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Here’s How Much Money Soundwave 2015 Acts Are Owed

Written by Music Feeds on December 17, 2015

With Soundwave 2016 officially cancelled and Soundwave 2017 “definitely” not going ahead, large sums are still owed to over 50 acts who took part in the 2015 edition of Soundwave in February.

Documents obtained from the Australian Securities and Investments Commission (ASIC) from a meeting of Soundwave creditors on 7th October detail the money creditors believe Soundwave acts are owed.

The figures, which can be viewed in full below, were submitted by representatives of Soundwave 2015 acts and booking agents and run between $5,720.60 owed to Melbourne band Ne Obliviscaris and $2,132,075 owed to rock heavyweights Soundgarden.

Other notably high figures included in the list are over $1.6 million reportedly owed to Slipknot and over $1.26 million to The Smashing Pumpkins. There’s also over $1.18 million owed to live entertainment company Live Nation Worldwide, but most individual amounts are much lower than these.

Administrators believed the amounts to be correct, as of that meeting. They were still waiting on formal proof from all the creditors at the time, and not all of Soundwave’s 2015 acts appear on the list.

Also, the amounts listed below only represent the debts owed to Soundwave bands and to Live Nation, and not the debts it owes to companies involved, such as venues, venue fencing and security.

Read the list of debt owed to Soundwave 2015 acts, below. Or, for more background info, check out our op-ed The Truth Behind The Death Of Soundwave Festival.

UPDATE 18/12/15: British progressive metal outfit Monuments have now launched an “SOS” crowdfunding campaign, to recoup money owed to them for their Soundwave 2015 appearance.

Debts Owed To Soundwave 2015 Acts (In $AUD)

All Time Low — $141,144.70
Animals as Leaders — $16,607.14
Antemasque — $138,721.43
Apocalyptica — $65,601.90
Area-7 — $7,594.20
Atreyu — $52,044.64
Coldrain — $16,270.50
Crossfaith — $25,431.55
Deathstars — $17,500.00
Dragonforce — $21,000.00
Emily’s Army — $19,185.29
Escape the Fate — $21,985.68
Faith No More — $751,076.20
Falling In Reverse — $54,064.98
Fall Out Boy — $394,107.14
Fear Factory — $78,263.96
Fucked Up — $24,779.40
Gerard Way — $89,510.75
Godflesh — $33,314.00
Godsmack — $200,000.00
Hollywood Undead — $65,183.54
Incubus — $571,428.58
Judas Priest — $349,560.55
Killer Be Killed — $24,513.00
Lagwagon — $30,274.52
Lamb of God — $161,323.33
Live Nation Worldwide, Inc — $1,180,325.56
Lower Than Atlantis — $18,800.06
Marilyn Manson — $588,000.56
Millencolin — $91,874.50
Ministry — $203,952.01
Monuments — $19,153.00
Ne Obliviscaris — $5,720.60
New Found Glory — $43,279.88
Nonpoint — $8,137.54
Nothing More — $35,000.00
Of Mice and Men — $29,040.00
Papa Roach — $93,050.93
Patent Pending — $22,000.00
Slash — $484,628.00
Sleepwave — $17,470.35
Slipknot — $1,645,299.29
Soundgarden — $2,132,075.00
Steel Panther — $92,517.57
The Aquabats — $32,787.26
The Color Morale — $11,464.58
The Interrupters — $20,231.14
The Raglans — $11,059.82
The Smashing Pumpkins — $1,267,446.43
The Swellers — $21,412.24
The Treatment — $8,193.74
The Vandals — $57,142.86
Tonight Alive — $38,500.00
Twin Atlantic — $20,154.85

Gallery: Soundwave Memorable Moments 2008 – 2015

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  • Brett Pugsley

    Did AJ work those sums out while sitting in a mansion which is probably under his wife’s name?

    • Aaron Dodds

      His wife is actually the pet cats wife on paper.. just incase things dont work out.

    • Bob

      Yep most likely. He fucked up by investing his money in other sound production companies which went under.

  • Sam Trezona

    Yep working out how to fuck the next festival

  • Wandering Android

    Soundgarden $2m, holy shit!

    • Megan Jones

      They are owed over 2 mil. You are assuming from this list that none of the artists or crew got paid anything already? 😀 Erm… I think this is just what is owed on top of what was already paid… this whole list of artists and their crews didn’t get one dollar and we heard Nothing? Nope.

      • Wandering Android

        what are you talking about? LOL. I’m just surprised after all this time Soundgarden still makes mad cash performing.

  • SicktoDeath

    Maybe this wouldn’t have happened if a handful of these bands didn’t need half a million dollars or more…

    • frmatmn2ashes

      Supply and demand

      • SicktoDeath

        Those are definitely words.

        • RW Griswold

          Words that are 100% applicable in this instance…. because it’s not Marilyn Manson’s fault that they agreed to pay his price tag and then couldn’t… by that same logic I suppose I should be able to buy a Ferrari for the same price as an acura because they’re both cars.

          The bands fees are directly proportional to their popularity and supposed marketability… so if the high-priced acts reduced their rates… say to a quarter of what they were… then everyones would have been reduced proportionally and then more than half of these acts wouldn’t have even been able to perform…

          Also, you are making the assumption that that money all goes to the band, which it absolutely does not… they have to pay their crews and everyone else in their camps… and I can guarantee you that The Smashing Pumpkins have more people in their employ (which also comes with more insurance costs travel expenses ect ect ect) than the Aquabats.

          • SicktoDeath

            If the Smashing Pumpkins need 1.2 million dollars to play a show, then they are getting royally screwed over by their crew.

