MUSIC WORLD RADIO Top 20 Chartshow - Vote & Nominate at http://www.topchoons.com
March 1, 2010
The Alternative Top20 Chart - February Week 4
MWR Weekly Listener Music Chart - Music by the People, voted for by the people and played for the people.
Music World Radio - Our mission is simple; to bring great music to music fans, no matter the style or genre. We are sometimes eclectic and different but always classy and never ever staid or boring. If you love great music, Music World Radio is the place to be for all your musical tastes and needs and perhaps you’ll hear some stuff you’ve never heard before. So check our schedule, tune in and get involved with one of the hottest cool music stations out there. Remember, it’s your music, your world, your radio! Contact MWR here
http://www.musicworldradio.com
MWR Top 20 Chartshow - Vote & Nominate at http://www.topchoons.com
1. Nice As Pie - Bad Girl
2. Rudy Jr & The Lovepirates - Stupid Chick Opus8
3. Neongrau - Hi Level Slacker
4. Dead Drunk Society - Black Beauty Musclecar
5. Redlight - Whats Going On ?
6. Katrin the Thrill - You Make Me Wanna Die
7. Victims of Bad Television - Questions
8. Johnny Normal - Time
9. Fistfuzz - Tongue Depressor
10. Shag Nasty - Punk Anthem 77
11. Iguana - Undone
12. The Satin Dolls - Walk Away
13. Pop Incorporated - Looking 4 KLF
14. Seven Thorns - Forest Majesty
15. Frauenarzt & Manny Marc - Disco Pogo
16. Sarah June - Cowboy
17. The Rotten Rebels - My D-Day
18. Richard Snow & The Inlaws - Silent Girlfriend
19. Vinyl Fiction - Dont Call For A Revolution
20. Conflict and Kemmikal - The Dancer
MWR Top 20 Chartshow - Vote & Nominate at http://www.topchoons.com
The Alternative chart at Music World Radio is presented live on air every friday night - a guarantee for airplay to every track that makes it to the Top20. A wide selection of nomimations are equally given a spin on air during the chart show - and over the week by all the MWR DJs.
No genre is left out of the MWR Alternative Top20. If the listeners want dance, techno, death metal, punk or indie rock - thats what theyre gonna get - and if they change their mind and jump on the europop train, so does the chart. The listeners have all the power to nominate and vote!
If you have an appetite for more music rants, alternative charts, album reviews, news from Club Impulse Second Life and a wide variety of other music related randomness drop past the gossip blog and leave your comments.
Check out the bands in the charts here, there are plenty of goodies from new and unsigned acts burning through the barriers with fresh ideas, established acts firing up the party with monumentally powefull musical parades and thought-to-be has-beens making their way back to the charts with new interesting material
How can Government help creative entrepreneurs? What questions would you ask Policy Advisors on this issue?
February 28, 2010
Clare Edwards would like you to send her YOUR views, opinions and questions to put to some senior civil servants at Downing Street on the subject of “How can Government help creative entrepreneurs?”
Clare says on her blog: “Well the latest opportunity is a chance to go to Downing Street next week to talk with senior civil servants (and possibly the odd policy advisor or Minister) in a 90 minute session to tell Government how they can better help creative entrepreneurs and where things are working and where are they failing.
I thought it would be interesting to see what questions you think I should be asking and in general what sort of constructive messages you think this group of policy makers and shapers should hear from creative businesses.
I’m not the only person who has been asked by the British Council to do this but I’m probably the only person from the the West Midlands so if you have ideas of how the government could help creative businesses in the future – leave me some comments and I’ll let you know which points I take with me and how I get on…
I have my own ideas on this but I’d love to go along with a broader understanding of the ideas, struggles and questions that others in the sector have. As you know I go with a music hat on personally but I think some of the issues for music are the same for other ‘creative industries‘. So if you run a creative business and think there is a burning issue I need to be aware of when I walk into Number 10 – let me know!
I’m going next Wednesday so you can suggest ideas right up to that time so…. I can take them with me!”
I’ve been reading with interest some of the comments already submitted including comments from Stef Lewandowski, Sarah Habgee, Nick Dunn, Ed King, Nick Booth, Dave Harte, Norman Perrin, Robin Valk, and others. You can add your own comments, ideas or submit your questions to Clare Edwards here
Clare Edwards is a freelance music consultant and event organiser – she has run Gigbeth over the past few years, works with Soweto Kinch Productions, conducts Notorious and is a Chair of Sound It Out. Clare is involved with the board of Arts Council England WM, Moby Duck and is a Chair of Governors at a local primary school. In between Clare has found time to lead The Music Network monthly meeting and she sings with Ex Cathedra.
The Music Network - 4pm Thursday 25th February 2010, Birmingham T.E.E, Millennium Point. All Invited
February 21, 2010
The Music Network is open to all on Thursday 25th February 2010 4pm til 6pm at Millennium Point, Curzon Street, Birmingham, B4 7XG. The Meeting will be lead this month by Andy Derrick
The Music Network organises a NETWORKING EVENT on the last Thursday of each month, for the benefit of music related businesses in the West Midlands region. If you have any involvement in music, come and talk about what you’re up to and meet some new people.These Networking events are about all things music in the region. They’re about helping you to teach yourself how to do it, by yourself, for yourself and encourages you to share the knowledge with others so they can do the same. If you are a musician, work with musicians, represent musicians, have involvement with the music industry, or are looking to make new contacts the meeting will be useful.
If you have news to report, a presentation to give, an event to promote, any new points for discussion, a pitch to make, business cards or flyers to hand round, an appeal for help, advice or guidance or even if you just want the free tea and biscuits and some quality entertainment…you are invited.
You can also post in by email any news or gig dates or press release information for inclusion on the website and for distribution through the mailing list and RSS feed. More details on the website.
There will be luxury chocolate biscuits and good coffee for all. There’s food and drink afterwards supplied by the creative networks too. Please pass this invite on to Musicians you know or anyone else who you think may benefit.
http://birminghammusicnetwork.com Come and Join us.
Andy Derrick is an independent freelance musician based in Birmingham, UK. Andy used to work for the Musicians’ Union delivering front line services and advice to musicians of all genres, experience and backgrounds.
Andy’s main work is as a trombonist in many groups playing Jazz, big band, classical and other kinds of music. He has also worked in studios as a session musician providing horn tracks for writers and composers.
Since 1992 Andy has written and arranged music and he currently has works published by Warwick Music and Andek Music.
Teaching jazz, trombone and music theory is also a passion that sees Andy working with pupils of all ages and standards across the Midlands.
In 2004 Gerd Leonhard, Music Futurist, www.musicfuturist.com wrote a piece called “Music Like Water – the inevitable music ecosystem” you can read it here
In 2007 Andrew Dubber wrote about Music Like Water again here
In 2010 Music Like Water appeared here
and Andy’s Derrick’s latest 2010 blog post is called “Water isn’t like Music” you can read it here
your comments and opinions invited
January 2010 Music Network Meeting Minutes
February 14, 2010
The Music Network Meeting Minutes 28th January 2010
Introductions:
Simon Howes, Robert Edwards, Saurabh Thomas, Gwen King, Jamiee Hewitt, Dan May-Miller, Jack Kennerly, Simon Evison, Vince O’Malley, Karl Tippin, Kevin, Tom Prottey, Jack Perry, Aidan Laverty, Darren Roberts, Rob Heaton, Tom, Clare Edwards, Joe Blanks, Doug Blanks, Colin Tippin, Marcus Dellicompagni, Scott Sheppard, Phil Mountford.
Apologies: Mark Sampson, Andy derrick, Anthony Hughes.
New Points:
Karl from Musical Exchanges talked about www.musicalexchanges.com – which has now gone live! This brand new website is social networking site, diary and recruitment site designed for anyone working in the music industry.
Marcus Dellicompagni – Doing a PHD and researching the power relationships in music industry of Birmingham has started by looking at Urban music concentrating on Lozells but now wants to widen the scope to other genres and areas.
