewhere that The Band might have recorded at in 1972.  It actually looked to me like old footage of The Band in Woodstock, it’s got that kind of vibe to it.  I mix in London with an engineer called Tom Elmhirst. Someone recommended him for the Amy Winehouse record and since then I pretty much go to him.

Calmer now, I think, I ask him what he would do if it were the end of the world. He’s going to go one of two ways – the craziest party ever, with him performing at his favourite world nightspot or…He opts for the ‘or’ scenario.

Easy. I’d wanna be with my girlfriend. I don’t even know if I’d want to perform. I’d just feel like staying in and snuggling for the last 12 hours or whatever. Probably watch Arrested Development or Curb Your Enthusiasm and try and get my mind off the fact the world’s going to end…

Two hours later, after he’s been spotted backstage up in Dalt Vila by our cameraman intensely finishing off his set preparation, he delivers a magnificently eclectic and heartfelt set to the appreciative lunar congregation and by the end he is having a thoroughly good time.  “Thank you so much! This has been totally fucking awesome!” he tells the crowd, and closes out with a new track featuring Boy George before he lets Sasha take over for the late set.

by Helen Donlon and Frank Fabian

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IMS finale gig last night

May 29th, 2010

What a way to end 3 brilliant days of this years International Music Summit. We weren’t Mark Ronson’s biggest fans before yesterday but after his interview and fantastic set at the finale gig we are very happy to change our mind. At one point he went from La Roux – In For The Kill to The Strokes, Tears For Fears and then Jackson 5 (i think it was) – it worked – the new Boom Boom track opener and the final one with Boy George on vocals were great. Sasha then smashed it.

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Ibiza International Music Summit 2010 – day two

May 28th, 2010

First off, many thanks to Mark Jones for the Wall of Sound party at Grial last night which kept everyone up all night, in a really friendly atmosphere with excellent music.

The quote of the day, “Women are the best. They are superior and the sooner we admit it, the better off we’ll be” comes from French super DJ and producer David Guetta. Ben Turner’s interview with Guetta at lunchtime was the popular event of the morning. His weekly summer residency, Fuck Me I’m Famous opens tonight at Pacha and we know that it was completely sold out well in advance. Despite this, Guetta remains grounded and realistic about the future. “I know I have like two good years as a top producer before the next new hot sound comes along.” That said, he’s been ahead of the game for several years, although he is not complacent about his superstardom. “It’s going so fast that we have to readapt every two months.”

We missed the bickering that took place on the superclub panel as we were busy interviewing various folks on camera around the hotel and capturing live footage of all sorts of interminglers, including the learned Dan Tait educating Busy P., Cassius and Luke Pompey on the latest Pioneer technology, launched exclusively at the IMS. Given that these French guys are at the pinnacle of electronic production, it was warming to see them so hooked by Tait’s gear.

This afternoon’s panel which consisted of Busy P. (Pedro Winter), Skream, Annie Mac, Heidi, Arthur Velasquez and Toddla T. was a free for all that quickly became performance art, due in very large part to both the caning of an entire bottle of Hierbas by the panelists, and the stratospheric personality of Busy P. “Why am I talking into a flower?” he asked in reference to the paper muffler or whatever had been placed over his mike. Business, he said is “all about putting your balls, and your life on the line”. The former manager of Daft Punk and owner of Ed Banger Records bantered enthusiastically with the other panelists who were spread across several genres and whose borders were acknowledged to be increasingly overlapping all across Europe. Now also the manager of Justice, Busy P. emphasised how important it is to him to give his artists complete freedom. Arthur Velasquez, who refused to be called a manager and accepted the tag ‘babysitter’ suggested for him by Heidi, was equally democratic “I work with people, not for them.” He said it was important for artists to go out and make their own mistakes in order to learn the ropes, whereas artists reliant on managers could potentially miss out on the intimacy between them and their audiences.

Later, Ted Cohen led an informal and very useful session in which he managed to confidently and comfortably bring the whole audience together for feedback on issues covered so far at this year’s summit.

