Welcome to part two of our massive ATP Label Profile and interview with Barry Hogan. Yesterday we spoke about the history of the festival, as well the decision behind stopping the Spring festivals (read here) and today we speak to Barry about the festivals evolution from Camber Sands to Butlins, the curating process and Wes Anderson. Part three of our Label Profile/Interview will take place tomorrow, along with an interview with Caribou and lots more! A few years back you switched from Camber Sands to Butlins. What were the reasons behind that decision? What are/were the pros and cons of each venue? Pontins at Camber was a good place to start with ATP. Initially we wanted to do Butlins but they weren't interested so we settled for Pontins. I like Pontins, but it's like an abandoned playground. No repairs were ever done and the place had become dilapidated over the years. Our reasons for moving to Butlins Minehead, were partly because we wanted to offer better facilities to fans but also so we could have a bigger budget to book the likes of Iggy & The Stooges and Portishead or My Bloody Valentine. We would never have been able to put those acts on at Camber as we couldn't afford those calibre of acts with the limited capacity. It also felt restrictive telling curators they could pick bands but only in a certain budget - they too became frustrated with the process so the move to Minehead helped overcome that. We have considered Camber again but I think fans who have experienced Butlins would be less than satisfied with what Camber offer. Each place has their merits and I think Butlins is great with its Cinema, Water world park, better food facilities but the fact that it's so remote is a huge pain in the balls, and the Pavilion seems to split the audience but I think Centre Stage has a better sound than Camber ever had. Some fans who make comments about queuing to see some of the more popular acts need to remember back to Camber when you could quite easily get locked out of Stage 2 because we had reached Capacity.  Camber has lots of charm, a great beach and is more intimate, but for the event to last as long as it has - we had to move on. Some of the complaints about the move to Butlins is the existence of Burger King and Pizza Hut beside the main stage. Do you think the presence of these corporate entities conflicts with the ethos of the festival? Not at all. The whole idea of doing ATP in Butlins is that its an ironic place to be staging the music we present as well as being nostalgic for lots of folks who went there as kids. The fixtures of Pizza Hut and Burger King are part of the venue and we can't change them and if we closed them for the event people would complain. Over the years you might notice we have invested in draping to enclose the Pavilion more so it's not so in your face. The ethos of ATP is that we have never taken sponsorship funding to compromise the event. It was a choice we made when we started If we had sponsorship at the ATP Festival, I doubt artists like Godspeed or My Bloody Valentine would have curated. So anyone that criticizes us for having those restaurants at the event need to realise - they come with the hire of the venue. One fan wrote to us saying we are hypocrites for having those restaurants on site as that is no different from sponsorship. We don't take money from them, they don't get any say with how we run the event, so there is the difference right there. How do you choose who will curate the events? When you pick someone, do you try and work out who they will ask to play? We try and invite people with either a body of work we admire, or someone with a fantastic record collection. You can always tell the kind of curator that would be ideal for ATP when you see the sort of acts they associate themselves with like support acts or in interviews if they discuss other bands they like. But it could be someone like Mars Volta who weren't necessarily a natural choice for us, yet submitted a line up that was amazing and worked really well and surprised a lot of people. Who would be your dream curator, and who in your opinion has done the best job? Wes Anderson would be amazing I think. I should ask him. My favourite ATP is the Dirty Three one. Not only did they pick a great line up, I just fucking love that band and Warren is a good friend to us and I would love to do something with them again. His passion and drive is inspiring. Lots of other folks have been great to work with such a Portishead, Jim Jarmusch, Thurston Moore and Mike Patton but each event bears a merit for different reason. How much of the line-up is chosen by the curator? Do you get involved at all or is it entirely up to them? Have you vetoed any performers? It's 100% chosen by the artists. I do suggest stuff to the curators if they are asking my opinion and do let them know what kind of bands are needed to fill a remaining bill. I often have numerous third parties ask if they can play but ATP is like a wedding - if you are not invited, should you ask to come?  That might sound elitist but I want the curators to reflect their musical and film taste that they love and adore not have some interfering third party try and muscle their way on because it helps with a routing of a tour. Nearly every year there seems to be a band that has reformed to play ATP. Do you think this is healthy, or should we be giving this air time to new up and coming bands? Yes it's exciting to see some acts that you thought you'd never get to see or get to see again.  I don't regret having the chance to see Slint, Jesus Lizard, Godspeed and Pavement.  If new bands make exciting records then I am sure the curator will pick them and they can end up on the same bill.  This year at the stage I curated at Primavera, I have picked a lot of new bands that I think people should get to see like Factory Floor, Yuck, Islet and Oneohtrix Point Never. Apart from a few acts, (David Cross and Neil Hamburger) there's been little sign of a comedy line up in the UK, unlike in the US where you have a dedicated comedy stage. Is this an aspect that you plan to bring to the UK events? We have a comedian on the upcoming Animal Collective weekend, Matt Baetz. We do plan to have more on at some point but that will probably more likely at future I'll be your Mirror events. Of course it is the curators choice, so if they curator requests comedians, that is what you get. Do you each have dream line-ups that you would love to see? Who would appear on yours? Miles Davis, Velvet Underground, Led Zeppelin, Sleep, Leonard Cohen performing songs from a room solo, Cramps, Nick Cave and the Bad Seeds, Liquid liquid, Nick Drake, Black Sabbath, Ennio Morricone, Stooges doing Funhouse, Autechre, Boards of Canada, LFO, Deerhunter, Silver Jews doing American Water, The Cure doing their first LP, Echo and bunnymen doing Porcupine, Galaxie 500, Slint, The Jesus Lizard, Pavement, Sonic Youth, Au Pairs, Steve Reich, Philip Glass, The Sugarcubes, Masta Ace, Beastie Boys doing Check Yer Head, Ultramagnetic Mc's, Chavez, Dirty Three, Broadcast, Neil Young doing On The Beach, Neu!, Kraftwerk, Johnny Cash, Tony Bennett, Basic Channel, UR, and Thomas Brinkman, fuck Buttons, Factory Floor and Neutral Milk Hotel, Portishead, Skip James, Son House, Lightning Hopkins, Fugazi,  Autolux and Godspeed, Sunn 0))), Silver Mount Zion, Siskiyou and Comets on Fire and Shellac playing at Action Park - I think that would be a pretty good weekend away! A huge thanks goes out to Geoff Morey who helped Hannah Morgan with the interview