Robert Edwards – working in own TV studio making a range of shows from games shows and children’s tv. Interested in finding musicians who can produce theme tunes, perform on the station and help the children presenters develop their own band! To find out more go to www.lovemedialtd.co.uk or contact email: Robert at lovemedia.co.uk
Tom – Jam night from the Roadhouse looking for a new venue as they’ve had to move on from the Roadhouse. Looking for a venue with some backline equipment already – the night attracts about 20 performers and had a good momentum. And is usually a Thursday. If someone knows a venue contact Tom Richardson 07956 368998
Tom – interested in starting offering his services paid and free apprentice work doing almost anything in the music industry. 07956 368998
World Unlimited, Folk night at the Hare and Hounds – Yeah Sparrow performs on 31st January. Also playing are the Kings of Spain and Alex Moir and its £3 in! Also he is playing for Silent Filter Promotions gig at the Wagon Horses in Digbeth and they are trying to set some new nights there supporting local bands. http://www.myspace.com/yeahsparrow and http://www.myspace.com/silentfilter
Simon Howes – Social Media Café is tomorrow (Friday 29th Jan) at 10am at Coffee Lounge and every last Friday of the month – a good way to meet other social media types in the city and get ideas and ask questions http://www.birminghamsmc.com/
Rob Heaton from Wolverhampton – looking to start up a business offering music production, on location recording, audio editing and mixing. Contact Rob on 07858 520318
Gwen King – is looking for someone to write theme music for her TV show and other musicians who can compose good songs email: gwen at gwenking.co.uk
Clare Edwards – updated everyone on Music Central which is a new project probably starting in April 2010 which will be designed to support music industry companies and individuals eg, managers, labels, promoters etc through a programme of mentoring, seminars, networking and a conference. Go to clareedwards@mac.com after April for more details.
Stafford based studio and staff currently mostly taken up by one band – ‘The Tunics’ – no website but you can get a message to them via www.joeblanks.com
Jack Perry - The Razorbax have just made their first record. Go to www.therazorbax.co.uk for more details. Dave Midson has mastered it – they are now looking for contacts for distribution, promotion and getting gigs.
Next meeting Thursday 25th February 2010 4pm – 6pm. Special thanks to Clare Edwards for leading the January meeting and at short notice. If anyone else wants to lead a Music Network meeting get in touch, you know it has to be a good thing to do for local music.
10 Questions for Birmingham’s Independent Music Industry answered by Ben Calvert
February 9, 2010
1. In your view, what is the current state of the region’s “Independent Music Industry?”
There are a small percentage of clued up people, building local, national and international networks, in order to create and market music in the face of adversity.
2. What do you think are it’s immediate needs with reference to the areas that you are most familiar with?
To create sustainable, (ie NOT an acoustic night every night of the week in every pub), live music events where the acts, promoters, and venues all benefit equally in terms of financial remuneration, (pay), and where new audiences are developed.
3. As far as the region’s “Independent Music Industry” is concerned, what do you think shows the greatest potential for the next few years?
Strong, trusting networks that work via the “You scratch my back and I’ll scratch your’s” theory.
4. In recent years, there has been a range of initiatives and projects designed to support the development of music in Birmingham. Can you list 5 projects or initiatives that you think have proved beneficial to the “Independent Music Industry?”
Creative Pathways showed some potential. As someone who helped run a course under it’s umbrella, I might be biased! However, I’ve recently met people who went on the course, and they have developed as working musicians as a result of it, benefiting from modules on Self-Promotion using New Media, and Recording Techniques.
5. Can you list any projects or initiatives that you think have proved “of little use or benefit” to the “Independent Music Industry?”
Gigbeth - At the first one, at the opening ceremony, there were more people in the form of the band, the staff and security than there were in the audience. Many of the stewards were from London, so they had no local knowledge to help people get from one stage to another etc.
ArtsFest - There’s always a huge song and dance about how it’s Britain’s biggest festival. Is biggest best? There is a patronizing assumption that from the start of the booking procedure that acts will play for free, (payment or non-payment is never mentioned at all). If the event is meant to be for the benefit of artists, then how about sending out well-designed, well-branded press pack to relevant industry people?
The publicity for ArtsFest is shocking-The website held info for the 2008 event until a WEEK before the 2009 event. And the design elements-They use Clip Art!!!!! For the biggest festival in the UK…
6. With regard to your answers to questions 4 and 5, do you think Birmingham should continue to pursue the idea of more initiatives and projects designed to support the development of music in Birmingham?
Yes, definitely. But Birmingham City Council should identify and consult music event organisers to run the events who have proven experience in booking artists, designing and distribution of publicity, dealing with venues and everything that goes with running events. Or at least, they should work in conjunction with them, employing them as well-paid consultants.
7. If you could make any changes to, or include any new ideas for, any “strategy for supporting the development of music in Birmingham” what would your top priorities be?
With regards to festivals like ArtsFest, my suggestion would be:
Contact The Drum, Capsule, Bohemian Jukebox, The Other Woman’s Club, Moseley Folk Festival, leftfoot, Birmingham Promoters and Seven Inch Cinema, and identify some others. Give each a budget to run a stage. Between them they have the experience and know-how to make it work.
8. If you were given the task of evaluating whether a project or initiative had been successful, what would you suggest as the best indicators of success, failure, benefit or disaster for the “Independent Music Industry?”
Did the project improve the long-term earning capability of the artists involved?
Were audiences introduced to art that they would not have usually encountered?
Did people walk away with enriched souls?
Was art of a high standard created?
9. As far as your knowledge or understanding of the region’s “Independent Music Industry” is concerned, what are it’s greatest strengths, and what are it’s greatest weaknesses?
The strengths are that there are some truly amazing bands. The weakness is that the bands are often self-deprecating (A Birmingham ‘tradition’), dis-organised and unable to understand the theory of supply and demand for their music.
10. If you could do anything to “support the development of music in Birmingham” what would you do and why would you choose to do that?
I ran 180 live Post-folk, Anti-Folk, and Alt-Folk music events between October 2003 and January 2010. (Bohemian Jukebox). I thought that might be enough to support the development of a certain type of music in Birmingham, and it was for a while.
I chose to do that because there was a need for well-organised music events for acts playing those genres.
I’m now concentrating on Bohemian Jukebox Recordings to bring some of Birmingham’s music talents to an international audience. I’ve chosen to do that, as I’d now rather concentrate on developing a few acts of quality via the power of recorded media, rather than dealing with lots of acts in the context of live music events.
Ben Calvert
The Music Network was contacted in January 2010 by a group drawn from Birmingham City Council and the Arts Council England to begin to determine an overview of the current state, needs and potential of the “Independent Music Industry” in Birmingham.
The Music Network invites people with an interest or active role within Birmingham’s Independent Music Industry to answer 10 questions.
If you wish to get involved read 10 Questions for Birmingham’s Independent Music Industry and send your completed responses by email to: info at birminghammusicnetwork.com - Thank You.
Simon Howes has created an easy to use google survey for these questions here too.
All completed questions will be published here unless you state otherwise. Please be sure to include your full Name, brief biography or information about who you are and what you do, and any links to your website or blog so you can be credited in full as the author of the response. Views from all sides are sought so don’t be afraid to speak your mind. We may learn something.
10 Questions for Birmingham’s Independent Music Industry answered by Andy Roberts
February 5, 2010
1. In your view, what is the current state of the region’s “Independent Music Industry?”
Great pool of talent with extremely creative people working very hard to make amazing music and projects with little recognition from outside of their small pockets.
2. What do you think are it’s immediate needs with reference to the areas that you are most familiar with?
Record labels that have competent distribution and marketing / advertising / plugging support.
3. As far as the region’s “Independent Music Industry” is concerned, what do you think shows the greatest potential for the next few years?
Hopefully labels such as Bigger Than Barry Records, Ondryland, Speech Fewapy Records, and any other small labels that are nurturing local talent and managing to sustain themselves
4. In recent years, there has been a range of initiatives and projects designed to support the development of music in Birmingham. Can you list 5 projects or initiatives that you think have proved beneficial to the “Independent Music Industry?”
Not sure if these count but the work of:
Bigger Than Barry for bringing cutting edge, fashionable acts to the city and taking Birmingham on tour. Also packing out every event they promote.
This is Tommorrow for putting on shows for alternative acts that are touring nationally and billing local artists with them to help nurture audiences
The Rainbow Pub for giving Birmingham a quality small and mid size independent venue and cultural hub.?Capsule for offering a vibrant, left field alternative brand of events and Supersonic.
