Get Up Close with Industry Insiders

After an inspiring and motivational day of speeches and panels during the day at IMS Asia-Pacific, delegates will receive another valuable chance to discuss and connect with industry leaders face-to-face at the IMS Networking Dinner. Dine, mingle and drink with professionals and resourceful insiders all while enjoying good music and nightlife of the city of Shanghai.

The IMS Networking Dinner is an extension of IMS Asia-Pacific’s daytime portion and offers a more casual, but still connected focus on the electronic music business and networking. The dinner will take place at the American Brasserie POP, allowing delegates and foreign guests to properly experience Shanghai’s renowned Bund view while in company of the industry’s greatest.

Seating is limited, so please secure your spot soon!

WHEN: 30th September, 8pm-12pm

WHERE: POP, 3 on the bund. Zhong Shan Dong Rd 7F (near Guang Dong Rd)

PRICE: 100€ / 745 RMB Per Person

INCLUDES: Free drinks all night (beer, wine, soda), casual dinner. Menu coming soon!

Do you dream of being part of the electronic music industry? Are you an aspiring DJ? Do you want to be a booking agent? A talent recruiter? Come to IMS Asia-Pacific this year and realize your dreams.

IMS is offering a special deal to STUDENTS ONLY. You will be able to purchase a delegate badge for 50% off, and in doing so, be offered the opportunity to stand at the frontier of electronic music in Asia.

IMS is one of the most esteemed conferences in electronic music. International Music Summit broke ground in Shanghai last year with it’s thematic “Awakening the Dragon” industrial focus. Not only did it open up the Chinese market to industry experts and celebrity DJs alike, it also opened a new chapter for electronic music in Asia.

This year, IMS is coming together again in Shanghai, not only to discuss the Chinese market, but to also address the entire Asia-Pacific region as a whole. Speakers this year include mega DJs Skrillex and Alesso, as well as Mandopop Queen Jolin Tsai. Top executives from labels, booking agencies, and clubs will be coming from all over the globe to discuss and engage in the most pressing issues facing the industry. This is a once in a lifetime chance to mingle with some of the most impressive individuals within electronic music.

In order to get the 50% discount promo code, please follow the steps below:

    1. Email your valid student ID
    2. Show us a screenshot of you reposting this article, as well as another IMS related article.
    3. Receive your promo code from us.
    4. Purchase and register your here.


  • Bring your valid student ID to IMS on the 29th, and pick up your delegate badge by presenting it to the registration desk.

We hope to see you at IMS!

Skrillex, Alesso, Asia pop star Jolin Tsai, Pete Tong, Chinese producer Chace, Mute’s Daniel Miller, OWSLA, Sony, Universal Music, AM Only, WME and Many More

2016 IMS Market Focus On Japan

IMS in partnership with Budweiser STORM Festival, today revealed the first round of speakers and initial programming details for the third IMS Asia-Pacific, taking place Sept 29 – 30 in Shanghai, China at the Hyatt on the Bund. IMS will gather global artists, thought-leaders and industry figureheads to explore the growing influence of electronic music and the issues, challenges and opportunities that face the industry globally and in Asia. 2016’s IMS Asian market focus will be Japan.

Two of the world’s biggest electronic artists, Alesso and Skrillex, arrive at IMS Asia-Pacific to share how they are building their profiles in Asia. Skrillex will bring his Meet Team OWSLA session to IMS which includes some of the key players behind the success of Skrillex and his OWSLA imprint; Tim Smith (Manager), Lee Anderson (Agent) & Blaise DeAngelo (OWSLA GM). The panel will discuss the strategies, successes and challenges of taking their sound and style across Asia-Pacific. Key topics include: recording in Korea, the influence of Japan, synchs with Chinese film studios, touring strategy for south east Asia and much more.

Alesso will discuss how working with local Asian artists is an important way for him to connect with local audiences. IMS will also showcase the stories behind some of the biggest stars emerging in Asia, such as Asia’s Pop Queen and vocalist Jolin Tsai, leading underground Thai DJ Nakadia and 17-year old Chace, who’s global profile is rapidly rising after collaborating with Yellow Claw and becoming the first Chinese artist to ever play Tomorrowland.

Global touring powerhouses like WME, AM Only and Coda will explain how and why they are focused on the expanding Asian market, while the region’s biggest promoters, such as Jason Swamy (Wonderfruit, Further Future) and Shailendra Singh (Percept, India) will deliver on the ground insight into the size, scale and unique character of the Asian markets.

Streaming and sales continue to be a hot button issue globally, and IMS will offer viewpoints from major labels like Sony Japan and Universal China on the unique platforms and landscape of the Asian record business.

IMS will also explore the media landscape in Asia, with participants from global media brands like Pulse, Mixmag and Billboard, who have all launched localized platforms throughout the region.

