The Musician Journal of the Musicians’ Union Winter 2020 theMU.org contacts Union HQ Regional Ofces
General Secretary Head of Communications London Horace Trubridge & Government Relations Regional Organiser: Jamie Pullman Isabelle Gutierrez 33 Palfrey Place, London SW8 1PE Deputy General Secretary t 020 7840 5504 Naomi Pohl Equality, Diversity & Inclusion Ofcial e [email protected] John Shortell Assistant General Secretary East & South East England Phil Kear In-House Solicitor Regional Organiser: Paul Burrows Dawn Rodger 1a Fentiman Road, National Organiser London SW8 1LD Jo Laverty (Orchestras) Orchestras Ofcial t 020 7840 5537 Morris Stemp e [email protected] National Organiser Chris Walters PR & Marketing Ofcial Midlands (Education, Health & Wellbeing) Keith Ames Regional Organiser: Stephen Brown 2 Sovereign Court, National Organiser Campaigns & Social Media Ofcial Graham Street, Geof Ellerby (Recording & Broadcasting) Maddy Radclif Birmingham B1 3JR t 0121 236 4028 National Organiser Digital Development Ofcial e [email protected] Dave Webster (Live Performance) Katerina Baranova Wales & South West England Head of Finance Regional Organiser: Andy Warnock Beverley Dawes Transport House, 1 Cathedral Rd, Cardif CF11 9SD Live & Music Writers’ Ofcial t 029 2045 6585 Kelly Wood e [email protected]
Sessions Ofcial North of England Sam Jordan Regional Organiser: Matt Wanstall 61 Bloom Street, Recording & Broadcasting Ofcial Manchester M1 3LY Union HQ Michael Sweeney t 0161 236 1764 60 – 62 Clapham Road e [email protected] London sw9 0jj Licensing & Distribution Ofcial Annie Turner Scotland & Northern Ireland t 020 7582 5566 Acting Regional Organiser: Barry Dallman f 020 7582 9805 Education Ofcial 2 Woodside Place, e [email protected] David Barnard Glasgow G3 7QF t 0141 341 2960 w theMU.org e [email protected] @WeAreTheMU REPORT Fighting For Our Members How your Union is working hard to get a fair fnancial deal for all musicians in the current pandemic, and preparing for life in the post-lockdown world
In order to maximise the extremely limited While making money to pay the bills remains work opportunities available to members we the absolute priority, we all know that’s not have had to enter into interim agreements with why we became musicians in the frst place. many of the employers and engagers that we We became musicians because we wanted have collective bargaining agreements with, to perform and entertain audiences, and so and that has been a tortuous and demoralising many of you have been telling me that it’s what process. Like so many of you, we are anxious you miss most of all. We will continue to push not to allow an erosion of the hard-fought- the Chancellor to introduce a two-for-one for terms and conditions in our CBAs on a ticket scheme to enable socially distanced live permanent basis, and in trying to achieve performances to take place when we come that balance we have had to walk a paper out of the current lockdown. Much like the thin tightrope. scheme that Rishi Sunak introduced to help the restaurant trade in the Summer, a ‘Seat Hearing the harrowing stories of the sufering Out To Help Out’ scheme for the live music that some of our members are enduring industry would enable socially distanced brings the impact of the pandemic and this government’s lack of support for some sectors of the work force home to “We are doing 3 us in a truly personal way. We are doing Photo: Joanna Dudderidge Joanna Photo: everything we can to provide advice and everything we can to Horace Trubridge, support to members who are not just General Secretary trying to cope with the overwhelming provide advice and fnancial loss, but also the inevitable detrimental efect on their health and support to members” There is no point in trying to sugar coat wellbeing too, and we will continue to it, 2020 has been a bloody awful year for explore ways in which we can help you, the gigs, musical theatre and other performances our profession. COVID-19 has been every members, get through these dark days and to take place and not lose money, thereby musician’s annus horribilis, and the early remain in the profession. providing much needed work for musicians. part of 2021 is not looking much better. As I and my colleagues are saying to politicians Your ofcials, staf and the MU Executive Remarkable Ingenuity and civil servants every day, musicians just Committee have had to deal almost All this makes the stories of the creativity want to be able to work again, but they need exclusively with trying to minimise the of musicians striving to continue to work all investment to survive. damage that the pandemic has wrought the more remarkable. Whether it’s pop-up on members’ working lives, while also gigs, drive-ins, online teaching or pay-per- Working Together battering on the doors of Number 10 and view streamed performances, musicians Finally, I cling to the hope that this time next the Chancellor’s ofce to try to get this show time and time again that the skills they year, we will all be able to look back on what government to understand how our industry have learnt as musicians enable them to the profession has been through and give works and provide realistic universal be creative in business as well. Monetising thanks for our collective strength, unity, fnancial support for the workforce – not online performances is tricky. Nevertheless, resilience and ingenuity. Musicians are still just the institutions and buildings supported as we begin to scale the foothills of this new joining the MU in impressive numbers as they through the Cultural Recovery Fund. way of working I see initiatives springing recognise the importance of standing together up everywhere that should give us all hope. and fghting for our world beating industry. You can play your part in supporting the MU’s campaigns by writing to your MP and making our collective voice heard. More than anything, hang on in there and stay safe.
TO HEAR MORE FROM HORACE, Very best wishes VISIT THEMU.ORG Horace Trubridge
The Musician • Winter 2020 Contents Winter 2020
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30 “To be in those studios with some of the best session musicians in the world, I find that to be an honour” Fiona Brice
The Musician • Winter 2020
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Frontline Feature 6 Members invited to join the 12 How the MU has supported call for new fast access fund members in the Covid crisis Examining the experience of 7 MU seeks guidance Black musicians on Brexit for musicians Advice since the rise 40 The pros and cons of signing of the BLM Reports a music publishing deal movement 3 MU General Secretary 44 Sources of fnancial support 10 Deputy General Secretary 20 The Let Music Live protests Your Voice in London and Birmingham 9 Interacting with MU members
22 Assessing the achievements and supporters on Twitter Union Notices Brown Ntando Photo: of Black History Month 2 Key contacts for 26 Tips on maintaining wellbeing Profle the Musicians’ Union during the winter months 30 Fiona Brice: composer, 50 MU Executive Committee 34 Acclaimed jazz musician arranger and violinist election results Arun Ghosh on clarinet care 51 Member benefts 36 How to promote your music Reviews using the latest online tools 46 New albums, EPs and 48 MU Delegate Conference downloads from members
5 MU Contributors
Andrew Katie Rahel Gary Stewart Nicholls Aklilu Walker Andrew writes Katie is a Rahel is a Gary has been for The Times, The freelance journalist writer based in London a journalist for 20 Guardian, Classical and editor whose with a background years, most recently Music and BBC Music features and reviews in law, writing mostly editing Long Live Magazine, among have appeared in around music and Vinyl magazine. He’s others. He is also titles such as Mojo, culture for publications hopelessly addicted Director of Southwark The Guardian including gal-dem and to reverb pedals and Voices. p26 and Kerrang! p30 The Independent . p22 Gretsch guitars. p36
Roy Neil Neil Henry Delaney Churchman Crossley Yates Roy has Neil is an A journalist and Henry is a written for Metal experienced journalist editor who has written freelance writer from Hammer, Melody Maker in broadcasting and for The Independent, Gloucestershire who and TV’s Tipping Point, print. A former BBC The Daily Telegraph, has written for titles and is the lead singer national newsroom The Guardian and as diverse as Classic and drummer with the assistant editor, he The Financial Times. Rock, Total Guitar, two-piece punk rock now writes on music Neil also fronts the NME and Record band Hacksaw. p46 and the media. p34 band Furlined. p20 Collector. p40 & 44
Cover: © sumnersgraphicsinc; JLVarga; Ko Hong-Wei / EyeEm / Getty Images Photo: Joseph Branston. © Musicians’ Union
The Musician • Winter 2020 BREXIT AND YOU The MU is fghting to protect musicians’ right to travel when working in the EU post-Brexit. We want to hear from you about how Brexit has ! afected your working plans for 2020. #WorkingInTheEU bit.ly/2AzdUAV
Winter 2020
frontlineThe MU in action, working on behalf of professional musicians
MU Calls On The Treasury To Invest In Musicians And Plug The Gaps INVEST
MU members are invited to join the call for additional support for musicians through 6 the Covid-19 pandemic. Under the title ‘Invest In Musicians’, the new campaign IN aims to activate members and supporters to build a sense of engagement and reframe the debate about the future of the UK music industry.