Moseley Folk Festival for being generally ace and offering local acts a channel to perform on the same bill as mainstream artists, especially Ben Calvert’s Bohemian Jukebox Stage.
Also Oxjam Festival, Cold Rice and Chicks Dig Jerks deserve mentions.
5. Can you list any projects or initiatives that you think have proved “of little use or benefit” to the “Independent Music Industry?”
Gigbeth - poorly curated. For something as ambitious and potentially amazing, it falls flat due to weak line ups. Does not give a good impression of Birmingham to the outside looking in, especially when Camden Crawl, Nottingham’s Dot to Dot, Brighton’s Great Escape and Manchester’s In The City are widely commended.?Give Bigger Than Barry, Chicks Dig Jerks, This is Tomorrow, Moseley Folk, Cold Rice and Capsule a budget to put on the festival - they are all experienced and have kudos.?(I realise that there are more promoters / events companies doing fine work in other genres, but these are the ones I am familiar with)
6. With regard to your answers to questions 4 and 5, do you think Birmingham should continue to pursue the idea of more initiatives and projects designed to support the development of music in Birmingham?
Yes, but re: point 5 give it to people who can make the city desirable, dare I say ‘cool’?
7. If you could make any changes to, or include any new ideas for, any “strategy for supporting the development of music in Birmingham” what would your top priorities be?
Support for small independent record labels in the form of advice from experienced and respected mentors from their respective genres.
8. If you were given the task of evaluating whether a project or initiative had been successful, what would you suggest as the best indicators of success, failure, benefit or disaster for the “Independent Music Industry?”
Whether an event is well attended or not is a signal of success or failure and whether a record label could sustain itself would be a measure.
9. As far as your knowledge or understanding of the region’s “Independent Music Industry” is concerned, what are it’s greatest strengths, and what are it’s greatest weaknesses?
The artists are the greatest strength we have.
Perhaps weaknesses are a lack of direction or focus from these talented individuals due to a lack of support from a local ‘industry’.
10. If you could do anything to “support the development of music in Birmingham” what would you do and why would you choose to do that?
Plug alert: I try to by shouting about the bands and promoters that I love in national press (The Fly) and my local Blue
Whale music blog. So anything involving writing.
Andy Roberts
The Music Network was contacted in January 2010 by a group drawn from Birmingham City Council and the Arts Council England to begin to determine an overview of the current state, needs and potential of the “Independent Music Industry” in Birmingham.
The Music Network invites people with an interest or active role within Birmingham’s Independent Music Industry to answer 10 questions.
If you wish to get involved read 10 Questions for Birmingham’s Independent Music Industry and send your completed responses by email to: info at birminghammusicnetwork.com - Thank You.
Simon Howes has created an easy to use google survey for these questions here too.
All completed questions will be published here unless you state otherwise. Please be sure to include your full Name and any links to your website or blog so you can be credited in full as the author of the response. Views from all sides are sought so don’t be afraid to speak your mind. We may learn something.
10 Questions for Birmingham’s Independent Music Industry answered by Pam Bishop
February 4, 2010
1. In your view, what is the current state of the region’s “Independent Music Industry?”
Currently it seems to attract people who use a lot of sound engineering with their music - we don’t hear so much about the natural sounds of singers and musicians.
2. What do you think are it’s immediate needs with reference to the areas that you are most familiar with?
Lack of good venues. Singers and musicians need good venues to perform, which are easy for their audiences to get to, and comfortable for both performers and audience. Since the demise of pub rooms, such venues are more and more difficult to find.
3. As far as the region’s “Independent Music Industry” is concerned, what do you think shows the greatest potential for the next few years?
Getting children involved in music and singing - these will be the musicians of the future
4. In recent years, there has been a range of initiatives and projects designed to support the development of music in Birmingham. Can you list 5 projects or initiatives that you think have proved beneficial to the “Independent Music Industry?”
Sound It Out
Gigbeth
Sing Up (CBSO)
5. Can you list any projects or initiatives that you think have proved “of little use or benefit” to the “Independent Music Industry?”
6. With regard to your answers to questions 4 and 5, do you think Birmingham should continue to pursue the idea of more initiatives and projects designed to support the development of music in Birmingham?
Yes please, more Sing Up projects would be great
7. If you could make any changes to, or include any new ideas for, any “strategy for supporting the development of music in Birmingham” what would your top priorities be?
Training for teachers so they are more confident in delivering music and singing in their schools. Giving them resources so they can bring musicians and singers into schools.
8. If you were given the task of evaluating whether a project or initiative had been successful, what would you suggest as the best indicators of success, failure, benefit or disaster for the “Independent Music Industry?”
Has the project raised skills levels amongst its participants?
Has it increased audience participation?
9. As far as your knowledge or understanding of the region’s “Independent Music Industry” is concerned, what are it’s greatest strengths, and what are it’s greatest weaknesses?
10. If you could do anything to “support the development of music in Birmingham” what would you do and why would you choose to do that?
Continue to run folk music events and training, because our traditional music and song is valuable and relevant to people in the 21st century
Pam Bishop
The Music Network was contacted in January 2010 by a group drawn from Birmingham City Council and the Arts Council England to begin to determine an overview of the current state, needs and potential of the “Independent Music Industry” in Birmingham.
The Music Network invites people with an interest or active role within Birmingham’s Independent Music Industry to answer 10 questions.
If you wish to get involved read 10 Questions for Birmingham’s Independent Music Industry and send your completed responses by email to: info at birminghammusicnetwork.com - Thank You.
Simon Howes has created an easy to use google survey for these questions here too.
All completed questions will be published here unless you state otherwise. Please be sure to include your full Name and any links to your website or blog so you can be credited in full as the author of the response. Views from all sides are sought so don’t be afraid to speak your mind. We may learn something.
10 Questions for Birmingham’s Independent Music Industry answered by Jon Cotton
February 3, 2010
1. In your view, what is the current state of the region’s “Independent Music Industry?”
The number of people actually making a decent living out of music remains really quite small. In the recording world there remains a pretty tiny circle of people doing anything on more than a local ‘people having a go’ level. And those working nationally continue to interface with (and sometimes move to) london as that is where the power brokers remain. So in that respect we remain a nursery for London; there have been no city or AWM lead infrastructure changes in the last 10 years I’m aware of that make any difference in helping stop this ‘talent leakage’.
We’ve also recently lost our flagship studio DEP - although it could be argued the role of the big expensive studio is becoming limited to specific niches (e.g. orchestral work, something DEP wasn’t really big enough to do). Meanwhile the market we’re selling to has been shrinking as recorded music becomes relatively less important to Jo public (and kids get used to stealing it) - record shops have dwindled with the loss locally of Jibbering, Tower, Zavvi and most recently Borders. Swordfish was a depressing place last time I popped in (it seemed to be on its last legs) which leaves just HMV and the few remaining struggling independents as the real contenders on the high street.
So all a bit depressing at first glance. However there are a couple of glimpses of light - the net has made it a lot easier to release and distribute music without the help of bigger labels (of which there remain none represented in the midlands) so independent labels are starting to pop up more frequently in the region - artists are becoming their own labels - although actually cutting through the market noise remains to some extent a question of contacts and financial firepower, most of which powerbroking is done in London. With the continued rise in home recording this means artists are frequently recording and releasing themselves. Great if it works (although how many of them even break even is dubious given how crowded the market is) but pretty daunting too. Without a doubt the shrewd sub-sector to be in currently is support services for these artists - look at how well eMusu and Ditto have done for example.
On the live side: the demise of the Jug of Ale was a shame as, sweaty and loud though it was, it was a great breeding ground for young bands and a good place to see them. However offsetting that, the reopened Town Hall has been a great success and should be a point of pride. I think it’s great that the team there are programming so many local artists and are really putting a lot of vigour into their support. All power to them.
Realistically, prospects for graduates finding employment in the sector remain pretty awful compared to most other industries, but I find the degree of entrepreneurism at the moment encouraging and there is some new recording blood coming through from the colleges with the kind of high standards we need, which is great. The old model really truly is dead, time to move on.
2. What do you think are it’s immediate needs with reference to the areas that you are most familiar with?
I think continuation and expansion of funding for assisting entrepreneurs is the way to go now, rather than grand schemes which don’t seem to ever get off the ground - best to accept that and work with it, and instead help provide SMEs individually with better tools to do it for themselves.