In 2015 IMS revealed that electronic music event attendance in China had risen 30% since 2011. The region is filled with a growing population of young, eager fans, hopeful talent and hungry professionals aiming to help cultivate the electronic music scene in the region. 2016’s IMS Asia-Pacific will bridge the gap between East and West and provide unique first hand insight into the artists, businesses and events that are making Asia Pacific one of the most exciting and rapidly growing electronic music markets in the world. IMS Asia-Pacific will feature a Market Focus on Japan, a region which has trail blazed electronic music in the region for 30 years and remains the technological home of innovation for the genre.

“Asia is one of electronic music’s biggest opportunities, yet a market that most who live outside know little about,” said Ben Turner, co-founder of IMS. “The caliber of our speakers highlights the growing global interest in the region and it’s imperative for IMS to build a dialogue and create further connections and understanding between East and West. We’re delighted to be working with STORM and Eric as our local partners, who have been instrumental in bringing IMS to China.”

“Witnessing the rise of electronic music in the region for the past 4 years has convinced me beyond doubt that we have made the right choice to enter the market,” said Eric Zho, Founder of A2 Entertainment Group and STORM Electronic Music Festival in China. “Our goal for IMS Asia Pacific is to clear any red tape and support those who have an interest in the region, to further grow and penetrate a territory that host more than 60% of the world’s population. With Ben Turner’s experience and foresight, combined with our own experience in the region, we believe IMS Asia Pacific will be the key to help open those doors for the dance music industry.”

After debuting IMS Asia-Pacific in Singapore in 2014, IMS launched in China in 2015. In 2016 IMS will consolidate its Asia-Pacific events, with Shanghai’s September event being its sole event in the region. IMS was the first ever electronic music summit in China, recognizing the country’s growing enthusiasm for and importance to the global electronic music industry.

Budweiser STORM Festival has become China’s premier electronic music event since its launch in 2013. In addition to its flagship Shanghai event Storm now hosts regional events around China. Its attendance in 2016 is expected to surpass 30,000 per day, and they have hosted some of the world’s biggest DJs including Kaskade, Galantis, Skrillex and more.



In 2016, IMS Asia-Pacific returns in 2016 newly reimagined and expanded for a two-day edition that unites leading figures, artists and business of the East and West electronic music industry. It’s time to return to Asia and LEARN, CONNECT and BE HEARD.

Stay tuned – major speaker and topic announcements are coming SOON!

Badges are now available here.

By David Sorrenti

Read the full article on PULSE.

From this year’s IMS business report, we learned that electronic music buyers are twice as likely to subscribe to music streaming platforms as any other genre fans, and that electronic music fans were the third most active music group on social media. Almost every DJ has his own Facebook fan page, and from promoting to event organizing and selling tickets, everything is connected through social media.
Our ongoing studies in collaboration with IMS Asia Pacific have found the rapid rise of the Asian dance music scene to be indisputable at this point, so it’s only natural that anyone looking to develop within this growing industry should be paying close attention to the technologies through which electronic music consumers enjoy – and pay for – their music. In Asia, the focus is even more relevant, as the population in this region has the highest participation in social media and handheld devices than anywhere else in the world.

Clearly in order to understand the industry, it is crucial to learn how social media and streaming platforms in Asia work, so we decided to take a look at the current smartphone app industry in Asia, and compare the different social media, music and technology apps to those popular in Western countries.

Asia has emerged as the globe’s leading hub in the mobile app industry over the past few years. Consumers across Asia spend more time on their smartphones than in any other part of the world, with numbers reaching up to more than five hours per day on average. The major activity on social network and instant messaging apps plays an important role in the drastically increasing number of smartphone users in Asia, and popular apps continue to grow each day as the most frequently used communication platforms.

According to the statistic below, 2014 had 888.000 smartphone users in the Asian-Pacific region, with an estimated reach of 1,139.8 million users by the end of 2016, and a prediction to reach almost 1.5 million users in 2019.

Screen Shot 2016-07-27 at 2.01.06 PM_zpshfl6wbr0



Another graph from January 2016 shows the average number of hours that users spend using social media each day, with the Philippines being the leading country with an average of 3.7 hours a day. Malaysia, Thailand and Indonesia are also included in the top 10 countries, with an average time of 2.9 hours spent on social media.



Given these facts, we must question which apps are the most popular in the region, which have made a significant impact in the Asia-Pacific industry over the past few years, and how they affected the electronic music world? Let’s find out…

Social media and instant messaging apps

As we can see in this graph, Facebook is still the global leader in social media apps in the Asian region, and Facebook-owned apps like Messenger, WhatsApp and Facebook itself are represented in the top five list in almost every Asian country aside from China, where Facebook is blocked.



For the Chinese market, the instant messaging app WeChat is the strong dominator with 24% and reaches an impressive number of approximately 650 million users worldwide, with most users being based in China. WeChat initially started as a simple messaging app, but later on offered many other services like transportation (taxi, fights, train), movie tickets, online banking and more, and became the most successful social app in China, revolutionising the model of messaging apps.

Another notable messaging app is KakaoTalk, which is the leading messaging app in South Korea with 41% penetration, while Facebook Messenger, the next most used messaging app, has only 12%. Although KakaoTalk is really popular in Korea, it’s not really used much in any other country.