MU research shows that 38% of musicians MUSICIANS fall through gaps in government support. This is a highly skilled workforce and musicians’ jobs are viable – some are just temporarily on hold. While the fnancial commitment by the government to the infrastructure of our industry must be acknowledged, many opinion of the decision makers. The assets musicians are not in a position to ride out allow individuals to celebrate their talent and “This campaign is the the Covid-19 outbreak. By focusing on skills experience while underlining their career retention and genuine investment in people, fragility during lockdown and illustrating their next stage in ensuring and not just places, the government has value to our cultural landscape. the opportunity to deliver a thriving cultural our members’ needs environment in the future. Horace Trubridge, MU General Secretary are set squarely in front says: “The Union has been lobbying The MU is therefore calling for musicians to government and highlighting the fnancial of those in power” have more access to funding to ensure that challenges facing our members since day when the music industry opens back up, they one of lockdown. This campaign is the next Horace Trubridge are in a position to get back to work. ‘Invest stage in ensuring our members’ needs are In Musicians’ aims to elevate the status set squarely in front of those in power.” of musicians as a dynamic, enterprising workforce in the eyes of decision makers. Members will fnd a poster enclosed with their copy of The Musician for use at home, The Union is delivering a campaign toolkit at work, or at events in line with lockdown for members and supporters to tell their guidance. Materials to get involved online can stories, show their solidarity, and sway the be found at theMU.org/InvestInMusicians
The Musician • Winter 2020 FRONTLINE
The government has ofered Term Of Office For few assurances to touring General Secretary musicians post-Brexit
As reported in the summer 2020 issue of The Musician, an extension was granted by the Union’s Executive Committee to the term of ofce of current General Secretary, Horace Trubridge. This extension was approved to run through to his planned retirement in January 2025. However, at the Executive meeting on 11 November, Horace requested that the letter extending his term be rescinded and that an election for the position of General Secretary be called in the autumn of 2021.
“When I became MU General Secretary,
I vowed that I would grow the Union’s Photo: Image Source / Alamy Stock Photo membership to the point where the Union could be self-sufcient and not have to rely on the diminishing licensing income,” he said. MU Seeks Government Guidance On Brexit “The Union was on course at the beginning of this year to achieving that in time for With the Brexit negotiations running out procedures important to professionals in 7 my retirement. The pandemic has set this of time and the transition period, during the live music industry, including freelance ‘project’ back signifcantly and I have been which rules remain the same, set to end musicians and touring professionals. My concerned for some time now that we will in December, the MU has been pressing department will continue to engage with the not have enough time to reach the target the government to issue comprehensive creative industries to understand further the by January 2025. I asked the EC to rescind guidance for musicians wishing to tour specifc issues they may face.” the letter extending my current term, so in the EU from January 2021. We have that I can stand again for a full term at the asked numerous questions of ministers in The MU has pushed the government to ofer beginning of 2022 and they have agreed.” parliament via MPs such as Alison McGovern more than this, as the current advice is and Stephen Doughty. The response, woefully inadequate. It does, however, ofer Details of the election process will be regardless of the specifc question, has some signposting that members may fnd published in The Musician and on the always been along the same lines: useful so please see here for the referenced MU website in due course. guidance – gov.uk/transition “On 1 September 2020, the government launched a comprehensive communications More useful is this online guide, which New MU Website campaign to help the UK prepare for the end clarifes some of the requirements in diferent of the transition period,” said minister for EU countries. vivalavisa.co.uk/articles/ The MU’s new website is set for launch in digital and culture, Caroline Dinenage. “This brexit-and-beyond-what-lies-ahead-for- December and members are encouraged to includes guidance on customs and mobility touring-in-the-uk-and-eu visit the facility regularly to beneft from its comprehensive features, news and advice. Members are also reminded of the valuable Industry Stats Musicians’ Union Tax Savings Guide, which can now be found solely on our site. In addition, the latest terms and conditions of 86,148 £5.8bn 197,168 the MU insurance schemes, as administered People who have signed The amount contributed Full-time UK music industry by our preferred broker Hencilla Canworth, the Musicians’ Passport to the economy by the UK jobs in 2019, all now at are located online on the MU website. Please petition to date – and it’s music industry in 2019, risk from the government note that it is essential you are up to date rising fast. up 11% from 2018. lockdown restrictions. with your MU subscriptions to enjoy these (or any other) beneft of Union membership. For the latest news on how the Musicians’ Union is helping you visit theMU.org
The Musician • Winter 2020 ASK US FIRST Check through our list of promoters before ! agreeing to accept an engagement at tinyurl.com/askusfrst
ABRSM Agreement Naomi’s work on MU To Relocate the Safe Space The MU met with the Associated Board service was highlighted The London HQ of the Royal Schools of Music (ABRSM) to discuss our diversity concerns, and they The MU plans to move from its existing have agreed with some of our demands, London headquarters in the Oval in 2021. The including: Introducing a minimum of 20 move is made with a view to relocating to a new compositions or arrangements more fexible and appropriate ofce space from composers from underrepresented in the London area. The ofces at 60–62 backgrounds every year; Making sure that Clapham Road will therefore shortly be 20% of all syllabus content comes from available to rent. composers who are Black, Brown, and
Indigenous People of Colour (BBIPOC); Photo: Jonathan Stewart. © Musicians’ Union Horace Trubridge, MU General Secretary, Transforming the organisation itself through says: “The Union has undergone signifcant a Diversity and Inclusion Group to lead modernisation and it is vital that we change across everything from staf training Naomi Pohl Selected refect contemporary working methods to governance and examination panels. and introduce administrative cost savings For Industry Honour wherever possible. Value for members For more info visit: tinyurl.com/tabrsm remains at the heart of our work, a philosophy MU Deputy General Secretary, Naomi Pohl, that has never been more relevant than in the has been selected for Music Week’s Women light of the current economic circumstances.” in Music Roll of Honour, which celebrates the Musicians’ Hearing achievements of female executives. There are 24 names on this year’s list, drawn from 8 The Musicians’ Hearing Health Scheme, all sectors of the music industry. Music For All Online which ofers hearing check-ups, expert advice and custom earplugs at a discounted Naomi was nominated for all her work at The charity Music for All – which ofers rate to MU members, has reopened the Musicians’ Union – including the Fix fnancial support and donated instruments to selected clinics across the UK. This service Streaming campaign – but the main work music makers with limited access to musical is now booking hearing appointments for covered in her nomination is the Safe Space instruments and lessons – has recently scheme-registered musicians at selected scheme, which was created to provide a safe launched a new website. Music for All clinics across the UK, subject to change in space for all musicians to share instances promotes and highlights the well-established accordance with latest government advice. of sexism, sexual harassment and sexual physical, educational and health benefts of abuse in the industry. “My biggest sense making music – a particularly relevant beneft For more information on what the scheme of achievement has to be from leading the during the current pandemic. Please visit the can ofer, visit: hearformusicians.org.uk MU’s Safe Space service,” said Naomi. charity’s new website at: musicforall.org.uk
Dates For The Diary 21-22 Jan 25-28 Jan 25-28 Jan 3-5 Feb Spring 21
What: International What: NY:LON Connect 2021 What: AmericanaFest UK What: London Music What: MU Music Teachers’ Conference on (global online music summit (showcase, events, Conference 2021 (panels, Conference (Members are Music Education and in London and New York panels and the annual talks, workshops, club welcome to email the MU Teaching Methods with debate and networking) UK Americana Awards) nights, and showcases with any suggestions) Where: Online Where: Online Where: Online Where: Various venues Where: Online Info: tinyurl.com/ICMETM Info: nylonconnect.com Info: theamauk.org Info: tinyurl.com/lonmconf Info: [email protected]
The Musician • Winter 2020 FRONTLINE
Your Voice THE TEAM Editor Keith Ames (MU) Consultant editor Neil Crossley Art editor Chris Stenner This selection of tweets, emails and letters refects the Writers Rahel Aklilu, Keith Ames, Neil Churchman, diverse range of dialogue between the MU and its members. Neil Crossley, Roy Delaney, Katie Nicholls, Andrew Stewart, Gary Walker, Henry Yates Excluded In The UK Production editor Roy Delaney So we head to a second Contact your MP to Director of content marketing increase awareness of the lockdown. I can’t wait to Clare Jonik issues with the industry Head of Fusion procurement and hear about all the money I production Matt Eglinton STILL won’t receive from the Senior account executive Nina Collins government even though I have Editorial director Mark Donald paid my taxes and NI etc since Art director Stuart Hobbs Repro Gary Stuckey 2005. CAN’T WAIT. Printed at Precision Colour Printing Alice Fearn @alice_fearn See p2 for the contact details of Musicians’ Union ofces. Class Action Today I shall mostly be waiting for The MU to advise whether I have to lockdown and resume online lessons – after
spending my half term ‘holiday’ Photo: Guillem Lopez / Alamy Stock Photo All information contained in this journal is for informational purposes only and is, to the best rearranging my studio for face to of our knowledge, correct at the time of going face lessons. Starting the term to press. This journal is published by Future Publishing Limited on behalf of Musicians’ Union. 9 feeling this dejected is not good. Save Artists Mail Your MP Neither Future Publishing Limited nor Musicians’ Union accept any responsibility for errors or Liz Mitchell @saxylizbeth Proud to be at Parliament Musicians and their families inaccuracies that occur in such information. Readers are advised to contact manufacturers Square this morning for are sufering huge fnancial and retailers direct with regard to the price of Fix Streaming #WeMakeEvents campaign, hardship as a result of the products/services in the journal. Publication of an advertisement does not imply any form Campaigning works! The DCMS raising awareness of the poor provision of the of recommendation. Organisations ofering fnancial services or insurance are governed by is opening up an enquiry to look desperate situation of the UK government. Please email their relevant regulatory bodies and problems into streaming. Hats of to the arts, and protesting at our your MP and help raise the with such services should be taken up with those bodies. Neither Future Publishing Limited nor Ivors Academy and The MU’s government’s response. We profle of this campaign. Musicians’ Union accept any liability for the quality of goods and services ofered in advertisements. Fix Streaming campaign. are not a hobby. We contribute Karena @karenasoprano We do our best to avoid inaccuracies, but if you Hannah V @HannahV billions to the economy. believe that an error has been made, please contact the editor straight away before taking any Support the arts. Save artists. British Life other action and the Union will take appropriate steps. If you submit material to this journal, you Everyone matters Ashley Beauchamp So, anyone studying for automatically grant Future Publishing Limited For all those who’ve been told @ashbeauchamp UK Citizenship is taught and Musicians’ Union a licence to publish your submissions in whole or in part in any edition of your industry is unviable, your that ‘Since the 1960s British this journal that is published worldwide in any format or media throughout the world, and you unique talent isn’t good enough Sad State pop music has made one of grant Musicians’ Union a licence to publish your and you should retrain and get a It’s a sad state of afairs, isn’t the most important cultural submissions in whole or in part in any format or media for the purpose of promoting any products better job, this is for you. We see it, when your only regular contributions to life in the or services referred to in your submissions. Any material you submit is sent at your risk and you and your incredible value. gig these days is a protest in UK’ yet now seemingly neither Future Publishing Limited nor Musicians’ You are important to us all. Parliament Square. abandon it! Union nor their respective employees, agents or subcontractors shall be liable for any loss Dr Rosena Allin-Khan Sophie Gledhill Robin Rimbaud – Scanner or damage. © Future Publishing Limited and Musicians’ Union 2020. All rights reserved. No part @DrRosena @SophieGledhill @robinrimbaud of this journal may be used or reproduced without the written permission of Future Publishing Limited and Musicians’ Union.