3. As far as the region’s “Independent Music Industry” is concerned, what do you think shows the greatest potential for the next few years?
1. Entrepreneurism
2. The shaking off of the ancient regime, and no-longer-relevant ways of thinking. (Rock n roll is dead, Geek n Roll is here..)
3. A new era of independent record labels and whatever replaces record labels, companies facilitating the use of music with other media (shameless plug: at Poseidon we’re playing with a model for that, see www.poseidonmusic.com)
4. New blood in the recording and writing worlds.
5. The internet, and companies that spring up using it i.e. are not tied to doing business in the Midlands.
4. In recent years, there has been a range of initiatives and projects designed to support the development of music in Birmingham. Can you list 5 projects or initiatives that you think have proved beneficial to the “Independent Music Industry?”
1. “Creative Cities’” funding for start-up costs/rent
2. Midem subsidy, SXSW subsidy - Jonathan Webber and UKTI’s help in general (although more people could know about it).
3. John Mostyn’s managing music course. Someone with experience teaching - and it directly helped some clients of mine who went on to noteable success.
4. Birmingham Music Network - the original Mark Sampson led meetings, not the pointless watered-down car-crash based in Northfield someone dreamt up. I have great respect for Mark for sticking with it, (although - constructive criticism only - I wish he would keep his own business activities clear of the BMN mailing list, as it waters down its usefulness). One day I’ll make it to another of the meetings!
5. Gigbeth. Everyone’s always ripping into Gigbeth, but few realise that Clare Edwards funded a lot of it herself and took quite a hit on it last year. As for the festival itself, it may have been on a learning curve, but at least it was energy being put in the right direction. I hope we see a lot more of that energy from Clare, who is a great asset to the city, and she isn’t put off permanently by the last one.
5. Can you list any projects or initiatives that you think have proved “of little use or benefit” to the “Independent Music Industry?”
Well I don’t want to dwell on negatives really but if we learn from them then ok..
1. ‘Mentors’ that have no real experience to speak of. The blind leading the blind.
2. Digital Central. I like Anthony who was leading it, and this was well meaning, but he was hampered by having to deal with a PC agenda which made no sense in the real world: DC was a great example of a council project which ticks everyone’s boxes except the actual industry who just went ‘what the heck is that?’ and ignored it as far as I’m aware. A bit like Millennium Point..
3. AWM capital funding. As far as I know no-one except the Black Voices ever saw any of the mooted money available in the early noughties, despite so many people putting forward seemingly good ideas. Likewise the lack of progress in Eastside/Digbeth. Just terrible..
4. The CD on the cover of Music Week. I loved the energy behind this idea but in retrospect perhaps the strategy should have been thought through a little more, as a single exposure to an act/song is not enough, it needs to be followed through. There should perhaps have been consultation with some of the current players once the idea was mooted before proceeding, and perhaps we could have worked out a 2 or 3 step strategy which would have had more effect than this one single action. The right *kind* of idea though, definitely - let’s just work together a bit more next time.
5. Mapping exercises! Personally I think we need to map all the mapping exercises there have been. www.mappingcentral.com is available!.. 
6. With regard to your answers to questions 4 and 5, do you think Birmingham should continue to pursue the idea of more initiatives and projects designed to support the development of music in Birmingham?
Yes.
At Poseidon we have found the support from UKTI and the Creative Cities teams to date great, and it would be good to see that continued, possibly expanded and better advertised - perhaps a sub-section billed as support for Music rather than just ‘creative companies’ so people realise it applied to them! A lot of people I deal with still don’t know such financial and expertise support is out there for them, it would be good if the council could do a mailout to all music-related SMEs advertising some of these schemes. The recent subsided trips to MIDEM and SXSW are a great move, long may they continue.
In a similar vein I was greatly encouraged to see the council finally supporting niche music festivals last week. A great move as they are a little Unique Selling Point we can really push for Brum, and we so need to focus on those. A lot of London people don’t believe me when I’ve mentioned the billing for the Moseley folk festival last year..
7. If you could make any changes to, or include any new ideas for, any “strategy for supporting the development of music in Birmingham” what would your top priorities be?
I think it would be good to stop throwing money at ‘grand’ schemes like Digital Central and Birminghamusic.com which just suck up money but make little real difference on the ground. Let’s also forget about there being a music agency. The money is better spent on a healthy pragmatic alternative - to go round SMEs, ask what their biggest obstacles to growth financially are and try and address them head-on. It’s great that there has been council support for moving into new premises, getting stationery and websites made etc, but there are other bigger obstacles in the way we could address.
Some ideas might be:
1. A contribution towards a publicity budget for acts or labels that can prove a fanbase/degree of interest (to be judged by someone who understands the industry) - for independent artists and labels PR is becoming by far the biggest expense/barrier to exposure.
2. A contribution towards touring costs for live acts - e.g. to fund the purchase of a van, or contribute towards ongoing costs (since touring tends to be lossmaking in the early days).
3. A bulk deal with a really good mastering studio (there still isn’t on in the midlands) to bring up the quality control locally. The council could use its purchasing power to negotiate a bulk-buy discount for album mastering with a mastering studio or two, and pass that saving onto people.
4. Likewise for CD duplication with someone like Sony. The council wouldn’t even need to subsidise that directly - simply do a massive bulk-buy of packages of 1000/2000/3000 CD runs at a big discount, and pass that discount on to acts in the region. I realise the ’state-aid’ rules may kick in here, so this would have to be checked, but it’s important to be aggressive and try and push the boundaries - if we can support music businesses here in ways other regions haven’t thought of we’ll give people a natural head-start.
4. A contribution towards video-making costs / hiring personnel - as music’s home is increasingly Youtube now, so videos are increasing in importance to the point of being obligatory.
8. If you were given the task of evaluating whether a project or initiative had been successful, what would you suggest as the best indicators of success, failure, benefit or disaster for the “Independent Music Industry?”
A good question..in an industry where there remains such a big risk element, it’s hard to judge purely from year on year financials, as some of the projects might have been successful purely by increasing the *chance* that a project or artist might succeed, or by increasing public awareness without leading immediately to sales. So as well as the usual financial analysis, perhaps:
1. Amount of press coverage/radio plays before/after (for acts/labels, if the council were to help subsidise PR for example).
2. Number of CDs sold before/after.
3. Mailing list figures for artists before/after (mailing lists are becoming a good yardstick for a band’s popularity)
4, Youtube hits before/after
Also we should stop asking artists to complete 3/4/5 year cashflow forecasts - it’s meaningless in this industry.
9. As far as your knowledge or understanding of the region’s “Independent Music Industry” is concerned, what are it’s greatest strengths, and what are it’s greatest weaknesses?
Strengths:
1. Entrepreneurism.
2. People from all over the country and the world convene here.
3. As a city we are often smart but unpretentious (that’s what drew me here in the first place)
4. We don’t have such an aggressive/cut-throat culture as London, so tend to work together more (when we know about each other..)
Weaknesses:
1. We still often don’t know about each other..
2. Birmingham as a whole has a history of aiming too low. E.g. talk from a while back of replicating London Eye in Brum. Rather than replicate or aim to be ‘as good as’ we need to have the confidence to innovate and lead nationally and globally
3. Previous infighting for the little bit of power available here. Hopefully new blood and energy, awareness that it stops us all progressing, and the declining relevance of some of the old ways of doing things will sweep this away.
4. There aren’t enough trees and green bits in the centre of Birmingham (ok that’s seemingly completely irrelevant but it contributes to stopping people wanting to come here, and that includes music collaborators/colleagues). Sort out the greenery!
10. If you could do anything to “support the development of music in Birmingham” what would you do and why would you choose to do that?
1. I’d make the salaries of the key managers at AWM performance-related so that keeping risk low/maintaining the status quo stops being the most attractive alternative
2. If the above had happened, I’d employ someone with real industry experience to work outside of AWM and look at capital projects AND FACILITATE THEM by brokering deals with the various possible stakeholders in the region to make capital projects more likely to succeeed.
3. I’d employ one or two people within the council to directly manage and co-ordinate music-specific initiatives and subsidy.