The four leading messaging apps in Asia are WeChat, LINE, WhatsApp, and Facebook Messenger, and represent over 2.5B social users worldwide, with WeChat and LINE focused on the Asian market. Given the high number of social media users in the Asian-Pacific region, international brands must concentrate on these channels to spark new business opportunities. However, they should also know that every social media channel has different conditions for branding. WhatsApp for example doesn’t allow brand communication yet, although they recently announced that it will be available soon (but even then it might just be exclusive to Western businesses).

More diverse messaging apps like WeChat or LINE, which offer many different types of services, allow brand communication and include the branded app and browser functionality into their messaging apps, customized and integrated into the customer’s interests and activities. Aside from simple ticket selling, WeChat even allows users to add brands into their contact list, and offers a more advanced user / brand experience than in most Western countries. It is quite normal for Chinese social media users to have different brands among their friends in their contact list, which leads them to interacting and chatting with different brands through the messaging app, building consumer relationships. If they are not interested in a brand, they can simply delete it from their contact list.

This business model definitely marks the key difference in the Chinese market, and compared to the US, Chinese social media users are very comfortable with interacting with different brands through social media channels, while Western consumers are more likely to be scared off by this concept. For international brands with strong social media presence, this might just be the perfect opportunity to drive engagement with electronic music fans in the Asian-pacific market.

Music apps and streaming services

Moving on to another very important key point in the mobile app industry in Asia – and one of particular relevance to its growing dance music community – music apps and streaming services. While music streaming services are very successful in the US and in Europe, most Asian countries are still struggling with piracy and users that have long been habituated with free entertainment due to illegal downloading and pirated music websites.

Just recently, various international streaming services were able to introduce their product in Asia by adjusting the monthly subscription fee individually for each region, but also by pushing their services toward mobile, given the fact that most people in Asia go online via smartphone.

France-based streaming service Deezer for example, expanded in South East Asia in August 2012, and was available in countries like Thailand, Singapore, Malaysia, Philippines and Indonesia shortly after. Other popular streaming apps like Spotify or Apple Music also introduced their brand in most South East Asian countries. But there are still a few individuals that have put out music apps and streaming services that are more focused on the regional market.



According to government statistics, more than 478 million people in China (which is more than the entire population of the United States) listen to music online. Internet giant Tencent Holdings Limited, who also developed WeChat, first got popular with their instant messaging app QQ, which later on expanded to many other services and functions like online social games, shopping, blogging and music. With around 829 million subscribed users, their QQ music app is the most frequently used music app in China (around 80 million users), and it features popular tracks mainly from China, Taiwan, Japan or South Korea. Given the high piracy rate, it was definitely a courageous attempt to introduce paid music streaming service in China, and it was actually first launched in 2005 (which is even before Spotify, Deezer or Apple Music existed).

Taiwan also has a very prominent music app called KKbox, which is even outranking Spotify in the Taiwanese app market. KKbox has over 10 million users and offers over 20 million songs, and is also available in Hong Kong, Japan, Singapore, Malaysia and Thailand. Another notable music app is Malaysia-based Raku (Radio Ku). It provides access to millions of international and local songs, podcasts and more than 20 Malaysian radio stations. Raku is kind of the counterpart to the UK’s which was popular a few years back.

Understanding changing streaming and social technologies is key to success in Asian dance music industry, which is booming like never before.

Learn more at this year’s IMS Asia Pacific in Shanghai this September.

By Marlina Azmi

Read the article on Pulse!

Asia’s diverse electronic music scene is currently at its peak. Whilst some regions started developing early – Singapore’s super club Zouk, for example, has been around for a quarter of a century, and India’s club scene boasts roots in the early Goa trance raves of the late eighties – there are many still new to the game. Despite some countries having to make up for lost time, their dance scenes have almost caught up with their more established neighbours in the last decade – and a lot has changed in the last five years especially.

Asia is now finally getting the recognition it deserves, and many are looking east as the industry has proven its potential as a serious contender in the international electronic dance music scene. The fact that in the last two years the influential International Music Summit elected both Singapore and Shanghai as worthy cities for its global conference (the Shangai event was the first of its kind in China), shows how far the region has risen in international esteem. To illustrate the point further and celebrate the wins, we’ve compiled some of the notable achievements that Asia has garnered in the last five years.

China, The Dragon Has Finally Awoken

EDM didn’t successfully take off when it first came into China in 2010, but it has since gained traction in the millennial generation, the initial setback largely down to the government’s suppression of club culture from the late nineties. The government has recently eased regulations, however, which coincides with an emerging capitalist and individualist culture.

“The Chinese government is slowly realizing that for people to pursue their individual ways of living is very important, and I think the government is starting to do that,” DJ Mickey Zhang said in an interview with YourEDM. Various cities in China have made it into lists of top spots to party in around Asia. Last year’s IMS report revealed that between 2011 and 2015 estimated capacity for electronic dance music event almost tripled.