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The Musician • Winter 2020 A Government Inquiry Into Streaming Economics The lockdown has only underlined how pitifully small the musician’s share of streaming revenue has always been. And at a time when every penny is precious, Naomi Pohl examines what the MU is doing to change all this
In mid-October, the UK government’s Digital, To illustrate the issue, a survey of members Culture, Media and Sport Select Committee of the MU and The Ivors Academy on launched an inquiry into the economic impact streaming income in November 2020 (with of music streaming on artists, record labels 320 respondents) returned these results: and the sustainability of the wider music industry. While this may seem peculiar timing • More than 80% of respondents had earned given the government’s focus on getting the less than £200 from streaming in 2019 country through the Covid-19 pandemic, • 63% of respondents had earned less than there is a legitimate reason for it in the £50 from streaming in 2019 context of the UK music industry • 82% of respondents had earned less than 10 £50 from their most streamed track in 2019 Kevin Brennan MP, member of the CMS Select • Over 90% of respondents said less than 5% Committee says: “The pandemic and lack of of their earnings came from streaming any earnings from playing live has brought into sharper focus the dwindling pittance many Damning Statistics musicians make from recorded music, whilst By way of comparison, labels are reporting record profts are simultaneously being record profts. The IFPI’s Global Music Report generated by the huge corporations that 2019 showed that the recorded music market dominate the industry. As an MU member it grew by 9.7% worldwide in 2018, the fourth seemed to me that our Select Committee consecutive year of growth. Streaming should take this crisis and turn it into an revenue grew by 34% and accounted for opportunity to shine a light on the economics almost half (47%) of global revenue, driven by of streaming and why it is that the creators of a 32.9% increase in paid subscription recorded music are not better rewarded.” streaming. Growth in streaming more than ofset a 10.1% decline in physical revenue and a In our joint campaign with The Ivors Academy 21.2% decline in download revenue. So, why to #FixStreaming and #KeepMusicAlive, isn’t this streaming bonanza refected in the we have argued for a government review earnings of musicians? because the closure of the live industry has highlighted the woefully low royalties We see the key issues as follows: generated for musicians by music streaming. • Streaming royalties for performers aren’t Simultaneously, the #BrokenRecord campaign subject to collective management: this has involved artists in calling for reform of means no guaranteed income stream, unlike streaming economics via Twitter. Clearly our public performance and broadcast combined eforts have not gone unnoticed. • Bad deals: many artists are trapped in record deals which ofer a low royalty rate on streaming and/or where their advances “Growth in streaming more than offset a decline remain unrecouped, potentially for decades • Bad data: if songs and tracks aren’t in physical revenue. So, why isn’t this streaming registered with full lists of writers and performers then royalties won’t be paid bonanza reflected in the earnings of musicians?” out accurately
The Musician • Winter 2020 PROFILEREPORT
KT Tunstall is one of many artists who have criticised the current model of music streaming
11 Photo: MusicLive / Alamy Stock Photo Photo Stock Alamy / MusicLive Photo:
• A few major players dominating the 1. Equitable, appropriate and proportionate diligence refers to the requirement for an marketplace and holding all the cards in remuneration for performers on streaming. organisation collecting royalties to do all they negotiation: the major labels control the We would like to see unwaivable streaming can to locate and pay individuals to whom major publishers and may own shares in royalties for performers paid via a collecting those royalties are due. While collective the main streaming platforms. They also society such as PPL. This would beneft management organisations such as PPL and have a signifcant control over playlists and featured artists who have not yet recouped PRS for Music are held to high standards of algorithms due to their market dominance. their label advances and also non-featured due diligence, labels and publishers are not. Oh, and the licensing deals are covered by (session and orchestral) musicians who We would also like to see data standards NDAs so we can’t see who pays what to who currently receive no streaming royalties. across the music industry signifcantly and why. There’s defnitely some conficts of improved upon to ensure that royalties are interest at play, and a government inquiry 2. The European Copyright Directive. paid out accurately. may be the only way to shed some light. Due to Brexit, we will not get the principles of the Directive transposed automatically The issues we have outlined here are likely Revenue Division into UK law. We lobbied hard for the to appear in the submissions of many creator At present streaming revenue is divided Copyright Directive when it was being and performer representative groups and, roughly as follows: 30% to the streaming discussed at EU level, and in particular for we hope, in the evidence submitted by platform; 5 5% to the label (which should pay a the articles covering fair remuneration of individual musicians. While priorities may royalty to artists, however this may be as low creators and performers, transparency, vary depending on a creator or performer’s as 10% if the artist has not ‘recouped’ their contract adjustment and rights revocation. main area of work, the general themes of advance); 15% to the music publisher and Introducing these principles into UK law unfair contracts, low royalties, bad data and songwriter (The songwriter will usually receive would help improve treatment of creators a lack of transparency will no doubt be 80% and the publisher will retain 20%). and performers by the record industry highlighted across the board. There are in particular. oral evidence sessions taking place before The Union’s written submission to the inquiry and after Christmas and we look forward to was submitted in mid-November and focused 3. Accurate payment of royalties. We would seeing the Select Committee’s full on the following key solutions: like to see music publishers and record recommendations in the New Year. labels held to the same standards of due diligence as collecting societies. Due
The Musician • Winter 2020 We’re Togetherin this How the MU has supported its members through the biggest threat to musicians’ livelihoods for almost a century
No UK musician contemplating the devastating mid-to late-1920s when the orchestras were all potential of Brexit back in January 2020 could sacked from the cinemas because of the talkies. have ever predicted that things were about to Even then live work existed and the studios were get a whole lot worse. The frst signs came in still open. The problem we have now is there’s early February with a trickle of cancellations by absolutely no live work and the studios are 12 major artists in Asia, Europe and the US. But by closed as well.” early March, musicians across genres and disciplines were pulling whole tours as the true MU Hardship Fund impact of the new Covid-19 virus dawned. Most musicians were facing a precarious fnancial future. The MU moved swiftly to assess the scale No-one was exempt from the fallout. From pub of the problem and to ofer help and support to its bands and function outfts through to A-list stars, 32,000 members, the bulk of whom are self- gigs and tours were cancelled, album releases employed freelance players. In March, the MU set shelved, PR campaigns wound down, studio up a £1m Coronavirus Hardship Fund, ofering sessions axed and teaching sessions cancelled. grants of up to £200 per member for members Almost overnight, tens of thousands of musicians who were experiencing extreme fnancial found themselves in limbo and facing extreme hardship due to loss of work. In April alone, the fnancial hardship. MU paid out over £700,000 to its members.