4. I’d make a little committee of industry people round here who could help advise the council on strategy when it comes to ideas like the Music Week CD.
5. I’d support Birmingham Music Network properly, and give them some funding to better advertise, and I’d ask Mark if he’d be prepared for the BMN after-meeting minutes to become effectively our industry newletter, letting us all learn about each other’s existence (this remains a big stumbling block). This would also be a great forum for the council, business link, AWM etc to let us all know about funding/subsidies available for supporting SMEs.
6. I’d take a lenient view on licensing applications for live music in and above pubs and bars in the city. We need to encourage it, and to some extent ignore the NIMBYs (I’m specifically thinking of the Rainbow and the room above the Fighting Cocks in Moseley as examples).
Jon Cotton
http://www.poseidonmusic.com
The Music Network was contacted in January 2010 by a group drawn from Birmingham City Council and the Arts Council England to begin to determine an overview of the current state, needs and potential of the “Independent Music Industry” in Birmingham.
The Music Network invites people with an interest or active role within Birmingham’s Independent Music Industry to answer 10 questions.
If you wish to get involved read 10 Questions for Birmingham’s Independent Music Industry and send your completed responses by email to: info at birminghammusicnetwork.com - Thank You.
Simon Howes has created an easy to use google survey for these questions here too.
All completed questions will be published here unless you state otherwise. Please be sure to include your full Name and any links to your website or blog so you can be credited in full as the author of the response. Views from all sides are sought so don’t be afraid to speak your mind. We may learn something.
10 Questions for Birmingham’s Independent Music Industry answered by Keisha Thompson
February 2, 2010
1. In your view, what is the current state of the region’s “Independent Music Industry?”
I think a lot of people are out there making moves and looking for ways to do what they do and avenues to progress. It’s happening in clusters, niches and apparently “underground” There doesn’t appear to be many linkages in the regions Independent Music Industry and limited advice and support.
2. What do you think are it’s immediate needs with reference to the areas that you are most familiar with?
Immediate needs for the the regions Independent Music Industry are
• Consolidation/better links with each other
• Advisory support
• Practical initiatives
3. As far as the region’s “Independent Music Industry” is concerned, what do you think shows the greatest potential for the next few years?
Greatest potential is the people who are in the industry and continuing to follow the passion, music and buzz inside of us to create the outcomes we want. Anything is possible, it just takes time, commitment and the willingness to work with each other to do so. Having access to knowledge, expertise, resources and finances makes it a whole lot easier.
4. In recent years, there has been a range of initiatives and projects designed to support the development of music in Birmingham. Can you list 5 projects or initiatives that you think have proved beneficial to the “Independent Music Industry?”
I wish I knew what they were! I know of Gigbeth… oh and of course THE BIRMINGHAM MUSIC NETWORK, oh and Barry Tomes Music Business classes
5. Can you list any projects or initiatives that you think have proved “of little use or benefit” to the “Independent Music Industry?”
Hmmm, not sure. It’s a difficult question with various factors. i.e. Barry Tome’s music businesses classes were ok but not very fluid and I didn’t benefit immensely, but it gave me a brief overview. If I had been at a further stage in my music, I might have benefited more.
6. With regard to your answers to questions 4 and 5, do you think Birmingham should continue to pursue the idea of more initiatives and projects designed to support the development of music in Birmingham?
YES YES YES! And PROMOTE THEM WELL
7. If you could make any changes to, or include any new ideas for, any “strategy for supporting the development of music in Birmingham” what would your top priorities be?
• Developing personal music strategies for artists (guidelines and possible options for musical pursuits (Coaching/mentor support)
• Regular informative events targeting specific groups within music. E.g. in the same way that Creative Networks has monthly speakers, having a similar project or series of courses where artists/bands can learn a particular music processes. E.g. 2 “Creating your own CD” on a weekly/fortnightly basis over a period of 2/3 months – introducing experts on each stage per week. This could be followed by other relative courses.
• Trips to national/international seminars and events (subsidised)
8. If you were given the task of evaluating whether a project or initiative had been successful, what would you suggest as the best indicators of success, failure, benefit or disaster for the “Independent Music Industry?”
• What positive and progressive changes have been made as a result
• Is there any tangible evidence?
• Have the people involved got out of it what they intended and expected to.
• Really and truly the outcomes need to be set in the first instance and evaluated according to the aims and outcomes of the projects/initiatives
9. As far as your knowledge or understanding of the region’s “Independent Music Industry” is concerned, what are it’s greatest strengths, and what are it’s greatest weaknesses?
STRENGTHS
• Committed and Passionate people
• Good foundations and expertise within the region
• Lots and various talents/skills
WEAKNESSES
• Fragmented
• Need collective and collaborative support
• No central venue/organisation
10. If you could do anything to “support the development of music in Birmingham” what would you do and why would you choose to do that?
I will continue to create musically and collaborate with a variety of artistic, technical and management and promotional expertise in efforts to keep the positivity and creativity thriving in this city holding much potential. My reason for doing this is to use my strengths to contribute in the development of Birmingham’s Independent Music Industry.
Thank you, Keisha Thompson.
The Music Network was contacted in January 2010 by a group drawn from Birmingham City Council and the Arts Council England to begin to determine an overview of the current state, needs and potential of the “Independent Music Industry” in Birmingham.
The Music Network invites people with an interest or active role within Birmingham’s Independent Music Industry to answer 10 questions.
If you wish to get involved read 10 Questions for Birmingham’s Independent Music Industry and send your completed responses by email to: info at birminghammusicnetwork.com - Thank You.
Simon Howes has also created an easy to use google survey for these questions here too.
All completed questions will be published here unless you state otherwise. Please be sure to include your full Name and any links to your website or blog so you can be credited in full as the author of the response. Views from all sides are sought so don’t be afraid to speak your mind. We all may learn something.
10 Questions for Birmingham’s Independent Music Industry answered by Rob Horrocks
February 2, 2010
1. In your view, what is the current state of the region’s “Independent Music Industry?”
Good. When I recall my gig going of ten years ago compared to what it is now a broad grin creeps across my face. People are talking about the music in this city more than ever and the talent is there.
2. What do you think are it’s immediate needs with reference to the areas that you are most familiar with?
Live booking agents.
3. As far as the region’s “Independent Music Industry” is concerned, what do you think shows the greatest potential for the next few years?
I have a lot of time for Marketing Birmingham. They should focus on Marketing Birmingham Music – past and present.
4. In recent years, there has been a range of initiatives and projects designed to support the development of music in Birmingham. Can you list 5 projects or initiatives that you think have proved beneficial to the “Independent Music Industry?”
The Birmingham Music Network
Barry Tomes sessions at the library
UKTI/Business link projects (Sonar visit)
Gigbeth – although not perfect I hate being negative about this and prefer to look at what was good about it. Learning lessons is beneficial.
BCU media and communications course offering a music industry option and the music research climate at BCU generally.
The rise of the Supersonic festival. I do a lot of business at that event as it brings people to the city – agents, journalists, potential fans etc
A quick mention to the Birmingham Music section in Central Library and the excellent resources at the library generally. I spend a lot of time there.
5. Can you list any projects or initiatives that you think have proved “of little use or benefit” to the “Independent Music Industry?”
http://www.Birminghamusic.com
6. With regard to your answers to questions 4 and 5, do you think Birmingham should continue to pursue the idea of more initiatives and projects designed to support the development of music in Birmingham?
Having benefited from some of these initiatives my initial answer is yes. Support for the music industry is a developing thing. We have to try new approaches and I give my thoughts on what those approaches might be in answers to later questions.
My alternative answer is that music industries have developed outside of initiatives and funding through the tenacity of the highly motivated and talented individuals who are able to learn, adapt and fight for every success they attain. Sometimes you have to remember that the music industry and the rewards it has brought came about via a messy process of greed, hard work, shady deals, more hard work, broken dreams, unrewarded hard work, nervous breakdowns, bankruptcy, excess and benefit fraud.
I don’t know how helpful this point is but the punk in me wants to be sure someone makes it.
7. If you could make any changes to, or include any new ideas for, any “strategy for supporting the development of music in Birmingham” what would your top priorities be?
I would focus on projects with tangible outputs.
8. If you were given the task of evaluating whether a project or initiative had been successful, what would you suggest as the best indicators of success, failure, benefit or disaster for the “Independent Music Industry?”