Budweiser Storm Festival in Shanghai also expanded from 16 thousand in 2013 to a two-location event in 2015 with 30-40 thousand capacity. Boiler Room’s much anticipated entrance into China was a huge success this year with the online show breaking its own viewing records. The session in Beijing on 30th April pulled in over 1.3 million views for Le Music with more than 1 million more people tuning in to stream the show live on the Boiler Room’s own website. Shanghai’s packed session on the 1st of May achieved similar figures, with 1.6 million watching in China. Boiler Room China featured headliners, Disclosure, and local acts including the likes of MIIIA and TzuSing.

The Growing Numbers Of International Festival Brands

Asia has had a healthy influx of international festival brands coming through the region in the last five years. In 2012, Sensation made its debut in South Korea, Thailand, and Taiwan; earlier this year it made an appearance in Hyderabad. Australia’s now defunct Future Music Festival collaborated with The Livescape Group to host Future Music Festival Asia which, despite the controversial deaths of several punters in its 2014 edition, successfully garnered RM916mil in its debut in 2012.

2013 brought in an estimated 15,000 tourists and RM52.5mil in tourist expenditure, and was estimated to bring in RM112.6mil in its 2014 edition. Ultra Korea, the first in the Asian region returned for the fifth time this year on June 10th, 11th and 12th 2016. Since its debut in 2012, the Korean edition has grown to be the most established event in Ultra’s global calendar, next to of course the annual flagship event in Downtown Miami. It expanded into a three-day affair this year and the festival drew a crowd of over 150, 000 festival-goers, which automatically makes it the largest electronic music festival ever to take place on Korean soil.

The Success Of Home-Grown Festivals

While international festival brands have brought in immense success to many Asian nations, we cannot disregard the home-grown brands that have risen in the last five years. Djakarta Warehouse Project for one has been listed as one to not be missed in a lot of punters’ yearly calendar. DWP drew 70,000 people in 2014, the first year it was a two-day event, and Billboard estimates that 75,000 flooded onto the grounds in 2015 generating $2.9 million in revenue. The first event drew in 2,000 people, and eventually reached 15,000 in 2012. It doubled again in the following two years making becoming the biggest dance music festival in Southeast Asia by 2014.

Thailand has also grown to be a main player in the festival scene with the emergence of boutique festivals like Wonderfruit and Kolour In The Park. Bigger productions like Songkran Festival S₂O drew 42,000 revellers to their three-day affair, which was a spike of 8,000 revellers from last year’s debut. The second edition of S₂O drew 30% or nearly 13,000 foreign visitors of the festival’s overall attendance from around the region. This is a 10% increase in foreign attendance compared to 2015.

The Rise Of The Underground Scene

Despite the EDM buzz surrounding the mainstream market, the underground scene in Asia has flourished in tandem. The Philippines, Thailand, Malaysia, Hong Kong, China, and Singapore have been building up their underground scenes at a successful rate with more club openings that have given a solid platform for local artists.

Venues like kyō in Singapore, Pisco Club, Elysium and Under 9 in Kuala Lumpur, Time, and the newly opened XX XX / 2020club in the Philippines, Beam and Glow in Thailand, Shelter and Arkham in Shanghai and Oma in Hong Kong are some of the most celebrated underground clubs in the region. They not only host prolific international DJs at their spots, these clubs have started unofficial exchange programs featuring regional DJs as headliners.

Club and event promoters are now featuring DJs from neighbouring countries on their decks. The exchange rate in Asia has soared and it has caused promoters to re-strategise their line-ups to feature equally talented regional DJs on their rosters. This gives more opportunity to emerging local artists, but is not without its own problems…

“With international DJs becoming more and more expensive and there being more local talent that play reputably good music but cost just a fraction of the price, it just doesn’t make sense to book big names for small parties in Asia. Whether this is a good thing or not, I’m not sure because I still love to see my favourite big names on a big stage instead of a new generation DJ with a laptop and sync button,” Thailand’s Dan Buri said in a recent interview with Pulse Radio.

Internationally Acclaimed Producers And Record Labels

The advancement of technology has allowed Asian artists to reach out to international music labels, international producers and regional record labels, resulting in releases on these high profile platforms. Producers like Bangkok based, Sunju Hargun, Malaysia’s DJ Hightech, Singapore’s Xhin, and China’s Tzusing are some of Asia’s talents that have successfully released original productions on international music labels like Turbo Recordings, Lapsus Music, Meerestief Records and L.I.E.S Records respectively.

Producers like these have successfully made their presence visible to a wider audience, which isn’t limited to their local scene. We have constantly been hearing of more and more producers getting noticed by international record labels. Asian labels are also getting noticed by international artists, many of them willingly want their tracks and records released by labels like Midnight Shift, Fragrant Harbour, Pure Substance and Homesick. It is common for these local labels to focus on developing producers not just locally, but internationally at the same time.

Learn more about the progress and challenges of the Asian Electronic Music Scene at IMS Asia Pacific this September.

Are you joining us at the final IMS of the year in Shanghai?

IMS Asia-Pacific takes place in Shanghai, China on September 29th and 30th ahead of Budweiser STORM Festival on October 1st and 2nd. If you plan on attending both, take advantage of a special package for a badge to IMS Asia-Pacific and a ticket to STORM Festival available now!