Assessing The Impact “We hope this fund goes some way to providing “A disaster of gargantuan proportions” is how MU a small amount of relief to our members” said General Secretary Horace Trubridge summed up Horace, “but we urgently need the government to the impact. “The scale is astronomical,” he said. provide clarity on what wider support will be “This is without doubt the darkest hour for the available, and we call on the record industry to music profession. The last time we had play its part, too.” something as catastrophic as this was in the For those members experiencing a sudden loss of income, the grants proved a lifeline. “This is without doubt “Utterly grateful to be receiving a hardship the darkest hour for the grant from The MU,” tweeted member Amelia Rose. “This now means I can pay rent this month music profession” and the relief is unmeasurable. To everyone who’s ofered both moral and fnancial support through Horace Trubridge all of this, I cannot thank you enough.” Photo: David Jackson
The Musician • Winter 2020 FEATURE
The socially distanced LSO performing at St Luke’s in July 2020
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The Musician • Winter 2020 Siân Monaghan rapidly moved her teaching Lucy May Walker was equally appreciative. business online, setting up a new “Massive thank you to the MU for providing me business in lockdown with £200 through the Coronavirus Hardship Fund,” she tweeted. “It’s not a lot, but it’s the
most I’ve been granted as a self-employed Dibbs Thomas Photo: musician with no work. So grateful!”
Other Sources Of Funding Top-up payments of £100 were subsequently made in June to almost 3,800 MU members who had previously received £200 from the MU Coronavirus Hardship Fund. Particular thanks were given to PPL for their contributions to the Fund totalling £200,000.
The MU has also directed members towards the hardship funds set up by Help Musicians, PRS for Music, the Association of Independent Bristol artist Lade Nade, who took part in the MU Summer Music (AIM) and the Young Classical Artists second of the MU’s Trust (YCAT). Many of these organisations also Summer of Live events provided a valuable fnancial lifeline for Of Live Events members in dire fnancial need due to the In a drive to raise more money for complete loss of work. the MU Coronavirus Hardship As the second lockdown loomed in October Fund, the MU launched two events “Am so thankful right now for The MU and Help 2020, the MU ofered an additional three- under the title Summer Of Live. Musicians UK for supporting me during this month subscription holiday and have now The frst online fundraising event difcult time after my tours were cancelled,” extended the period that members can apply was hosted from Manchester by 14 tweeted Hannah White. “These hardship for this until the end of March 2021. radio presenter, producer and DJ funds are a lifeline to me and my family.” Shell Zenner, and featured MU Emails And Website – A Sense Of Support interviews and live performances MU Live and Music Writers Ofcial Kelly Wood The MU’s support for members has from four distinctly diferent established a fundraising eBid auction in April, extended to far more than just fnancial help. artists: rapper and poet, KinKai; to which author Sir Philip Pullman, rock band Throughout the pandemic, the MU sent out r‘n’b singer-songwriter and Garbage, and broadcaster and pianist Jay comprehensive emails to inform, advise, producer, Prima; singer, songwriter Rayner donated handmade craft, music prints empower and support members throughout Jack Curley; as well as singer- and books. The Union’s ofcial online the crisis. Under the banner ‘We’re All In This songwriter and Guildhall graduate, Crowdfunder also raised over £80,000, money Together’, the emails provided the latest news Eliza Shaddad. which has made a valuable contribution to and advice for musicians during the crisis. the MU Coronavirus Hardship Fund. MU General Secretary Horace Each email carried links to the online MU Trubridge said Summer Of Live MU Ofers Subscriptions Holiday Coronavirus Advice Hub where musicians was “a fantastic initiative”, and In a further attempt to ease the fnancial could monitor MU updates, keep in touch one that features hugely talented burden on members, the MU announced with relevant government announcements, performers. “At a time when we on 24 May that it would be ofering a fxed and comply with all guidance provided. The are desperately missing live music, three-month holiday on membership Hub consisted of a wealth of information it is great to see and hear subscription fees to members paying the full and guidance including dedicated areas performers of this calibre doing or partnership subs rate. Any member could focusing on: Financial support for musicians; what they do best, and all for beneft from the scheme and there was no Attending recording sessions; Government a very good cause,” he said. obligation to repay the balance at a later date, measures for the music industry; Self- with all the usual MU benefts and services Employment Income Support Scheme (SEISS) The second event, showcasing remaining available to members. In the frst grants; Domestic abuse support; Taking top-class British folk, spanned two days of the Subscriptions Holiday action to protect musicians; Music teaching, Shefeld, Devon, New Orleans and scheme, the MU received 674 applications and theatre work and orchestral work during the Montreal, and included artists processed 215 of these on the frst day, saving outbreak; Contracts and earnings; Insurance; such as Lady Nade, Chloe Foy, the members involved £9,500 in total. and staying connected and up to date. John Smith and Greg Russell, who Response from members suggests these also hosted the event. communications have been a valuable source
The Musician • Winter 2020 FEATURE
“The MU are doing such an amazing job of taking care of its members” Kerri Watt
eligibility for government support. Indeed, 38% of respondents reported that they do not qualify for the government’s furlough or SEISS schemes for employed or self-employed workers respectively, and even those who did qualify said they would struggle to survive fnancially in the interim period before payments were made.
Gaps In Government Support The MU’s research identifed key gaps in the government’s support for self-employed workers facing fnancial hardship as a result of the impact of Covid-19: Those who are part self-employed (i.e. less than 50% of their total annual income); Those who are self-employed for less than a year; Those who run as a
Photo: Joseph Branston. © Musicians’ Union limited company; Those with annual profts of over £50,000. “We risk facing a devastating 15 impact on the music industry,” said Horace. of support throughout the crisis. “I feel the frst survey found that UK musicians had “We are calling on our government to take supported and not alone,” tweeted MU already lost an estimated £13.9m in earnings. action by reassessing its SEISS package and member Roxana Vilk. “If you are a musician The survey also reported that 90% of the 4,100 considering how else it can help a sector #joinaunion. Also loving the daily emails survey respondents said their income had that is so vital to our national community.” keeping us informed.” The regular been afected by the pandemic. communications from the MU were also MU Highlights Hardship highlighted by Kerri Watt. “Gotta say The The MU went on to commission two more The third impact survey, published in MU are doing such an amazing job of taking surveys, in April and September. The evidence September, made for equally stark reading, care of its members – daily updates/advice/ gathered by all three surveys has proved and its fndings received widespread help/funding,” she tweeted. “Thank you. It invaluable for the MU in its ongoing work in coverage in the mainstream media. It showed is so appreciated.” lobbying government and demonstrating the that 87% of musicians across all disciplines need for more focused fnancial support. were experiencing severe fnancial hardship One of the most notable features of the as most had little or no work since February pandemic has been the strong sense of The three impact surveys received 2020. The survey also concluded that a third mutual support among musicians, a point widespread national and regional media of British musicians were considering highlighted by double bassist Kate Addis. coverage, in broadsheets such as The Daily leaving the profession due to the impact “Thank you for helping us, MU,” she tweeted. Telegraph and The Guardian, trade of the pandemic. “It’s good to see how much musicians have publications such as Music Week, Record Of supported each other over the last weeks. The Day and Billboard, as well as in broadcast “We know from the Union’s recent research Makes me part of a much bigger family.” media such as the BBC and Sky News. just how many musicians are struggling fnancially and at real risk of leaving music MU Impact Surveys Despite chancellor Rishi Sunak’s claim that for good,” said Horace. “We appreciate Before the venues had even shut their doors the Self-Employment Income Support Scheme all the government has done to support our in the last week of March, the MU had already (SEISS) would cover 95% of the self-employed, members through the furlough and self- undertaken an impact survey to assess the this was not refected by the evidence extent of the hardship. Published on 23 March, gathered in the MU’s initial surveys. In fact, it was soon clear that many freelance musicians were falling through the cracks in terms of
The Musician • Winter 2020 Case Study: Theatre In spring 2020, UK Theatre and the Society of London Theatre (SOLT) took the decision to close venues across the UK. The MU responded by issuing advice to its members on notice pay and, in the West End, the possibility of redundancy payments for musicians on long-running productions.
