Tag: rob horrocks

10 Questions for Birmingham’s Independent Music Industry answered by Keisha Thompson

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

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.