Purchase your IMS Asia-Pacific and STORM Festival package HERE.






Stay tuned! Speaker and topic announcements for IMS Asia-Pacific 2016 are coming soon…

The inaugural edition of IMS College Malta saw an inspiring schedule presented to a passionate audience of young electronic music lovers.

Including talks from Pete Tong, Eli & Fur, Mark Brown, Robert Horsfall, Laura Newton, Mark Lawrence, Lucy Allen, Wilf Gregory and Mark Netto

+ workshops hosted by Point Blank and SAE Institute

“This event is hugely symbolic. We have to continually educate people because the electronic music industry is such a complicated scene…there’s so much to know and we have a responsibility.”

– Mark Lawrence of AFEM: Association for Electronic Music

Marking their first move into Malta, International Music Summit successfully debuted IMS College with an enlightening crashcourse in electronic music compiled of talks, networking sessions and workshops hosted by Point Blank and SAE Institute respectively, in an event unlike any other on the dance music circuit. An intimate and hugely interactive format saw delegates given the chance to engage in valuable one-to-one Q & A sessions with all of the speakers throughout the two days, who each offered genuine and personable advice in their areas of expertise.

With proceedings officially opened by IMS co-founder Pete Tong, day one of IMS College Malta saw a wealth of young minds in attendance, with the Radio 1 presenter praising an “eagerness to absorb” within the conference. A particularly humbling factor which served as a key theme throughout the schedule, Pete also appeared across the speed networking sessions which rounded off each of the two days – giving fledgling talent the chance to gain direct conversation at a personal level.


Day One


An empowering introductory talk from Robert Horsfall – of media and entertainment law firm Sound Advice – highlighted the importance of passion when breaking into the industry, explaining:

“Find a job you love and you will never work another day in your life. Ambition and work ethic go hand in hand.”

Referencing Bob Lefsetz’s ‘5 pieces of the jigsaw’ analogy which reads “You need talent, you need ambition, you need work ethic, you need luck, you need business taken care of.”, Horsfall emphasised the importance of having a strong team around an artist from the get-go and advised the audience to always be inquisitive and always ask questions.

Focus then returned to Pete Tong for a keynote interview around his long-standing career in radio, which saw him pin-point an early turning-point when he was starting out:

“I was talking to a generation that were doing M25 parties, warehouse parties…it was totally the right time.”

The discussion also explored the differences between US and European audiences and how these have evolved over the last 5 years, as well as highlighting the huge popularity within different genres of the electronic scene – with particular focus on Ibiza. Pete explained:

“It’s fascinating now. I can take you to Ushuaia and you can see people going crazy to David Guetta, then go to Amnesia and see people going crazy to Marco Carola, and the same with Jamie Jones at Paradise.”

Shining a light on the importance of press for both artists and events, Lucy Allen of press agency Listen Up explained that a love for music is integral in becoming a music PR. Emphasising that a publicist must know their audience when telling a client’s story, she highlighted that:

“Fundamentally, it’s relationships with journalists that are key. They’ve got to respect your suggestions and you have to target the right people in order to be taken seriously.”

She then explained that press needs to remain unbiased in order to maintain credibility, and despite being able to forge media partnerships and advise on how to deal with sensitive scenarios, ultimately:

“There’s a reason why we respect 5 star reviews in Resident Advisor, you can’t pay for that.”

Fast rising UK duo Eli & Fur shared details of their career trajectory, and re-assured the audience that taking risks within the scene can help establish an artist’s true identity.

“No-one should be afraid of that journey of discovering what you love and trying new things” – Eli


They also went on to praise the benefit of working as a pair and explained how this translates in the studio, with Fur noting their specific preferences when it comes to production:

“We prefer Logic for vocals, but for live stuff Ableton works really well – it allows you to be more experimental. A live feel is important to us.”

Laura Newton of CAA then echoed the theme of passion when it comes to the role of an agent, expressing:

“You have to have your artists back, and it’s really hard to do that if you don’t respect and engage in the music they are making.”

Speaking of artist growth, she explained the importance of strategy and taking time to plan a timeline of progression, adding that “if it’s not a team effort then there’s something wrong there.”

Robert Horsfall then returned to the panel to speak specifically about his expertise in music law, with an important message regarding communication in today’s online-dominated industry. Advising on how to stand out, he commented:

“I think we’re all overwhelmed by email traffic, we can all tell when an email is personalised, and when it’s a round-robin. You’ve got to personalise your approach.”

A networking lunch was succeeded by an incredible step by step track deconstruction by Ski Oakenfull – who focused on Duke Dumont’s ‘Ocean Drive’ – with Point Blank music school commenting on their involvement with IMS College Malta, stating:

“We are passionate about education and that it should be connected back to the industry.”

An industry panel featuring each of the day’s speakers included topics such as streaming, how to stand out, the importance of social media and career highs and lows, after which Stefano Ritteri led a demonstrative workshop centred on the creation of samples.