Naomi Pohl, Deputy General Secretary of the MU, said: “We have over three hundred musicians working in London’s West End who are facing the prospect of weeks or months Theatre musicians such as without paid work as a result of Matthew West have had this decision. Hundreds more are no work since March
engaged on touring productions.” Union Musicians’ © Sessions. Joby Photo:
In May, the results of our survey of theatre musicians anticipated the employment income support schemes so far, to 80% for November. As SEISS is calculated 16 increasing fnancial hardship that but they must not abandon musicians now.” over three months, the total grant will increase their industry would face. With from 40% to 55% of trading profts for 53% of theatre musicians ineligible Musicians Left Out November to January and the maximum grant for the Self-Employed Income While a £1.57bn Culture Recovery Package will increase to £5,160. This clearly does not Support Scheme and 83% of announced by the government in July was achieve parity with employed people on musicians unaware of a restart welcomed by the sector – and the frst furlough. As The Musician went to press, date for the production on which tranche of £257m in state funding was shared the MU continued to lobby the government they are working, the future began out among 1,300 venues and arts and the Treasury consistently and hard on to look increasingly bleak. In fact, organisations across the UK in October – that point, and continued to argue that the over three in four theatre much of this funding is earmarked for venues many musicians who have been ineligible for musicians (77%) reported that they and arts organisations and is not expected to this scheme must now be included. were likely to be in fnancial directly reach freelance musicians. hardship before September. The MU’s Lobbying Work Horace said the funding has done “nothing for Lobbying lies at the core of the MU’s work on Matthew West, West End the workforce”. You need creators to create behalf of its members. In the eight months percussionist and Chair of the MU great art, he said, “but you need extremely since the outbreak of the pandemic, the MU Theatre Section, said: “I’ve been a skilled and talented musicians to deliver that has worked relentlessly behind the scenes to musician all my life and have creativity, and those are the people who have meet with government and the shadow worked in a thriving British theatre been left out of the equation. Those world- cabinet to put the case for more focused and industry for many years. On leading musicians who have spent all their inclusive fnancial support. Online meetings Monday 16 March all that stopped. lives perfecting what they do, there is no were promptly arranged with the newly I cannot work. There is no work. lifeline for them whatsoever. There is a lack of elected leader of the Labour Party, Kier Not for any theatre musician understanding of our profession, even within Starmer, and shadow Ministers, Jo Stevens anywhere. We don’t know when the Department for Digital, Culture, Media and and Tracey Brabin. we can work again or what will Sport (DCMS), and no understanding within greet us when we do. After the Treasury.” UK organisations in the creative sector devoting your entire life to this learned years ago that the best way of arguing craft, the mental repercussions As the UK entered the second lockdown in are incredibly challenging.” November, the government extended the furlough scheme from 40% of trading profts
The Musician • Winter 2020 FEATURE
“We know just how Music, the sector was able to persuade engagement of our members through risk ministers that recorded music could continue assessment advice, health & safety guidance, many musicians are to be played in pubs and bars, ensuring variation agreements and temporary income for musicians through PRS and PPL. streaming rates. All with the aim of allowing struggling financially” employers and engagers to operate and By May, it was blatantly clear that the continue to engage members in work. Horace Trubridge government response to the Covid-19 pandemic – in terms of its efect on musicians However, the challenges remain immense. – remained woefully inadequate, despite the Unless mitigating measures such as screens the case for the arts is to show evidence of headline announcements and fgures. This, and masks can be implemented then most of its fnancial worth to the Treasury. The music coupled with the delay to the expected return the options for live performance are industry contributes £5.2bn to the economy of indoor live music and the postponement of economically unviable. Horace reports that and this is powerful leverage when the pilot schemes that the MU was due to be we are currently at Stage Four of the negotiating with the government. involved in, was a real disappointment. government’s road map to bring live performance back safely, with Stage Five still Meetings With Ministers The MU called the government out on its some way of. Throughout the autumn, the MU In the early days of lockdown, Horace took failure to help musicians to survive this period called for a ‘2 for 1’ style scheme, which could part in a roundtable call with ministers from of income loss and demanded the Secretary ofer a discount or subsidy on tickets for live the DCMS, in which he argued strongly of State for Culture, Oliver Dowden, properly events, funded by the government. This could for measures to help newly self-employed engage with the music industry to solve help to encourage audiences back to theatres musicians, musicians whose self-employed inequities such as such as the 38% of MU and gigs, and also to book for festivals. Plus, it work is less than 50% of their total, for those members ineligible for either of the could enable some shows to get up and running a limited company, and those with government schemes. running under social distancing. ‘profts’ of over £50,000. The MU was also in contact with the Department for Business, Sadly, the government has too often The Way Forward Energy and Industrial Strategy, as well as the appeared reluctant to engage with the music The Musicians’ Union continues to lobby Treasury, and gave evidence to the DCMS industry, although the shadow secretary of hard and is working relentlessly to support Select Committee inquiry into the efect of state for culture, Jo Stevens, has had regular its members through this current crisis. 17 Covid-19 on the creative industries. meetings with the MU and raised a number The Union is preparing a campaign that Horace’s evidence to the Committee, of urgent questions in the House of will argue for government investment in regarding the poor return on streaming for Commons. On one such occasion more than musicians now, so that they can keep musicians, has helped lead to a full-blown 30 MPs spoke in parliament asking for gaps making music and return to work as soon DCMS Select Committee Inquiry into the in SEISS to be plugged. The MU continues to as is practically possible. ‘Economics of Streaming.’ Furthermore, he press for this on a daily basis and sincerely pushed for the wind and brass research to be thanks all members who are helping. “In Germany, the total package for the arts is conducted in the UK, the evidence from which Members who would like to help are urged worth £46.3bn, with the government also led to a relaxation of the social distancing to visit the Campaigns page on the MU promising fnancial support to micro needed in studios. Plus, working with UK website for information on how to get businesses of up to fve employees,” said involved in our lobbying work. Horace. “Sweden, Denmark, Norway and Finland have all announced funds and aid Singer-songwriter Abi Moore Making Venues Safe packages for the sector. We are calling on our has been streaming her live The creation of Covid-safe venues government to take action by reassessing its performances from home in the age of social distancing is support packages and considering how else
Photo: Alex Blades Alex Photo: obviously key to helping musicians it can help a sector that is so vital to our resume work. With this in mind national community.” Horace has attended several DCMS Venues Steering Group meetings to Writing to your MP remains one of the best explore options for a safe return to ways to make sure your voice is heard in performance for not only the decision-making, and the MU encourages musicians, technicians and venue members to do this. For more info, go to: staf, but the audiences who are theMU.org/take-action-pandemic paying to watch them, too.
During lockdown the Union provided comprehensive support to studios, orchestra managers, venues and producers involved in the
The Musician • Winter 2020 We’re In This Together Three Nations How MU Regional Ofces in Scotland, Northern Ireland and Wales worked to deal with the impact
of the pandemic on their members Photos: Andy Catlin; Sean Harkin / Alamy Stock Photo
Scotland In April 2020, MU Regional Organiser Caroline Sewell attended the Cross-Party Group on Music at the Scottish Parliament and met with the SFEU and Scottish government ofcials to discuss the efect of the Covid-19 crisis on MU members. The MU continued to meet regularly during the summer with Equity, BECTU, NUJ, the Scottish Artists’ Union and the Writers’ Guild to form a joint approach in raising matters with Scottish government advisors, 18 with whom the MU had arranged to meet on a bi-weekly basis. Caroline also made a submission on behalf of the MU to the Scottish New restrictions were implemented in government Culture, Tourism Europe And Scotland on 9 October, which then extended Economic Afairs Committee on the impact to 1 November. The measures applied to of Covid-19 on the sector. hospitality venues, particularly across the sector in the central belt of the country where In August, with schools returning in Scotland, bars and restaurants had been closed the MU team dealt with a huge number of completely. At the same time, face-to-face being given to those who have fallen enquiries in relation to peripatetic teachers private teaching was being permitted but not through the gaps of other funding sources. who did not feel their work had been encouraged, and so the MU was still advising In the autumn, there was some positive news adequately covered by risk assessments. teachers to exercise a cautionary approach when the Department for Communities Caroline continued to meet regularly with and continue to teach online where possible. minister Carál Ní Chuilín announced that £29m Scottish government advisors and MSPs, A £5m hardship fund for individuals was in emergency funding had been confrmed for including Claire Baker MSP and Cabinet launched and administered through Creative the arts, culture and heritage sector. This was Secretary Fiona Hyslop. The MU continued Scotland with the eligibility criteria announced from the initial £29m secured by the to call for urgent support for freelancers and on 22 October. In mid-November, the MU Department for Communities following a bid closer scrutiny of those organisations and worked with the MSPs Tom Arthur and Claire through the UK arts emergency support institutions in receipt of public money that Baker on a motion for a debate in the Scottish package. This brought welcome relief and were making redundancies. The Scottish Parliament on the impact of Covid-19 on £3m was allocated to go straight to creative government subsequently announced the musicians and the wider music sector. freelancers who had applied for the ACNI Grassroots Music Venues Stabilisation Fund, Individuals Emergency Resilience Programme, a £2.2m fund for venues of under 600 in Northern Ireland which had been hugely oversubscribed after it capacity, with grants available of £5k–£50k, During the summer, the MU was engaged in was initially launched in August. which was in addition to the £97m the Scottish regular meetings with the Department for government received for culture and heritage Communities in Northern Ireland. The NI MU Regional Organiser, Caroline Sewell, said: as a result of the UK government’s £1.57bn government subsequently announced the “This will come as a relief for many musicians, emergency relief fund. Individuals Emergency Resilience Programme artists and workers in the creative sector. We for those working in the creative economy, including freelance musicians, with priority
The Musician • Winter 2020 FEATURE
Welsh government and the sector has focused on funding and support, as well as restarting work. Selected Media Coverage Initial support in April from the Welsh government and the Arts Council of Wales The MU has been featured and (including funding for individuals) has been quoted regularly in the media since followed by a specifc Cultural Recovery Fund lockdown came into force, and (CRF), administered by Welsh government and below is a sample of this activity. the Arts Council. This was initially based on Following February’s media launch £53m of funding, but with an additional £10.7m publicising the results of our latest of investment in November added after members’ survey, a total of over lobbying by the creative unions this is now 100 pieces were generated. These worth £63.7m – more than the £59m of extra included coverage by: funding received by the Welsh government from the UK government as a result of The Guardian investment in the CRF in England. (audience reach) 3,053,000 The Daily Telegraph 24,886,000