Following an interview by Jason Bentley with Chop Shop’s Alexandra Patsavas on synchronisation and visualisation, the Ibiza Music Cluster was presented by the Consell Insular and featured award-winning Kirsty Keatch, a local singer songwriter; and an engaging talk by resident DJ Lenny Ibizarre.

Tonight’s entertainment comes in the form of a German Label Showcase at Grial, featuring Heidi, Jesse Rose and Sascha Dive; an Ibiza resident DJ night at Keeper with DJ Pippi, DJ Oliver, Java, Jose The End and Dave Storm; and of course the grand opening of…

Images – Hierbas Ibicencas, David Guetta and Ben Turner, Dan Tait/Luke Pompey/Philippe Zdar (Cassius)/Busy P., afternoon panel, Skream and Toddla T, Skream and Annie Mac, Fuck Me I’m Famous as the lights went on tonight. By Frank Fabian and Helen Donlon

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Win Pioneer DJ Equipment with Ibiza International Music Summit 2010

May 20th, 2010

Ibiza International Music SummitThis years Ibiza International Music Summit has got together with Pioneer DJ to give away a top spec DJ set-up:




The competition opens Thursday May 20th and closes Friday June 18th. To enter, go to the International Music Summit MySpace profile and fill in the competition entry form.

Some photos from yesterdays IMS and Ibiza Music Cluster press conference at Cafe Del Mar

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International Music Summit, Ibiza 2010 – Panel lineups revealed

April 23rd, 2010

imsThe International Music Summit here in Ibiza have revealed the panel lineups for this years event at the end of May. Panels that immediately stick out are:

Weds: the Augmented Reality presentation by Nick Heller from Google and the Our Community Is Our Brand as Callum Negus Fancey is on it and he created the stir last year when he famously quoted that “his audience doesn’t know or care who Paul Oakenfold is”.

Thurday: This is an obvious one for anyone who was at the inaugural IMS in 2008 – the clubs panel with representatives from Amnesia, Eden, Es Paradis, Pacha, Privilege and Space – (no El Divino again?)

Wednesday 26th May

12.00-12.05 IMS:10 Opening Welcome by the Consell Insular d’Eivissa.

12.05-12.10 IMS:10 Introduction & Announcements by IMS Partners:
 Ben Turner, Danny Whittle, Mark Netto, Pete Tong, Simeon Friend.

12.10-12.30 Keynote Introduction. To be revealed…

12:30-12:45 Electronic Music: A Business Report Commission by IMS, presented by Kevin Watson, Market Researcher, UK.

ims12.45-13.00 Press Conference. IMS presents. To be revealed

13.00-13.20 Meet The Future ­ A Presentation.
Tron: The Soundtrack created by Daft Punk. Interview with Jason  Bentley, Music Supervisor, USA.

13.30-14.30 Panel. Big Dog DJs: F*** You We¹re Famous.
                  Moderator: Ralph Moore, Editor At Large, Mixmag, UK.
                  1. David Guetta, Artist, F*** Me I¹m Famous, France.
                  2. Erick Morillo, Artist, Subliminal, USA.
                  3. Pete Tong, Artist, IMS / BBC Radio 1, UK.

14.30-15.30 Networking Lunch. Music by Phil Mison.

15.30-16.15 The IMS Anthem 2010 in conjunction with Burn and Dance4Life.
Created by Cassius (Philippe Cerboneschi aka Philippe Zdar and  Hubert Blanc-Francard aka Boom Bass).

16.25-17.00 Meet The Future ­ A Presentation.
 Augmented Reality and Future Mobile. Presented by Nick Heller, New Business Development, Google, Switzerland.

17.10-18.10 Panel. Our Community Is Our Brand.
                  Moderator: Mark Quail, Attorney, USA.
                  1. Atan Burrows, Co-Founder, M-Flow, UK.
                  2. Callum Negus Fancey, Promoter, Let¹s Go Crazy, UK.
                  3. David Mitchell, Poker PR: Digital Media Agency, UK.
                  4. Jonas Tempel, Retailer, Beatport, USA.
                  5. Konrad Von Loehneysen, Label & Radio Owner, Ministry of
                  Sound DE / Motor FM, Germany.

ims18.20-18.30 Meet The Future ­ A Presentation.
                  Studio Audio Electronics by Gavin Attard, UK.