With IMS College’s 360 degree focus also offering delegates the chance to party by night, attention then shifted to the evening celebrations which saw Pete Tong and Solomun descend upon Numero Uno for a special b2b performance. A true testament to the island’s flourishing electronic scene, the newly-refurbished open air club saw an incredible mix of local and international visitors in attendance and saw the first day of IMS College Malta’s debut edition rounded off in spectacular style.

Day Two

Day two opened with the same enthusiasm, and saw Mark Netto of IBZ Entertainment describe his experience as a talent booker. He explained:

“You have to understand the dancefloor. You have to have the right connection with people…The longer you’re in it, the more people you will meet and the more you will understand. You have to be fully immersed.”

Building on this, Mark emphasised the financial elements that successful bookers must be aware of:

“Good promoters are shrewd promoters. Know your means and know your market. You have to start off by not looking at what the artist thinks they are worth, but what they are worth to your dancefloor. Never exceed your means.”

Next up, Wilf Gregory of Hideout Festival and Annie Mac’s Lost & Found discussed his varied career in promotion and festival curation. Reiterating the importance of a USP and perseverance, he explained the vital ingredients behind running an event, stating:

“I’m a great believer in community in clubbing, you need to support the people. If you can get great local support that will really help, as well a great awareness on the ground.”

Mark Lawrence then discussed his experience in music rights and trade organisation – which he represents via AFEM: Association for Electronic Music – and referenced the need for fairer payment systems.

“It’s ridiculous that in this day and age, with all the technology, all the data, that money can’t go to the right people.”

He also explored emerging markets in the electronic music scene and noted the huge impact of EDM in America, before highlighting China as an up and coming area. Speaking of the importance of IMS College itself, Mark explained:

“This event is hugely symbolic. We have to continually educate people because the electronic music industry is such a complicated scene…there’s so much to know and we have a responsibility.”

The afternoon schedule saw SAE Institue run workshops hosted by Joost Stuursma and Frank De Jong, with an open discussion around ghost producing.

“If you’re open with working with other people, people are less likely to give you flack. Collaboration is always important.” – Joost Stuursma

CR2 boss Mark Brown then took to the floor to introduce the topic of record label and publishing, and reminded aspiring producers to always be transparent when approaching companies:

“Try and have your own unique sounds. Don’t pay for Soundcloud views, don’t pay for Facebook views – we can see it from a mile off.”

Continuing to mirror each of the speaker’s enthusiasm in highlighting the importance of educating others within the electronic scene, Mark was then joined on stage with the rest of the day’s speakers to round off day two. Summarising that staying power, clear messaging and networking are key factors in helping to break into the scene, IMS College Malta came to a close having made a thoroughly empowering message to all those in attendance – and continued to cement Malta as an affordable and thriving destination for aspiring electronic music lovers.

With the first IMS College now completed, International Music Summit looks back at the important take aways from the two-day, three-night educational initiative with guidance from some of the industry’s top leaders.

Here’s what we learned from the first ever IMS College in Malta!

  1. Passion is an important driving force to succeed in the music business. Ambition and work ethic go hand in hand.

    “Find a job you love and you will never work another day in your life.”
    – Robert Horsfall, Music Lawyer, Sound Advice LLP, UK

  2. Internships are a good way of getting a foot in the door. Be willing to go the extra mile as hard work never goes unnoticed.

    “No one should be afraid of that journey of discovering what you love and trying new things.”
    – Eli of Eli & Fur, UK

  3. Social media is a vital way of communicating your work. Create and customize your own Facebook, Twitter + Instagram pages in order to impress potential labels, promoters + PRs.

  4. Personalize your approach. Take the time to tailor each email going out to be more impactful. A personal touch shows that you’ve done your research and that you are strategic.

    “Fundamentally, it’s relationships with journalists that are key. They’ve got to respect your suggestions and you have to target the right people in order to be taken seriously.”
    – Lucy Allen, Head of Festivals & Events Press, Listen Up Music Promotion, UK

  5. Fully immerse yourself in the scene and make as many real connections as you can.

    “I’m a great believer in community in clubbing – you need to support the people. If you can get great local support that will really help”
    – Wilf Gregory, Director, Hideout Festival / Lost & Found Festival, UK

  6. Community is key in the music industry. Be mindful not to burn bridges and always be open to sharing ideas.

    “If you’re open with working with other people, people are less likely to give you flack. Collaboration is always important.”
    – Joost Stuursma, EMC Head Lecturer, SAE, Netherlands

  7. Be consistent in your approach and have a clear vision.

  8. Ensure your work is the best it can be before approaching potential labels or PRs. If you don’t fully believe in it, it will be hard for someone else to.

    “Try and have your own unique sounds. Don’t pay for Soundcloud views, don’t pay for Facebook views – we can see it from a mile off.”

    – Mark Brown, DJ / Owner, Cr1 Records, UK

  9. The importance of a team is crucial in the early stages of a career. Share a vision with those you trust and can fully believe in your project.