Photo: Joseph Branston. © Musicians’ Union A real success for the creative unions’ BBC Breakfast 7,000,000 lobbying was the inclusion of a Freelancer (approx) Catrin Finch and Seckou Keita at Cardif’s Fund in the CRF. This was initially worth £7m The Times 5,326,380 Royal Welsh College of Music and Drama (above). Giant Drag perform at Edinburgh’s distributed over two phases, but is now NME 5,569,320 iconic Sneaky Pete’s (far left). Gary Numan £10.5m in total, with the additional funding DJ Mag 1,022,850 played Belfast Limelight Club (left) added in November, which will be distributed Dazed 849,600 in a third phase. The Arts Council made Classic FM 505,080 decisions on its awards before the end Hot Press 294,540 of October, and awards from Welsh The Stage 252,810 are pleased that the government has government’s share of the funding should Music Week 178,140 19 listened to the industry and has responded have been fnalised by the end of November. to the need for sector specifc support, which The CRF includes a Cultural Contract for July 2020: The production also recognises the urgency of the matter. organisations, while the Freelancer Fund guidance we released in July, in We await further detail on the remaining is linked to the idea of a Freelancer Pledge partnership with the BPI, AIM and £26m allocated to the sector and look being developed by a working group the MPG, received widespread forward to continuing our discussions with including the Union. industry coverage, including via: the Department for Communities in the UK Music / Ivors Academy / MPG / months ahead.” The Welsh government has taken a cautious Making Music / Arts Council / approach to easing restrictions, particularly in Music Ally / Music Week / Record In October, Northern Ireland entered into relation to culture and live events. Thanks to of the Day / Music News a four-week lockdown. This came on top of regular, ongoing engagement with Welsh a ban on live music in all hospitality venues government ofcials and ministers, the Union May 2020: Horace Trubridge and imposed by the Executive. The MU responded has been able to raise members’ concerns MU teacher/member Sam Dunkley to the ban with an open letter, to which we and push for changes and clarifcations on the were interviewed live on air on received no response. Meanwhile, schools regulations and guidance, as well as issue Sky News highlighting how the were also closed with the extension of the specifc advice on work in Wales, and answer government schemes, although half-term break and re-opened on questions from members. There has been well-meant, were not supporting 2 November. The MU’s lobbying work has gradual progress, including on private all musicians. continued, with bi-weekly meetings taking teaching and teaching in schools, the use of place with the Department for Communities recording and rehearsal studios, and the use March 2020: Our initial survey, in Northern Ireland and other creative unions. of venues for broadcasts without an audience consisting of feedback from 4,100 present. Discussions are continuing to try and of the MU’s members, generated Wales make progress on restarting live events and 65 items of national and regional Since the start of the frst lockdown the performances with audiences, which is likely coverage over the subsequent 24 MU has been working in partnership with to be through further test events initially, so hour period. Examples included the other creative unions, Wales TUC, and that more members can return to work. Mail Online / The Guardian / Yahoo businesses to support members and the News / Belfast Telegraph / Jazz FM wider creative industries in Wales. The / Classic FM Union’s lobbying and engagement with
The Musician • Winter 2020 Let Music Live The Let Music Live protests in London and Birmingham highlighted the fnancial plight of freelance musicians across the UK Report by Neil Crossley
At midday on 6 October, 400 freelance Wave Of Support “Their discipline and orchestral musicians from across the It took only six days to arrange the Let Music industry assembled in Parliament Square, Live events, thanks largely to Murphy’s the sound brought Westminster, for a socially distanced determination and the wave of support she performance and protest called Let received from freelance colleagues. Her frst tears to my eyes” Music Live. The aim of the event, and its step was to put a post on Facebook outlining simultaneous performance in Birmingham’s the idea and asking ‘Anyone else in?’. Within Nicola Benedetti Centenary Square, was to raise awareness of hours, 2,000 musicians had ofered to lend the need for targeted support for freelance their support. musicians and all those who work in the arts “We want to show that our profession is and entertainment sector. The event was organised in tandem with viable, and valuable. Freelancing can be #WeMakeEvents and supported by the misunderstood, we play in the O2 one day, 20 Let Music Live prompted widespread media Musicians’ Union, the Incorporated Society a small wedding the next, and a flm recording coverage and highlighted the fnancial of Musicians, and the Musicians’ Answering session the day after,’ she continued. “Each plight of self-employed musicians during Service. Among those performing were one of us is a small business that contributes the Covid-19 pandemic. For the musicians violinist Tasmin Little, cellist Raphael Wallfsch both to the economy and the wellbeing of involved, it also reinforced the emotive power and clarinettist Emma Johnson. The lawn the country.” of music and the impact of live performance. of Parliament Square was laid out as a grid to ensure social distancing of two metres Rousing Performance “The Parliament Square performance between players. The 400-strong ensemble, conducted by reminded us that, at its essence, music is David Hill and Joy Lisney, played a 90 second about human connection,” said Jessie Murphy, “Tuesday was about professionalism in the segment of Mars, The Bringer Of War from the freelance violinist who came up with the organisation of an event planned only six days Holst’s The Planets – just 90 seconds, or 20%, idea for the event. “It felt amazing. It was a in advance which has kept us up in the early of the work – symbolising the fact that eligible physical sensation as the conductor raised hours and got us up in the early morning with freelancers could only claim a maximum of his baton. The sensation was overwhelming. a renewed sense of purpose,” said Murphy. 20% of their income from the government. The It was not just that we were so starved of human connection for six months, but it was the adrenaline rush of performing again.”
Ready To Work Murphy created Let Music Live to show that she and her freelance colleagues “are here and ready to work”. Like so many in her sector, she has had all her work cancelled during the Covid-19 pandemic, including festivals with Sophie Ellis-Bextor. “Personally, I have performed once since March, for a birthday party in a garden with eight people attending,” she wrote in The Big Issue. “I loved every moment but every single other date I had this year has been cancelled.” All photos: Jonathan Stewart. © Musicians’ Union
The Musician • Winter 2020 REPORT
400 freelance musicians gathered in Parliament Square for a socially distanced performance to highlight the fnancial plight of self-employed musicians during the Covid-19 crisis
The Aim Of 21 ensemble then held a two-minute silence, to Let Music Live draw focus to the 45% of freelance musicians Let Music Live calls on the not covered by the government’s SEISS grant. government:
For the crowd assembled to watch the 400 • To recognise that freelance socially distanced musicians, the impact of musicians are an economic their profound musical talent and served as the rousing 90-second performance and the asset. It is essential they invest a timely reminder of the value of music on silence that followed it was profound. in freelancers so that they can all our lives. “Unimaginably moving,” posted violinist Nicola continue to support the intricate Benedetti on Facebook. “400 freelancers network of businesses that “Whether you are playing in small gigs or to gathered today in Parliament Square, to state rely on arts and events for audiences of thousands, this is the best part their case. (Safely). Their discipline and the their footfall. of life, of being human – it makes life worth sound created brought tears to my eyes… living,” wrote Murphy. “It felt like coming home, Work with us. Work with them.” It was a view • For sector-specifc support to even though we were 400 musicians, most echoed by Gita Hartley, who was one of the reopen, including a subsidised of whom had never played together before. 400. “There was a moment of calm before concert ticket scheme while This is the essence of our years of training, we launched into Mars, The Bringer Of War social distancing restrictions sometimes for decades — to trust that we by Holst, 400 musicians in solidarity,” she remain, and government-backed are able to pick up anything and deliver on tweeted. “I hope the government hears us...” insurance for live events and the spot. Like in sport, our skills are honed theatre performances. from early childhood, through National Youth Viable And Valuable Orchestras to conservatoires. It’s a training For Jessie Murphy and the hundreds of • For targeted support for those that calls for as much determination sustained freelance musicians performing at Parliament skilled workforces forced to over 20 years to get to the top as it does with Square and Birmingham’s Centenary remain closed by Covid-19 elite sportspeople… We are viable, valuable Square on 6 October, Let Music Live was an restrictions, so that freelance and, above all, ready to work.” empowering moment, a chance to be visible musicians are still there to and raise awareness of the dire fnancial bring music to everyone when predicament facing freelance musicians. this is over. It also provided an opportunity to showcase
The Musician • Winter 2020 The Long Walk Allan Mark © Photo: To Lasting Change
With Black History Month This year has been tumultuous, challenging correcting injustices committed and unexpected to say the least. The social against Black musicians of the past, following a year of and economic efects of the pandemic have space had to be made for Black entirely shifted, and in some instances, musicians of today to freely voice heightened awareness decimated elements of the music industry. their opinions, ideas and concerns, of institutional bias, we With the live industry foreseeing over 170,000 and pave the way for future Black jobs lost by Christmas, and constrictions on musicians to hone their talent and look at how the Black gatherings and gigs, there has never been a be treated fairly. more precarious time to be a musician. experience in music is Renewed Purpose However, it has also been a year of reckoning, During Black History Month 2020 set to change after 2020 most glaringly on the subject of race. The (henceforth referred to as BHM), Report by Rahel Aklilu virality of George Floyd’s killing at the hands corporations and creatives alike of a police ofcer in Minneapolis brought the had the opportunity to put their #BlackLivesMatter movement to the forefront money where their mouth is and of global conversation. No career feld or navigate celebration of a month crevice has been left untouched as society that centres on Black people’s 22 collectively looks inwards to truly inclusive experiences, both individual and and diverse workplace environments. As structural. The renewed purpose music mirrors society, an industry that has after a truly impactful last couple from its inception exploited and profteered of months has brought to light from Black talent throughout history has had the lack of education around to take a long, hard look at itself. As well as Black history and culture, as commodifed and appropriated as it has been. Initiatives such
Thousands of Black as the Black Curriculum promise long-term Lives Matter activists impact, teaching Black British history and and supporters gather in its contribution to modern society today Trafalgar Square in June in schools. In order to truly allow Black people to take the lead in conversations about Black culture and experiences – as opposed to participating in a month long box ticking exercise or minimising their voices – companies must address inequalities and working environments from the bottom-up.