18.40-19.30 Technology & Music Performance.
                  Moderator: Tom Middleton, Artist, UK.
                  1. Sasha, UK.
                  Joined by…
                  2. Jason Pook, Pioneer, UK.
                  3. Florian Plenge, Native Instruments, Germany.
                  4. Ola Sars, Tonium / Pacemaker, Let¹s Mix, Sweden.

19.30-21.00 Drinks Reception at the Pioneer Networking Bar, Ibiza Gran Hotel.

21.00-21.30 M Flow Cocktail Reception poolside at the Ibiza Gran Hotel.
                  Music by Tom Middleton.

23.00-03.00 IMS:10 – IMS Label Showcase at Grial, Ibiza Town.
                  To be revealed ….

Thursday 27th May

11.00-11.10 Meet The Future ­ A Presentation.
                  Music DNA: MP3 Evolved by Dagfinn Bach, Bach Technology, Norway.

11.20-11.50 Press Conference hosted by Burn.
                  presented by Bobby Simms, Exploding Plastic, UK.

11.50-12.20 Keynote Address: Frank Mertens, Head of Brands, Sprite / Minute Maid / Coca-Cola Group, USA

ims12.30-13.30 Panel. Ibiza United 2010.
Moderator: Juan Suarez, Diario de Ibiza, Ibiza.
                  1. Amnesia, Ibiza.
                  2. Eden, Ibiza.
                  3. Es Paradis, Ibiza.
                  4. Pacha, Ibiza.
                  5. Privilege, Ibiza.
                  6. Space, Ibiza.

13.45-14.30 The IMS Anthem 2010 in conjunction with Burn and Dance4Life.
Remixed by Arthur Baker and Robin Millar

14.30-15.30 Networking Lunch. Music by Jose Padilla, Ibiza.

15.30-15.40 Meet The Future ­ A Presentation.
New approaches to synchronisation by Alex Lavery, Simon Rose,  Pitch & Sync, UK.

15.50-16.40 Panel. Meet the Future ­ The Artists.
                  Moderator: Nick Decosemo, Mixmag, UK.
                  1. Annie Mac, Artist, BBC Radio 1, UK.
                  2. Arthur Velasquez, Artist Manager, Germany.
                  3. Jesse Rose, Artist, Made To Play, Germany.
                  4. Heidi, Artist, BBC Radio 1, Canada.
                  5. Pedro Winter aka Busy P, Ed Banger Records, France.
                  6. Skream. Artist, UK.

16.50-17.00 The IMS Vote. Help Shape the Future of Electronic Music.
                   Hosted by Pete Tong, IMS / BBC Radio 1, UK.

ims17.00-17.45 Meet The Audience! Delegates Debate.
Hosted by Ted Cohen, Tag Strategic, USA.

17.50-18.05 Global Retail Trends in Electronic Music by Jonas Temple and Matthew Adell, Beatport, USA.

18.10-18.50 Presidential Debate. Residential Advisor presents:
How to Conquer Ibiza and Remain Credible.
                  Moderator: Todd Burns, Resident Advisor, Germany.
                  1. Andrea Pelino, Promoter, Circo Loco / DC10, Italy.
                  2. Steve Lawler, Artist, Viva Music, UK.

19.00-20.00 Ibiza Music Island by Consell Insular d’Eivissa.
                  Speaker: Paco Medina, Ibiza Music Cluster

20.00-21.00 Drinks Reception at the Pioneer Networking Bar, Ibiza Gran Hotel.

21.00-00.00 Pioneer Charity Dinner, Ibiza Gran Hotel.
                  Featuring the Get Tested Charity Auction and the Pioneer Award for                   Outstanding Dedication to Dance Music.

23.00-03.00 IMS:10 – IMS Label Showcase at Grial, Ibiza Town.
                  To be revealed ….

Friday 28th May

09.30-11.00 Networking Breakfast.