            Regardless, you’re missing the point that the exorbitant cost to book these acts may have contributed to the downfall of the festival.

          • Catfish Comstock

            No. The stupidity of the management who booked them in the first place without having a business model to support the expenditure is what caused the downfall.

          • SicktoDeath

            You’re right, it probably had absolutely nothing to do with it.

          • Bob

            It’s because AJ Maddah is greedy and decided to invest in other companies which failed and ended losing a lot of money when he could’ve paid the bands first and then try to buy the companies but no he’s greedy.

            Bands require managers, insurance, tickets (most likely private if they’re big), there’s a lot of factors that come into play on how much they get paid.
            It makes sense that a more popular artist is going to get paid more than artist that no one has heard of.

            It’s like saying a social worker should get paid the same amount as a social worker.

          • SicktoDeath

            Yep, like I said, it probably had absolutely nothing to do with it.

          • xb12r

            I’m assuming Marilyn Manson is the Acura, having seen him play…

          • Melanie James

            For what it’s worth, I saw him in 2003 maybe in Melbourne and he was amazing..

          • xb12r

            He must have gone downhill rapidly for the last 10 years or so. Last years Soundwave performance made Meatloaf’s Grand Final show look good

          • aroth

            It’s Marilyn Manson’s fault for demanding a fixed payment instead of a percentage of gross ticket sales.

            Performing arts and vehicles are entirely different classes of products.

          • iArgue

            Because “pay to play” works so well for local acts. Percentage of ticket sales… Gimme a break.

          • aroth

            Who said anything about “pay to play”? That’s entirely different than what I suggested.

            A fixed price only makes sense on things that have a fixed, determinable value. The value of having a band perform at an event is not fixed, and is a direct function of how many people decide to buy tickets to see that band. A percentage of ticket sales (with advances to the artist paid as the money is advanced from the ticketing agent) makes far more sense than agreeing upon a fixed amount up front.

            Soundwave itself demonstrates that the latter approach is a good way to bankrupt your event if ticket sales are softer than expected.

          • iArgue

            “Who said anything about “pay to play”? That’s entirely different than what I suggested.”

            It’s exactly what you suggested. When you pay a band with a cut of ticket sales, that band usually has to buy those tickets up front with their own money, then sell the tickets themselves to make their money back. Otherwise, you don’t know which people are there to see which band. Smaller bands constantly get stuck doing this, and they can end up paying hundreds or thousands of dollars of their own money just to play a good show. It’s nonsense.

            Or. You don’t have the bands buy their own tickets, but then you’re stuck negotiating what % of 100% each band is entitled to.

            Either way, you’re shuffling part of the responsibility of show promotion onto the artists, who at this stage of their careers, are *not* show promoters. That’s why you have promotion companies that put shows on. And if a promoter is so terrible that they can’t organize a big show, then that’s not the artist’s fault. The promoter and artist negotiated a price for the performance. That’s that. The promoter has to then… PROMOTE.

          • aroth

            I was suggesting the second option you describe. I would agree that the first is nonsense (both for turning bands into ticket resellers and because it’s too hard to track who’s attending because of which band(s)).

            As for promotion, it doesn’t really shift responsibility. As long as the promoter still holds a percentage and remains the one on the hook for the event’s other fixed costs (facilities, permits, vendors, etc.), it’s still their responsibility to drive sales to cover those costs. Though it does add a strong, optional incentive for everyone else with a percentage to do some promotion of their own. Which tends to happen anyways, through social media and the like.

          • iArgue

            It absolutely shifts responsibility. It’s like being on retail commission instead of salary. In effect, the artist is doing two jobs just to get paid for one. It’s effectively pay-to-play any way you cut it.

            And that’s not including the possible scenario where ticket sales aren’t even enough to cover techs, lodging, food, travel, etc. In order to do this kind of performing, full-time, you need some guarantees.

  • pamccamp

    The real travesty here is that Fall Out Boy was paid to play music.

  • Jessica

    Yeah some of the prices are a little much, but why would you even book someone for a certain amount if you couldnt pay them?

    • aroth

      To drive ticket sales. If advertising Pumpkins, Soundgarden, and Slipknot as your headliners brings in 50,000 more tickets at $150 apiece than you’d get without those bands, you probably can pay them those ridiculous amounts.

      My question is, how poor were 2015 sales if there are still millions of dollars in outstanding payments for 2015 acts?

  • mauriziojuvefc

    Debts owed to Soundwave?

  • Mark Plews

    how the fuck could you lose money on a hard rock festival in australia??? maybe there would be more people there if we were treated with some respect, and not blatantly ripped off at every food and drink outlet.

  • Ps Levi

    Bands seriously overpaid.

    • Gid

      It’s not just the bands, it’s their crew, managers, EVERYONE associated with the band. Very often a LOT of people need to be paid.

  • Nicholas Thomas

    “$5,720.60 owed to Melbourne band Ne Obliviscaris and $2,132,075 owed to rock heavyweights Soundgarden.”
    Can we switch this?

  • Soundeditorrrr

    The promoter was essentially running a Ponzi scheme after he tried to expand and lost a lot of $ on the other festivals. He would then take money upfront for forward expenses but use it to pay debts from prior events. Eventually it caught up to him. If you read the linked article within it explains a lot. The promoter is a reckless idiot and should never ever be allowed to put on an event ever again. Also it looks as though anyone who bought 2016 tickets is screwed out of a refund- thanks to him. Don’t blame the 2015 bands- he agreed to pay what they charge but never did.

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