John Shortell, the MU’s Equality, Diversity and Inclusion Ofcial, could not agree more. “After the horrifc murder of George Floyd, many promises were made and there was a furry
“There is more conversation than there has ever been”
Photo: Guy Corbishley / Alamy Stock Photo John Shortell
The Musician • Winter 2020 REPORT
Role Model Classical music, which has been perceived as male, pale and stale for so long, must open up and be dynamic. Where the intersection of racism and classism will exclude Black people and people of colour, there must be a concerted efort for inclusion and accessibility by tackling the stigmas, stereotypes and fnancial barriers. The Chineke! Foundation – whose motto is ‘championing change and celebrating diversity in classical music’ – does just that. The British foundation’s fagship ensemble, the Chineke! Orchestra is the frst professional orchestra in Europe to be made up of majority black, Asian and ethnically diverse musicians. Established in 2015 and including a Junior Orchestra for players aged 11-22 with a mentorship network that nurtures young talent, the foundation is the brainchild of double bass player Chi-Chi 23 Nwanoku OBE and exactly what other areas in music should look to emulate for true and meaningful diversity.
of activity – for example the black squares paid and can focus on their career without Referring to the wider music industry, John on Instagram that were posted in solidarity,” juggling part-time gigs or zero-hour contracts agrees that there has to be structural change he notes, of the unanimous condemnation on as so many musicians do. The MU’s ‘Work from major labels. The ‘gatekeepers’ at the social media following several instances of Not Play’ initiative can particularly impact top, he says, can impact the entire industry police brutality against Black people during Black musicians who are more likely to and their decisions trickle down to the the pandemic, including but not limited to, feel obliged to perform for free in order to welfare of MU members as part of the wider the death of Breonna Taylor, Jacob Blake and ‘build their career’ amidst instances of ecosystem. “It would be irresponsible not to Ahmaud Arbery. John stresses the importance Imposter syndrome. adopt a holistic view in order to create real of sustainable, long-term solutions. “If you, and impactful change,” he notes. as an individual or an organisation, are only Imposter syndrome refers to a collection addressing the issue of racism and anti- of feelings of inadequacy that persist In a year that has seen Universal Music UK blackness during one month, you’re not really despite evident success. ‘Imposters’ sufer unveil it’s ‘Taskforce for Meaningful Change’ an ally,” he notes, although he is optimistic from chronic self-doubt and a sense of and Abbey Road Studios launch its Abbey “that there is more conversation than there intellectual fraudulence that override any Road Scholarship programme for Black has ever been – but more importantly, money”. feelings of success or external proof of their students, it is hoped that the boardroom will competence. Any minority in any environment become more diverse – allowing for career Adequate Funding will have experienced this, and working progression that keeps Black people in the Indeed, accessibility and diversity cannot for free is arguably a symptom of feeling industry, and part of the decision-making be achieved or sustained without adequate unappreciated or unsupported within a process by keeping them there. funding that ensures people are getting profession. Negotiation workshops, such as those ofered by the MU, give musicians the tools to empower themselves and ensure they are fairly paid, amidst a precarious time in the profession.
The Musician • Winter 2020 “In order for there to be real change, these structures must collapse”
Leon Bosch Photo: © Ntando Brown
This holistic view is refected in the MU’s own response to the conversation about race, which has included consulting the Black Members’ Network and having conversations about quotas on committees to ensure wider Leon Bosch (below) representation of all members. The MU’s has led the way response also encompasses anti-racism for musicians like training for the wider membership, including those in The Chineke! Orchestra a webinar hosted at the end of October that (right) to follow touched on some uncomfortable but vital topics, such as white privilege, unconscious bias and microaggressions.
Change Of Focus One area in particular that the MU has The MU’s View addressed is education, having lobbied the In July, MU General Secretary Associated Board of the Royal Schools of Horace Trubridge wrote a letter Music (ABRSM) to diversify their syllabi in to the prime minister in support an open letter on behalf of 70 organisations, of the National Education Union’s academics, musicians and music teachers. fve recommendations for urgent 24 The letter calls for ‘a music syllabus that action to tackle racism. In the letter refects the diversity of music teachers and the – written on behalf of the 32,000 students they teach’ as well as a ‘commitment members of the MU – Horace to commissioning a minimum of 50% of all highlights the structural issues of new works by composers from BBIAPOC racism that have led to disparities communities by the end of 2021’. Since the in deaths related to Covid-19, with letter, the ABRSM has developed a Diversity Black and Ethnic Minorities being and Inclusion Plan that aims to ‘transform disproportionately afected. He
opportunities for women composers, Photo: Juno Snowdon / Art Direction Adam Hypki also goes on to emphasise that composers from developing countries “no area of life is untouched by and young musicians from disadvantaged racism”, with the music industry backgrounds’ through commissioning new Born during the South African apartheid and being no exception. compositions and arrangements as well as arrested for his anti-apartheid activism in making sure that 50% of all syllabus update the mid 1970s, his illustrious career includes “Racism permeates every aspect commissions, and 20% of all syllabus content, an almost 20 year stint as principal double of society including the music including new commissions, arrangements, bass at the Academy of St Martin-in-the- industry. From the demonisation and existing works, come from composers Fields after accidentally falling into musical and heightened surveillance of who are Black, Brown, Indigenous and People studies at university. With ambitions to be a music of Black origin, to the under of Colour (BBIPOC). lawyer and defend those who couldn’t defend representation of Black composers themselves, Leon was denied a chance in music education syllabi, no area Lesson From History to study law by the apartheid system that of life is untouched by racism. The Addressing marginalisation at the very required ‘coloured’ people to apply for permits Musicians’ Union will continue to beginning of a child’s journey into music to study at university. After being accepted challenge systematic racism and is another instance of what John calls the to study music, Leon auditioned as a cellist demand action that leads to “constant pressure” to ensure real change is at the University of Cape Town. Coming from radical change in the music enacted. Early intervention is something that the townships and faced with a majority industry and beyond.” Leon Bosch, one of the letter’s signatories white cohort that had years of tutelage and and a conductor, double bass virtuoso and musical education over him, he was subject Professor at Trinity Laban Conservatoire of to imposter syndrome, ridicule and social Music and Dance, also advocates. exclusion. Continuing his studies at the Royal Northern College of Music at Manchester, the racism and prejudice he experienced pushed
The Musician • Winter 2020 Djenaba Davis-Eyo was REPORT almost lost to classical music after being discouraged by the elitism and lack of diversity in the orchestral world but are talented nonetheless. Fifty-fve years on from Lee’s white paper, the creative industry is on its knees, with subjects such as Art and Music being slowly but surely phased out. Playing instruments, let alone playing classical music, is becoming more and more of a privilege than a skill.