11.00-11.50 Panel. Taking Dance Music to the Arena.
                  Moderator: Ben Turner, IMS / Graphite, UK.
                  1. Dean Wilson, Manager, Three Six Zero Group, UK.
                  2. Jessica Koravacs, Managing Director, AEG Live, UK.
                  3. Jim King, Promoter, Loud Sound / AEG Live, UK.
                  4. Kurosh Nasseri, Nasseri Music Business Solutions, USA.
                  5. Mark Beavan, Manager, Advanced Alternative Media, USA.
                  6. Stephen Kempner, Lawyer, Sheridans, UK.

ims12.00-12.15 Meet The Future ­ A Presentation.
Electronic Beats by Claudia Jonas, Deutsche Telekom, Germany.

12.25-13.15 Presidential Debate:
David vs. Goliath: Agent Billing Wars.
 Moderator: Kurosh Nasseri, Nasseri Music Business Solutions,  USA.
                  1. To be revealed….
                  2. To be revealed….

13.30-14.30 Panel. USA Today: Boom Boom Now.
                  Moderator: Jason Bentley, KCRW, USA.
                  1. Arthur Baker, Artist, UK.
                  2. Caroline Prothero, Artist Manager, Prohibition, UK.
                  3. Eddie Dean, Promoter, Pacha New York, USA.
                  4. Tommie Sunshine, Artist, USA.
                  5. Patrick Moxey, Label Owner, Ultra Records, USA.
                  6. Sam Kirby, Agent, William Morris Endeavour, USA.
                  7. Travis Hayden, A&R, Atlantic Records, USA.

ims14.30-15.30 Networking Lunch. Music by Michaelangelo L’Acqua, W Hotels. TBC.

15.30-16.30 Synchronisation and Visualisation.
Keynote Interbiew: Alexandra Patsavas, Music Supervisor, Chop Shop, USA.
Interviewed by Jason Bentley, Music Supervisor, USA.

16.40-17.40 Keynote Interview: ­ Mark Ronson, USA.
Interviewed by Ben Turner, IMS / Graphite, UK.

17.40-17.45 Closing Speeches by IMS Partners.
Ben Turner, Danny Whittle, Mark Netto, Pete Tong, Simeon Friend.

18.30-00.00 IMS Grand Finale Festival in association with Pioneer. Drinks courtesy  of Sol and BurnDalt Vila, Ibiza Town. UNESCO World Heritage Site.
DJs: Pete Tong, Skream. Live: Buraka Som Sistema, David E Sugar

00.00-07.00 Pure Pacha Opening Party, Pacha, Ibiza Town..
                  Club 75 featuring Justice, Cassius, Busy P, DJ Mehdi

Saturday 29th May

13.00-18.00 IMS Wind Down ­ Networking Finale in association with Pioneer.
                  Drinks courtesy of Sol.
                  Blue Marlin, Cala Jondal

12.00-00.00 Ushuaia Grand Opening
                  Luciano / Cadenza at Ushuaia, Playa d¹en Bossa.

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Buraka Som Sistema to play International Music Summit, Ibiza

April 15th, 2010

Buraka Som SistemaIMS have announced this morning that Portugal’s Buraka Som Sistema will play the grand finale event at D’alt Vila in Ibiza Town.

Alongside them will be Mark Ronson, Sasha, Pete Tong, Skream and David E Sugar.

Buraka Som Sistema had their “Essential Mix” aired on Radio 1 over the weekend – The Portuguese blog Enchufada have kindly linked to the mp3 of their session here.

LOCATION: Dalt Vila, UNESCO World Heritage Site, Ibiza
DATE: Friday 28th May 2010
TIMES: 18:30 – Midnight
PRICES: €22.50 (IMS delegates have free entry)
CAPACITY: 2,500 people

Last years International Music Summit finale gig in D’alt Vila with Basement jaxx, Pete Tong and Filthy Dukes:

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International Music Summit 2010, Ibiza more announcements due

April 14th, 2010

More International Music Summit 2010, Ibiza announcements are due very very shortly so we thought it was time for a reminder of last years brilliant finale gig at D’alt Vila in Ibiza Town with Filthy Dukes, Pete Tong and Basement Jaxx:

basement jaxx, ibiza, ims

Video by our good friend Kevin Palmer at KuschtyRyeProductions

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