Income generation, product, hours of delivery/skills attained, jobs created. If you are evaluating an industry then the indicators must surely be the tangible outputs of that industry.
The intangible outputs – the aspirations raised, the creative climate fostered and the planted seeds are difficult to evaluate and so we must assume that they follow from the outputs which not only can be measured but are the purpose of the industry.
9. As far as your knowledge or understanding of the region’s “Independent Music Industry” is concerned, what are it’s greatest strengths, and what are it’s greatest weaknesses?
Strengths
Heritage
The diverse population
Geographical location
Talent
Weaknesses
10. If you could do anything to “support the development of music in Birmingham” what would you do and why would you choose to do that?
Grants for venues, individuals, and businesses. Small amounts of money that help people get things set up. I would favour that over projects which try to be high profile. I think the legacy of a small amount of money to someone who works hard and needs a small break could be greater than a big project.
National bodies run initiatives far better than anything that has come from BCC. I have often thought how helpful it would be to get help accessing those schemes. Rather than setting up a new scheme getting help from BCC consultants to access an existing scheme might be a better route.
Tour support grants – record labels support their artists to get out there. Having spent a great deal of my time trying to get my band out of this city I would love to be supported in that endeavour – both getting the gigs in the first place and covering the short fall in the budget.
Rob Horrocks
The Music Network was contacted in January 2010 by a group drawn from Birmingham City Council and the Arts Council England to begin to determine an overview of the current state, needs and potential of the “Independent Music Industry” in Birmingham.
The Music Network invites people with an interest or active role within Birmingham’s Independent Music Industry to answer 10 questions. If you wish to get involved read 10 Questions for Birmingham’s Independent Music Industry and send your completed responses by email to: info at birminghammusicnetwork.com - Thank You.
Simon Howes has also created an easy to use google survey for these questions here too.
All completed questions will be published here unless you state otherwise. Please be sure to include your full Name and any links to your website or blog so you can be credited in full as the author of the response. Views from all sides are sought so don’t be afraid to speak your mind. We all may learn something.
10 Questions for Birmingham’s Independent Music Industry answered by Andy Derrick
January 14, 2010
1. In your view, what is the current state of the region’s “Independent Music Industry?”
The people that work hard, network effectively and know the value of helping others are doing well by diversifying into other areas and applying their skills and knowledge to allied industries.
2. What do you think are it’s immediate needs with reference to the areas that you are most familiar with?
There is an element of cronyism, especially in the areas of Jazz where certain cliques have evolved and only seem to help others from within that clique. An emphasis on reaching out to others beyond your normal circle of contacts and perhaps in other styles of music and other parts of the region will help build and share the knowledge that people have battled to build up.
3. As far as the region’s “Independent Music Industry” is concerned, what do you think shows the greatest potential for the next few years?
Small businesses that are able to capitalise on their skills bank to offer a wider range of services to their customers.
4. In recent years, there has been a range of initiatives and projects designed to support the development of music in Birmingham. Can you list 5 projects or initiatives that you think have proved beneficial to the “Independent Music Industry?”
No
5. Can you list any projects or initiatives that you think have proved “of little use or benefit” to the “Independent Music Industry?”
Gigbeth - too ambitious and too wide in genres to effectively pull in an audience. It was trying to become the Edinburgh Festivals from the start without any evolutionary period. Was it a conference, education project, live music festival or what?
Digital Central - hamstrung from the start by the obligatory waste of time mapping the regions industry. Some initiatives worked well like the venue development scheme, but it needed to be bigger and longer.
Creative Launchpad - I both referred clients to this project and used it myself. The information is public domain and not particularly well explained or collated. It seemed an expensive way to provide advice - a well put together website and helpline would have worked better.
Arts Fest - sold to performers as well worth the opportunity to perform (for free) because of the profile it would lend to their live music product. I’ve yet to hear of anyone securing any useful opportunities as a result of appearing at this festival.
6. With regard to your answers to questions 4 and 5, do you think Birmingham should continue to pursue the idea of more initiatives and projects designed to support the development of music in Birmingham?
The projects all fail in one particular regard - the lack of industry expertise involved at the initial planning stages. Other problems include too much rushing to complete the project as it usually starts late. Lastly, there is never any criteria for success built into these projects.
7. If you could make any changes to, or include any new ideas for, any “strategy for supporting the development of music in Birmingham” what would your top priorities be?
Convene a panel of serious music industry individuals with a track record of activity and success from across the genre and skill spectrum to develop a series of objectives for a long term plan (10-15 years) and a series of projects that can initially support these objectives over the next five years. Then develop a rigourous success criteria and accountability system to ensure that the objectives are met and that the projects deliver what is asked of them.
8. If you were given the task of evaluating whether a project or initiative had been successful, what would you suggest as the best indicators of success, failure, benefit or disaster for the “Independent Music Industry?”
An industry mentor should be assigned to ensure that the objectives of a project were being met and that any benefit occurring can be effectively measured. In the case of failure, an investigation as to why and how best to learn from mistakes, support future action and castigate individuals when failures can be attributed.
9. As far as your knowledge or understanding of the region’s “Independent Music Industry” is concerned, what are it’s greatest strengths, and what are it’s greatest weaknesses?
The legacy of skills and knowledge from decades of music making and production is our greatest strength and these are not being used. The weaknesses are that academics and individuals with a lack of real world experience, second hand knowledge and entrenched positions have the ears of the funders.
10. If you could do anything to “support the development of music in Birmingham” what would you do and why would you choose to do that?
I would establish a committee of music industry local experts to judge who should be awarded direct financial support for music business activity in the region in the form of small grants (£100, £500 and £1000).
Andy Derrick - Independent Music Industry Professional and Blogger
www.andyderrick.co.uk
The Music Network was contacted in January 2010 by a group drawn from Birmingham City Council and the Arts Council England to begin to determine an overview of the current state, needs and potential of the “Independent Music Industry” in Birmingham.
The Music Network invites people with an interest or active role within Birmingham’s Independent Music Industry to answer 10 questions. If you wish to get involved read 10 Questions for Birmingham’s Independent Music Industry and send your completed responses by January 24th 2010 by email to: info at birminghammusicnetwork.com - Thank You.
Simon Howes has also created an easy to use google survey for these questions here too.
All completed questions will be published here unless you state otherwise. Please be sure to include your full Name and any links to your website or blog so you can be credited in full as the author of the response. Views from all sides are sought so don’t be afraid to speak your mind. We all may learn something.
10 Questions for Birmingham’s Independent Music Industry.
January 13, 2010
The Music Network has been contacted by a group drawn from Birmingham City Council and the Arts Council England to begin to determine an overview of the current state, needs and potential of the “independent music industry” in Birmingham.
The Music Network invites people with an interest or active role within Birmingham’s Independent Music Industry to answer 10 questions.
Completed questions will be published at http://www.birminghammusicnetwork.com unless you state otherwise. Please include your Name, biography or information about who you are and what you do, and links to your website or blog. You will be credited as the author of the response. Views from all sides are sought so don’t be afraid to speak your mind. We may learn something.
Please note, as with all funded projects, if you don’t voice your opinion a decision will be made on your behalf without any reference to you and you may not benefit from any strategy that gets agreed and put into action.
Here are 10 open questions. If you wish to get involved, please send your completed responses by email to: info at birminghammusicnetwork.com - Thank You.
Questions:
1. In your view, what is the current state of the region’s “Independent Music Industry?”
2. What do you think are it’s immediate needs with reference to the areas that you are most familiar with?
3. As far as the region’s “Independent Music Industry” is concerned, what do you think shows the greatest potential for the next few years?
4. In recent years, there has been a range of initiatives and projects designed to support the development of music in Birmingham. Can you list 5 projects or initiatives that you think have proved beneficial to the “Independent Music Industry?”
5. Can you list any projects or initiatives that you think have proved “of little use or benefit” to the “Independent Music Industry?”
6. With regard to your answers to questions 4 and 5, do you think Birmingham should continue to pursue the idea of more initiatives and projects designed to support the development of music in Birmingham?
7. If you could make any changes to, or include any new ideas for, any “strategy for supporting the development of music in Birmingham” what would your top priorities be?