    “You have to have your artists back, and it’s really hard to do that if you don’t respect and engage in the music they are making.”
    – Laura Newton, Agent, CAA UK

  10. Perseverance is key. Don’t be disheartened by knock backs, they can teach you lessons about the industry.

    “You have to understand the dance floor. You have to have the right connection with people. The longer you’re in it, the more people you will meet and the more you will understand.”
    – Mark Netto, Director, IBZ Entertainment, Spain

1. The Continuous Rise of Dance Music Despite Major “Bubble Breaks”

As always, the 2016 Business Report (presented by Kevin Watson) was an enlightening and informative look at the electronic music industry as a whole. Despite major shifts in the dance music landscape (such as the fall of SFX and changes at Beatport) dance music as an overall industry continues to rise.

Today, the industry is worth $7.1 billion which is 60% more than just 3 years ago. In addition, dance music has continued to grow faster than any other genre in the UK while electronic music dominated Spotify across the board (with Major Lazer’s “Lean On” being the top streamed song).

2. The Beginning of Space Ibiza Was Not Easy

An undeniably huge topic for the island this year was the forthcoming closure of Space Ibiza. The iconic club has seen 27 years and built itself as much more than just a venue – rather, a legacy – and founder Pepe Rosello came together with longtime friend Carl Cox and manager Lynn Cosgrave for an emotional discussion and paid proper homage to the club.

“In the beginning of Space, we were not very successful and it was hard,” Pepe shared. But with the help of Carl and his incredible talent and “constant quality” that Lynn explained Pepe provided through almost 3 decades of operation, Space rose from a simple, struggling club to an iconic global staple of nightlife and dance music culture.

“27 years will remain in our memory forever. Big acts die at 27 like Jimi Hendrix, Amy Winehouse. They die, but their music remains forever. So, for us, this 27 means that this is our last year, but all the sentiments, all the music will remain still. The spirit will remain forever.” – Pepe Rosello

3. Erick Morillo Got Really, Really Honest

Erick Morillo took the stage at IMS Ibiza to tell his own deeply personal story about addiction which spread across the web as the day’s undeniable headline. Morillo explained that his addiction to ketamine was spurred on by his wavering confidence as younger DJs began to grow in success at a faster rate.

“When all these young DJs were all of a sudden blowing up and eclipsing me – my ego couldn’t take it. My ego couldn’t take that I wasn’t the top dog anymore. That’s when things started to unravel. Then I started making music I didn’t love and playing music I didn’t love. That’s when things started to get really bad.”

After sharing shocking stories like being banned from British Airways, getting arrested and nearly losing an arm, Morillo explained that he attempted rehab three times before finally recovering. Now? He gave one general warning to everyone and anyone listening.

“One of the biggest things for me is that I never thought I would be that person. I used to watch the E! True Hollywood story and think, ‘How could they let their life go like that when they have everything?’ Don’t think anyone is immune to that. We’re all at risk. It’s just about dealing with your personal demons.”

4. Yello Made a Track On Stage Using Only Boris’s Mouth

There’s no question that Yello are a legendary duo not only for electronic music, but for the entire music industry as a whole. Their 1985 single “Oh Yeah” has become an iconic tune of the era, and if anyone had remaining doubts about the Swiss duo’s talents, Boris and Dieter sat on stage at IMS Ibiza and within seconds, recorded fun sounds made with their own mouths and produced a catchy tune on the spot.

Later, they discussed their forthcoming album Toy. “When Boris starts, he allowed himself to be driven by what happens in the process. Each brush stroke influences the next,” Dieter explained. “That’s why we called it ‘Toy’. It goes back to the creative. We’re using all the technology available, but approaching it like a child.”

5. Women of the Industry Ban the Term “Female DJ”

One of the most anticipated discussions of the day was the Diversity in Dance Music discussion, which saw female leaders in the space come together to talk about the issue of the lack of women in electronic music and how to progress moving forward.

The two DJs on the panel were B.Traits and Nicole Moudaber, who both were adamant to reject the idea of being labeled as a “female DJ” moving forward.

“There isn’t a ‘black DJ chart,’ Or ‘blue eyes’ chart. Why is there a female chart?” Nicole Moudaber asked.

6. Mixes Will Be Coming to Spotify

The streaming realm has become a crowded, busy space over the past few years. SoundCloud, which was an early leader, has since faced controversy with the rise of copyright takedowns and newly introduced paid access tiers. Spotify has become a major player in the game, but lacks the option of hosting mixes, which is an integral part of electronic music culture.

Dubset made the announcement of its newly inked deal with Spotify that will soon see mixes arrive on the popular platform. User-generated mixes will soon be available… keep an eye out for that coming soon.

7. The Pet Shop Boys Love Berghain

The Pet Shop Boys were the final keynote interview on the last day of IMS Ibiza, and indeed, the best was saved for last. The iconic duo discussed their prolific career in music and their newly found love for Sunday lunch at Berghain.

“It’s a very interesting combination of energies. Between the hardcore, all-nighters and the people just arriving,” Neil explained. “You gotta go Sunday for lunch. But of course, things will be going on in the basement…”

Later, the duo touched upon their early successes and shared a story about their surprise at being so well-received during one of their first festival performances.

