Mr Schulenberg, your first concert as an organizer was in 1976 with one of the Rolling Stones.

How did you get to such a high point as a 24 year old newbie in the business?

Benjamin Fischer

Editor in business.

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    Half a year earlier I had organized the German Record Ball for a music magazine and got to know the concert and tour organizer Fritz Rau.

    The organization of the ball went well and Fritz asked me if I would like to arrange a few concerts for him.

    That's how I got into the event business in the first place.

    The evening then did not go very smoothly.

    Yes, when all 9,000 spectators were in the sold out Bremen town hall at 7 p.m., there was still no trace of the band and when still none of the Stones had appeared by 8:30 p.m., the audience slowly became restless. To alleviate the situation, I went on stage at 9 p.m. and explained that the band was stuck in a traffic jam on the way from the hotel in Hamburg to Bremen. That wasn't exactly true, but we were always assured that they had left and would have to arrive at any moment. The first limousine did not appear until 9:45 p.m. By 10:30 p.m. everyone was finally there and it turned out to be a terrific evening. What was also special: For every concert there is the so-called "rider", a list of the band's wishes, and it was noted that at every place where the band could be, right down to the toilet,had a bottle of Jack Daniel's to stand.

    You have also set your sights on other business areas relatively quickly, for example by joining advertising papers or radio stations.

    Why weren't concerts enough?

    Working towards a concert has always been extremely interesting for me.

    The concert as the climax, towards which everything was aimed, always felt good.

    But after the show the bright hall lights went on, everything was dismantled and you were back to zero.

    It was immediately clear to me at the time that I had to diversify.

    What fundamental changes has the concert industry experienced over the years - apart from the issue of ticket prices?

    The entire business has become extremely professional.

    It used to be a business for music lovers, today that cannot be said of everyone involved.

    But this structure is good for the industry.

    When you see how much show technology and special structures artists go on tour today: Highly qualified staff and a well-organized infrastructure are essential - especially since concert income is more important than ever for artists in a music market dominated by streaming.

    For consumers, this has the advantage that musicians tour more, but prices have also been rising for years.

    For super stars, stately three-digit sums are often due anyway.

    Does it go on and on?

    There is a trend towards VIP packages, very clearly. Personally, however, I advocate keeping prices moderate - including the increase that is to be expected now. Because due to the pandemic, the personnel costs for events have risen significantly. Many, for example sound and light technicians or other specialists in our field, have been forced to look for other jobs. Some have suffered a lot and have to be convinced to return - especially since there is still the risk that concerts will be canceled at short notice. Of course, the hygiene measures also cost money. All of this will inevitably be expressed in increasing ticket prices.

    In addition to basic ticketing, you took over Marek Lieberberg's concert agency, among others, shortly after the IPO. Today 36 organizers belong to the group, and they also operate large venues in this country such as the Lanxess Arena and the Berlin Waldbühne. Does the large-scale event business only make sense if you are present in all three fields?