8. If you were given the task of evaluating whether a project or initiative had been successful, what would you suggest as the best indicators of success, failure, benefit or disaster for the “Independent Music Industry?”
9. As far as your knowledge or understanding of the region’s “Independent Music Industry” is concerned, what are it’s greatest strengths, and what are it’s greatest weaknesses?
10. If you could do anything to “support the development of music in Birmingham” what would you do and why would you choose to do that?
Simon Howes has created an easy to use google survey for these 10 questions here
(The term “Region” as far as these questions are concerned refers to Birmingham or the geographic area Birmingham City Council works within.)
I have also quoted a number of existing articles below. I have suggested that the group should read through each of the articles and consider the content carefully.
Can anyone suggest any other existing articles that the group should read and consider that may have been omitted?
A DIGITAL AND CREATIVE INDUSTRIES ACTION PLAN http://birminghammusicnetwork.com/2008/03/06/a-digital-and-creative-industries-action-plan/
The people who control the Funding are damaging the Creative Industries in The West Midlands by Anthony J Hughes http://birminghammusicnetwork.com/2008/06/12/the-people-who-control-the-funding-are-damaging-the-creative-industries-in-the-west-midlands/
Birmingham Twinned with Your Darkest Thought? by Mark Iron Man Records http://birminghammusicnetwork.com/2008/11/10/birmingham-twinned-with-your-darkest-thought/
A Year later - Perspectives on the West Midlands Music Industry - Scott Roe, Solar Creations http://birminghammusicnetwork.com/2008/11/10/a-year-later-perspectives-on-the-west-midlands-music-industry-scott-roe/
What is your view of the West Midlands’ music industry? by Mark Iron Man Records http://birminghammusicnetwork.com/2009/02/03/what-is-your-view-of-the-west-midlands%E2%80%99-music-industry/
A Vision for the Music Industry in the West Midlands by Clare Edwards June 2008 http://birminghammusicnetwork.com/2009/02/03/a-vision-for-the-music-industry-in-the-west-midlands-by-clare-edwards-june-2008/
Another view of the West Midlands’ music industry and FUNDING by Andy Ward http://birminghammusicnetwork.com/2009/02/10/andy-ward-another-view-of-the-west-midlands%E2%80%99-music-industry-and-funding/
Countercultural Capital & the Creative Economy - How do 1990s DiY Music ‘Entrepreneurs’ talk about the contemporary music business?” by Charlotte Bedford 2008 http://birminghammusicnetwork.com/2009/06/04/countercultural-capital-the-creative-economy-how-do-1990s-diy-music-%E2%80%98entrepreneurs%E2%80%99-talk-about-the-contemporary-music-business-by-charlotte-bedford-2008/
Funding the Creative Industries by Andy Derrick 13th Feb 2009 http://birminghammusicnetwork.com/2009/02/13/funding-the-creative-industries-by-andy-derrick-13th-feb-2009/
The Scottish Music Industry Association(SMIA) - launched at Go North conference http://birminghammusicnetwork.com/2009/07/21/the-scottish-music-industry-associationsmia-launched-at-go-north-conference/
Redefining the Music Industry - A public consultation on the future shape, needs, direction and ambitions of the music industry. http://birminghammusicnetwork.com/2009/09/10/redefining-the-music-industry-a-public-consultation-on-the-future-shape-needs-direction-and-ambitions-of-the-music-industry/
National Survey and Mapping Exercise assessing provision & scope of music support work across UK 2009 http://birminghammusicnetwork.com/2009/09/22/national-survey-and-mapping-exercise-assessing-provision-scope-of-music-support-work-across-uk-2009/
How does Iron Man Records choose it’s artists and how does it promote them? http://birminghammusicnetwork.com/2009/11/28/how-does-iron-man-records-choose-its-artists-and-how-does-it-promote-them/
your comments please…..
cheers Mark - The Music Network, January 2010
The Music Network - 4pm Thursday 28th January 2010, Birmingham TEE, Millennium Point. All Invited
December 22, 2009
It has been suggested that Birminghamusic.com spent a lot of money and is no longer running. Creative Insight tried and failed. Creative lauchpad came and went. The Learning and Skills council had a go and gave up, so did the Chambers of Commerce, Mentoring projects got set up and then scrapped, music festivals, seminars, workshops and endless consultations have been and gone, compilation cds have been and gone, websites have been built and taken down, networks were set up and taken apart, even the Universities are at it, but how long will it last? People talk about “all this money.” …..”all this money” to help the creative industries, “all this money” to help struggling musicians in the region, all this help for all these different things, all these schemes to enhance the region’s music industry. And where has it got us? What has it cost? What has been achieved? Where is the evaluation? Will anyone be held to account? Does anyone care? Its a grim history. The place is full of “Music consultants” but still nothing appears to be happening. Or is it? Don’t panic. There’s probably nothing you can do apart from shut up and be happy. Or is there? These funded projects have absolutely nothing to do with you. So rejoice, the good news is this.
The Music Network is open to all on Thursday 28th January 2010 4pm til 6pm at Millennium Point, Curzon Street, Birmingham, B4 7XG.
If you have any involvement in music, come and talk about what you’re up to and meet some new people.
The Music Network organises a NETWORKING EVENT on the last Thursday of each month, for the benefit of music related businesses in the West Midlands region. These Events are not about telling you what to do or how to do it, they’re not part of a wider academic research project and this is not some funded project after your name or address, and you’re not part of a wider marketing excercise.
These Networking events are about all things music in the region. They’re about helping you to teach yourself how to do it, by yourself, for yourself and encourages you to share the knowledge with others so they can do the same. If you are a musician, work with musicians, represent musicians, have involvement with the music industry, or are looking to make new contacts the meeting will be useful.
If you have news to report, a presentation to give, an event to promote, any new points for discussion, a pitch to make, business cards or flyers to hand round, an appeal for help, advice or guidance or even if you just want the free tea and biscuits and some quality entertainment…you are all invited.
You can also post in by email any news or gig dates or press release information for inclusion on the website and for distribution through the mailing list and RSS feed. More details on the website.
There will be luxury chocolate biscuits and good coffee for all. There’s food and drink afterwards supplied by the creative networks too. Please pass this invite on to Musicians you know or anyone else who you think may benefit. Jokers and time wasters need not apply.
WARNING: THE MUSIC SCENE IS NOT THE MUSIC SCENE.
If you want to join a real conversation and get ahead with your own music…..and if you choose not to involve yourself in another botched scheme that pays for everything except anything useful for you and your music…..
…..You know what to do: http://birminghammusicnetwork.com Started in 2000 and still going on a budget you can stick under a glass. Funded Project? What Funded project? Learn to like it. Come and Join us.
Birmingham & Black Country Music Network Minutes Thurs 3rd December
December 4, 2009
BCMN Minutes
Present
Andy Derrick – Sostenuto LLP, - info@sostenuto.org.uk
ADJQ – Jazz fusion quartet – www.adjq.co.uk
Steve Rubenstein – performer of 40 years experience, solo performer – orangepip@south66.fsnet.co.uk
Rob Heaton – Routes To Music graduate, starting a freelance music business, HNC in music production, choral singer looking to develop music production business – bert@wanderful.plus.com
Ken Banks – Co-owner and director of Major Key Studios, foundation degrees for University of Wolverhampton, studio space, TV and live sound recording/production, talent search ‘Captured’ Fridays at the The Public – performance recorded video and edited sound, 32 channel recording with SSL Desk. Producing a live performance recording for the Midland Youth Jazz Orchestra – ken@majorkeystudios.com
David Blakemore – Routes To Music graduate – Winchester University graduate in creative industries – plays guitar, writes music – david_blakemore@hotmail.com
Dale and Tracy – MASCA – duet performing worldwide covers and original music – acoustic/electric rock – mascamusic@live.co.uk
Belle Sorelle – Hannah Smith, Gemma Parr, Patsy Parr, Bella Bennewith – samparr@parrmarketing.co.uk
Minutes
Andy Derrick – Sostenuto LLP runs the Black Country Music Network and chairs the meetings, runs the website http://blackcountrymusicnetwork.wordpress.com
ADJQ – Next gig Fri 11th December, Rush Hour Blues, Symphony Hall Foyer Bar, Broad Street, Birmingham – 5.30pm – www.adjq.co.uk - looking for live bookings of this dynamic and award winning group.