“We never thought ourselves as a festival name. In 1997 we played at a theater and lost money. Our agent said if we played a festival, we’d break even. Then, we headlined a festival’s Saturday night and I remember somebody asked me “What are you going to do?” And I said, “I don’t know.” And suddenly we turned into a festival name.”

More than a few memorable moments took place on the White Isle at IMS Ibiza 2016. Several full talks have already been revealed here and here, and today another exciting batch of discussions arrives on International Music Summit’s YouTube page. From Space Ibiza to the annual Business Report, watch can’t-miss moments from IMS below.

Space Ibiza: End of an Era

Space Ibiza founder, Pepe Roselló came together with the legendary Carl Cox and manager his Lynn Cosgrave for an emotional discussion on the nightclub’s journey, unforgettable memories and a poignant farewell from Pepe to the club.

Vinyl Exchange: Seth Troxler In Conversation with Dave Haslam

The two engage in a nostalgic and deeply interesting chat about dance music’s history, its future and listen to a few of their favourite records together.

Mixmag presents The New Breed

Major on-the-rise artists Kölsch, Francesca Lombardo, Danny Howard and Danny Daze came together in discussion to talk about the challenges new artists face and in tradition, enjoy an Ibizan chupito of hierbas.

The Great Annual Ibiza Debate: Year 9

Pete Tong, Tale Of Us, Mr. C and more came together to discuss the changing landscape of Ibiza.

Business Report 2016

Kevin Watson presented the annual Business Report to kick off IMS Ibiza and explained that the electronic music industry is now worth $7.1 billion – 60% more than just three years ago.

Students are invited to take part in IMS College – Malta, the inaugural three-day educational initiative now with daily speakers, sessions and parties announced.

After unveiling an exciting roster of speakers from across industry professions for the first ever edition of IMS College – Malta, International Music Summit has now revealed the full schedule for the three-day educational initiative. IMS College – Malta aims to inspire and cultivate the new generation of electronic music creators and visionaries with two full days of interactive workshops and learning sessions.

IMS College – Malta learning days will be hosted by Point Blank Music School and SAE, two international leading platforms for music production, education and training. Both learning days of IMS College will be divided into morning and afternoon sessions: days will begin with in-depth individual sessions focused on specializations from speakers like Pete Tong, Eli & Fur, Mark Brown of Cr2 Records, and CEO of the Association For Electronic Music Mark Lawrence and afternoons invite students to take part in interactive learning sessions, speed networking and thoughtfully-curated panels.

FRIDAY JULY 1 Hosted by Point Blank

11.00 – 11.05 Introduction from Pete Tong & IMS Partners
11.05 – 11.30 Keynote Introduction: The 5 Pieces of the Jigsaw by Robert Horsfall
11.30 – 12:00 Pete Tong (DJ / Broadcaster, BBC Radio 1, UK) Topic: Radio
12:00 – 12:30 Mark Lawrence (CEO, AFEM: Association for Electronic Music, UK) Topic: Music Rights / Trade Organisation
12:30 – 13:00 Eli & Fur (Artist / DJ, UK) Topic: DJing
13:00 – 13:30 Laura Newton (Agent, CAA, UK) Topic: How to become an Agent
13:30 – 14:00 Robert Horsfall (Music Lawyer, Sound Advice LLP, UK) Topic: Music Law

Networking Lunch

15.30 – 16.30 Track Deconstruction with Ski Oakenfull (Lecturer, Point Blank, UK)
16.30 – 17.30 Industry Panel hosted by Point Blank
17.30 – 18.30 Music Production Creative Workflow with Stefano Ritteri (Artist / Producer, Point Blank, Italy)
17.35 – 18:45 Time to meet the professionals (Speed networking session, your chance to be noticed)


12:00 – 12:30 Mark Netto (Director, IBZ Entertainment, Spain) Topic: Talent Buying
12:30 – 13:00 Mark Brown (DJ / Owner, CR2 Records, UK) Topic: Record Label and Publishing
13:00 – 13:30 Lucy Allen (Head of Festival & Events Press, Listen Up Music Promotion, UK) Topic: Press
13:30 – 14:00 Wilf Gregory (Director, Hideout Festival / Lost & Found Festival, UK)
Topic: Promotion / Festivals

Networking Lunch

15:00 – 16:00 Joost Stuursma (EMC Head Lecturer, SAE, Netherlands) Topic: Ghost Production
16:00 – 17:00 Industry Panel hosted by SAE Institute
17:00 – 18:30 Frank De Jong (SAE / Chief Engineer, Red Bull Studios, Netherlands) Music Engineering Master Class
17.05 – 18:15 Time to meet the professionals (Speed networking session, your chance to be noticed)

View the schedule here and save your favorite sessions!

Each day of IMS College – Malta is also paired with official evening parties, which will take place across renowned venues on the Mediterranean island. Night one sees the official opening party with Solomun and Pete Tong on the decks, then Saturday’s evening party will be hosted by Sandy Riviera and Ziggy, before the can’t-miss Sunday night closing party line up which includes a special closing party with Nic Fanciulli and Carl Bee all at Uno Nightclub.