Steve Rubenstein – looking for publishing of original songs –
www.taxi.com was suggested as a way of putting your songs forward for possible inclusion in a variety of products from records, tv programmes, web media and computer games. Discussion on royalties and what to do followed, people referred to http://www.andyderrick.co.uk for some free articles on PRS and PPL and also to www.prsformusic.com
Belle Sorelle – 4 girl band recently appeared in X Factor going through to the boot camp. After a series of high profile local and charity events with Bev Bevan and Robert Plant, they are now looking for songwriters interested in writing for Katy Perry / Pink girl band sound. Contact them at samparr@parrmarketing.co.uk or Julie@parrmarketing.co.uk or visit www.bellesorelle.co.uk
Rob Heaton – looking for opportunities, job experience, internships in radio production, live sound production. About to start training as a radio volunteer at WCR in Wolverhampton but keen to know of other studio opportunities available.
Masca – Built a reputation as a function act and originals band all over the world in many settings. Now based again in the UK, they are looking for live music opportunities in the Midlands for their Electric/Acoustic Duo – www.masca.co.uk - mascamusic@live.co.uk
The Black Country Music Network is next meeting on the following dates
Thursday 21st January 2010 – 4pm
Thursday 11th February 2010 – 4pm
Thursday 4th March 2010 – 4pm
All meetings take place at Major Key Studios, The Public, West Bromwich
The Black Country Music Network is run by Sostenuto LLP – www.sostenuto.org.uk - an organisation dedicated to supporting and advising the creative industries.
The network is supported by Ken Banks and Phil Savage of Major Key Studios based at The Public who provide us with free meeting space and refreshments.
www.majorkeystudios.com - Visit their website to see more about the services and facilities on offer at their studios, the live music performance opportunities and their work helping to support the music industry in the Black Country – many thanks guys.
The Glee Club Live Music Listings Autumn 2009
October 29, 2009
THE GLEE CLUB, BIRMINGHAM
THE MIDLANDS’ PREMIER COMEDY & MUSIC VENUE
0871 472 0400 www.glee.co.uk | +18
LIVE MUSIC LISTINGS UPDATE - AUTUMN 2009
NEW SHOW ANNOUNCEMENTS
TUE 01 DEC
IAN BROUDIE (Lightning Seeds) & JAMES WALSH (Starsailor)
Our big new announcement is that we shall be welcoming a very special double-headline show on Tuesday 1st December with IAN BROUDIE of The Lightning Seeds and JAMES WALSH of Starsailor.
Ian Broudie is a prolific musician and producer (for The Coral and The Zutons) and leader of The Lightning Seeds, famed for their hits Pure, The Life Of Riley, Lucky You, You Showed Me and Three Lions. Starsailor’s songs have always been awash with timeless, perfectly sculpted melodies - all underpinned by James Walsh’s fragile, soaring vocals.
MON 07 DEC
CODEINE VELVET CLUB (Jon Lawler - Fratellis)
Codeine Velvet Club - a new outfit from Jon Lawler of The Fratelli’s - which exudes a Sixties-inspired sound that’s equal parts Phil Spector’s teenage symphonies and John Barry’s sharp 007 soundtracks shall be with us on December 7th! Their debut single ‘Vanity Kills’ is out on November 23rd through the legendary Island Records, with the album to follow.
NEW ALBUM SHALL BE AVAILABLE ON SPOTIFY FROM MON 16 NOV
LIVE MUSIC HIGHLIGHTS AT THE GLEE IN THE NEXT 7 DAYS
SUN 01 NOV - LAST FEW SPACES
ADRIAN EDMONDSON & THE BAD SHEPHERDS (classic punk tracks in a folk persuasion!)
+ Ella Edmondson
WED 04 NOV
MARK EITZEL (American Music Club)
+ Franz Nicolay (The Hold Steady)
New album Klamath out now. Written and recorded in a log cabin in the middle of the woods by the Klamath river, California. The pastoral, laid back, late night sparse feel to the album harkens back to Eitzel’s folk influences of Nick Drake and John Martyn and earlier work with AMC. “It’s gorgeous and every bit as good as those early American Music Club records” THE INDEPENDENT
Mark has previously been awarded ‘Songwriter Of The year’ and ‘Album Of The Year’ by Rolling Stone magazine. American Music Club played a wonderful show at The Glee in support of their highly acclaimed ‘The Golden Age’ album. We hear Mark shall also be bringing another CD available to buy at shows.
GET A TASTER www.markeitzel.info - http://markeitzel.blogspot.com
FULL AUTUMN MUSIC LISTINGS
Mon 09 Nov
The High Llamas + Soy Un Caballo (featuring Simon Tong – The Verve)
Wed 11 Nov
Birmingham Jazz present:
Steve Tromans Debop Band: The Last Words of Victor Jara
Thu 12 Nov
Emily Maguire (studio)
(previous guest to Roddy Frame)
Fri 13 Nov (studio)
Martha Tilston + Dan Arborise
Sun 15 Nov
Great Lake Swimmers & Sleeping States
(bring their ‘Ambient Zen Americana’ back to Glee)
Tue 17 Nov
Foy Vance
Thu 19 Nov (studio)
Blue Roses (Laura Groves)
Mon 23 Nov
The Leisure Society
(The Sleeper re-released 05 Oct as 2cd edition)
Tue 24 Nov
Lou Rhodes + John Smith
GET MORE INFO ON EACH GLEE ARTIST
Please visit www.glee.co.uk for a full-page of info. on every artist including extra web links plus as many legal freebies as we can find.
HOW TO GET FREE GLEE-ALERTS FOR YOUR FAVOURITE PERFORMERS
Log into the My Bookings section of www.glee.co.uk with your email and booking password and head to My Performers. Tick the boxes next to your favourite artists & we’ll send you a free alert every time one of them plays the Glee. We’ll be constantly updating the list.
Fri 27 Nov (studio)
Dan Whitehouse + Vashti Anna + Michael Clarke
Sun 29 Nov
Thea Gilmore
Tue 01 Dec
Ian Broudie (The Lightning Seeds) & James Walsh (Starsailor)
Thu 03 Dec (studio)
Ella Edmondson
Sun 06 Dec
Reggie Watts – US Supercomic!
Seeing is believing! “Reggie is the man. He’s a one man comedy, beat box phenomenon.” NY Press www.reggiewatts.com
Mon 07 Dec
Codeine Velvet Club
New band by Jon Lawler of The Fratelli’s. Debut single - Vanity Kills - out Mon 23 Nov (Island Records).
“They conjure up a Sixties-inspired sound that’s equal parts Phil Spector’s teenage symphonies and John Barry’s sharp 007 soundtracks”
Album on Spotify from Mon 16 Nov.
Wed 09 Dec
Ben Howard (recent guest to Fink)
Sun 13 Dec - SOLD OUT
Candy Box Burlesque
Tue 02 Mar 2010
Tom McRae
(re-scheduled from 05 Oct. All original bookings still valid)
Sun 23 May
Po’ Girl
AND FINALLY:
A few additional mentions for friends who are playing round and about
Fri 06 Nov
Beth Jeans Houghton
Hare & Hounds
www.hareandhoundskingsheath.co.uk - www.myspace.com/bethjeanshoughton
Sat 07 Nov
Portico Quartet + Sweet Billy Pilgrim
CBSO Centre
www.birminghamjazz.co.uk
Wed 02 Dec
Capsule 10th Birthday Concert
Tunng, Six Organs Of Admittance & more
Town Hall www.thsh.co.uk
Fri 11 Dec
Scott Matthews + Jo Hamilton
Town Hall www.thsh.co.uk
Wed 16 Dec
Imelda May
Town Hall www.thsh.co.uk
Mon 19 April 2010
Melody Gardot
Symphony Hall www.thsh.co.uk
THE GLEE CLUB
THE ARCADIAN
BIRMINGHAM
B5 4TD
BOOKINGS / FULL LISTINGS / ENQUIRIES 0871 472 0400 WWW.GLEE.CO.UK
PLUS THE BEST IN LIVE COMEDY EVERY THU - FRI - SAT
SOME GREAT AUTUMN COMEDY TOUR SHOWS STILL TO COME - see www.glee.co.uk for full listings
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