Young black classical musicians feel the same. Amirah De Bourg from north London, a violinist for over a decade who has also taught herself the viola, points to the feeling of alienation due to the lack of Black faces after joining her school’s string quartet or a local chamber orchestra. “Performing in end-of-term recitals after lessons at school with my best friend who is Ghanaian, is something that I took for granted,” she says. “The lack of diversity at chamber orchestra level prevented me from forming any sort of community.” However, weaving her personal interest of dream pop, ambient and folk music into her work alongside experimental Black artists such as London-based singer Joviale or Mancunian grime producer PK Brako has made playing the violin less daunting and more pleasurable. 25 Inspirational Characters Djenaba Davis-Eyo, who has been playing the violin since the age of six and recently taught herself double bass, recalls “being obsessed with watching orchestras as a child”, only to “end up hating it, after being discouraged by the lack of diversity and the racism and elitism”. After taking a break for a couple of years, Djenaba was inspired by Black string musicians such as Kelsey Lu, a singer and cellist from LA, who were playing in non-
Photo: Luani Vaz classical music. Hopeful for the future, she points to the Kanneh-Mason family’s success as well as that of the Chineke! Orchestra as him to prove everybody wrong. To this day, vast expense of pursuing an education in signs that things are changing and classical he recounts instances queuing for a cofee music. “Cosmetic change will not do anything, music is being opened up for talented Black at Trinity, where a fellow professor who has there needs to be a support system set up people to enjoy fruitful careers playing the never met him will instantaneously question for disadvantaged students from public instruments they love. his place and subject him to stereotypes. funds, such as the local authority symphony orchestras of the 80s.” Ultimately, equal access to paid work, anti- Now on the other side of the table as a racism education, and a willingness to make professor, Leon points to the ‘structural Unlearn Bias space is what Black musicians hope BHM pillars’ that sustain and prop classical music Jennie Lee’s 1965 white paper: A Policy For The has achieved. As the social media focus while also excluding Black people through Arts echoes Leon’s sentiments and aspires wanes, the onus lies on those in positions of inaccessibility and expense. “In order for towards equality of access to arts irrespective privilege and power to fnally hold themselves there to be real change, these structures of background, as well as the embedding of accountable following promises to vaguely ‘do must collapse,” he notes, adding that the the arts into the education system. Where better’ in the summer of 2020. real issue lies at the intersection of class and institutions must unlearn their unconscious race. The main barrier, Leon notes, lies in the bias to be ‘objective’ as Leon puts it, they must also recognise potential in auditionees who may not have received the best training
The Musician • Winter 2020 Taking Care Of Body And Mind Focusing on methods and strategies to keep our physical and emotional wellbeing on track during the winter and the second wave of coronavirus Report by Andrew Stewart
Words about wellbeing, some wiser than Maddy Radclif, the MU’s Campaigns and others, have flled acres of newsprint in Social Media Ofcial, draws from her own recent weeks. While the bullet-point lists of experience of bereavement to illustrate how to survive winter in the time of Covid-19 the value of building resilience. “I think it’s often rest on proven psychotherapeutic about maintaining your buoyancy through interventions, it would be an unlikely miracle tough times,” she says. “Buoyancy was the if their advice worked for everyone. For descriptor I used when my dad passed away some it might be the ideal time to plunge into not long after he was diagnosed with terminal 26 an eight-week mindfulness course or start cancer. My focus here was on being well, a yoga practice. For others, the mounting it was on being buoyant. I didn’t have to be pressures of everyday life and feelings of happy all the time. It was okay to grieve – the Like many of us, Tabea insecurity may be too great to cope with, whole situation was crap. But I still had to look Debus has had to put turning up the dial of introspection. after myself, my mum and my family. It was her plans on hold while the virus lockdown about being present and available, which is runs its course The MU recognises that the wellbeing of its how I’d defne being buoyant.” The MU, she members has been severely strained, not least adds, wants to help musicians maintain and by existential threats to their livelihoods. In boost the natural buoyancy that fows from response to the Covid crisis the MU website years of study and work in the profession. worries with others provided a strong ofers information on where to fnd mental sense of support. “I feel I’ve been practising health support, guides to better mental health Talking with friends and family helped Maddy communicating more, not through playing but and self-care for young and established approach grief. She observes that many by speaking. We musicians often don’t talk musicians, as well as a raft of online sessions musicians, now prevented from performing about our feelings, but talking to colleagues designed to reduce stress and promote and earning, are experiencing a form of grief and friends has been a really healing thing for wellbeing and the state of being healthy and over losing part of their identity. Those who me. I also talk to my family a lot more about happy. Perhaps the biggest boost to wellbeing, attempt to hide their feelings or dull them with work things now than before.” though, will come from musicians themselves drink, drugs or other distractions, are likely to sharing their experiences, fears and hopes undermine their wellbeing. Sharing concerns The checklist for coping with low mood with colleagues, collectively learning to accept with a trusted friend, however, can help and anxiety, widely advocated by wellbeing uncertainty – however hard that might be – reduce stress levels and provide perspective counsellors, emphasises the importance and fnding constructive ways to avoid the on genuine worries about the future. of talking with and listening to friends. It bear traps of chronic anxiety and depression. contains other simple yet efective strategies It’s Good To Talk intended to provide a sense of mastery or Tabea Debus, among the present crop enjoyment. These include following a daily “It’s about maintaining of Young Classical Artists Trust (YCAT) routine, connecting with the natural world musicians, saw her concert dates cancelled and taking breaks from electronic screens. your buoyancy when the pandemic struck. Despite having sufcient teaching work to provide a steady through tough times” income, the recorder player experienced frustration and doubts about her career Maddy Radcliff prospects. She notes how discussing her
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27 © Kaupo Kikkas
Tabea Debus “What I’ve found particularly difcult – and what I suspect many young musicians would fnd difcult – is how all those plans about Regular exercise, a healthy diet and being I started yoga at the beginning of lockdown where we want to be in a year, kind to yourself, perhaps the hardest of and found it helped me relax and benefts two years, fve years, the projects all things to practise, are also part of the my playing. It’s about fnding projects that we want to do, the countries we wellbeing toolkit. Anyone looking to learn can make you feel more present, more want to visit, are all on hold at the more about wellbeing will fnd rich material in focused, not preoccupied with thoughts. We moment. I’d been thinking about the books Authentic Happiness and Flourish can talk about the negatives of these times, changing and adapting my career by Martin Seligman, instigator of the positive but it’s much more rewarding to fnd positive slightly. Of course you can think psychology movement. Jonathan Haidt’s The things to do and think about.” about that a lot, but you can’t take Happiness Hypothesis and Richard Layard’s much action to make it happen Happiness ofer complementary surveys of Stalled Careers while there’s so much uncertainty.” how to cultivate wellbeing. These belong to London-based session drummer and the growing evidence-based literature on the teacher Kell Hallman notes how the pandemic “I’m somebody who likes planning propagation of mental wellbeing as distinct raised his and his friends’ awareness of why and organising. If you can’t do that, from the treatment of mental illness. wellbeing matters. It is, he observes, no it takes a proper shift of mindset secret that the performing arts have been to be okay with it. I’ve defnitely While Tabea Debus had begun to perform severely afected by the Covid crisis. “But as struggled with this but, during again before the second lockdown, she recent graduates and current students with lockdown, I began to shift my accepted that those concerts may be a lot of ambition it has hit us hard.” Hallman’s attitude towards accepting things cancelled at short notice. Living with Stagewave project, launched two years ago as they are, not as I want them uncertainty has taught her to be more open to in company with the saxophonist Nacho to be. Maybe I’ve not fully change, less attached to the pursuit of fxed learned those lessons but I think goals. “I’ve spent a lot more time over the past I’m getting there.” seven months doing things outside music.
The Musician • Winter 2020 Young saxophonist Nacho Stax’s career was just taking of when the virus hit
Above: Yoga can have a positive efect on your wellbeing Left: Grace Quantock © Aaron Mundow; Prostock-studio / Alamy Stock Photo challenges unhelpful government narratives John Shortell John Shortell, MU Equality, Diversity & Inclusion Ofcial. “Much of 28 the work I do around equalities, diversity and inclusion concerns impacts on mental health. We’ve seen that disabled people – especially disabled women – and Black, Asian and ethnic minority
communities have been among © Lauren Porter Art the highest casualties from Covid. They’re also experiencing some of the worst impacts on mental health Stax was gaining momentum when the feeling and experiencing the same things has and certainly on their wellbeing.” pandemic arrived. Their guitarist friend Evin been very comforting. At the end of the day, Durkin’s Empathy project, a not-for-proft we must support each other and keep doing “We need to think about what we community of musicians aiming to better whatever gets us out of bed in the morning. can do to support diferent groups. the lives of those who have fallen victim to Things need to be more nuanced circumstance, was likewise left in limbo. One of Hallman’s friends set a hare running by within those groups than any branding Covid-19 as the instigator of a global generalised approach to wellbeing. “All our plans were cancelled, our careers psychological pandemic. The idea inspired Beyond ensuring that people are as working musicians thrown into chaos,” the drummer and his colleagues to form not discriminated against, we Hallman recalls. “Music is our collective Music For The Mind, a youth-driven campaign want to help people build their passion and calling, and being unable to dedicated to the cause of promoting positive wellbeing, whether that’s through fulfl that has defnitely been tough on our psychology and wellbeing. “Not only were the online meditation workshops, panel wellbeing.” Regular exercise and good eating direct impacts of the virus damaging, but the discussion events or tips about habits, he adds, have helped build a sense uncertainty, fear and isolation of lockdown looking after your wellbeing. The of positivity, as have opportunities to remain were wreaking havoc on people’s mental thing to remember is that even productive and creative. “Online collaboration, wellbeing,” Hallman comments. “We realised though we’re working in isolation, while it can’t fully replace playing together that mental health issues were rising rapidly we’re not going through this alone. face-to-face, is a welcome alternative. I think long before the pandemic and wanted to There are many people in the same talking to others about your state of mind is address this, so started planning a series of situation and we can talk to one so important. The knowledge that others are private events to support The Samaritans, another and share our experiences. Maytree and Mind. Our main goals are to raise That is really powerful in itself.” awareness and funds for these charities while creating a network of start-ups, charities,
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Kell Hallman had to devise new ways to perform and collaborate “I think talking to others about your state of mind is so important” Kell Hallman
over it!’ But we do have models that help people live with grief and see how it changes and decreases over time. There’s defnitely an analogy between grief and what people are experiencing with this pandemic. I think we need to recognise the similarities with grief and begin by reassuring people that it’s perfectly natural to feel low after losing much of their work and income.”
Make Time For Yourself Quantock ofers advice about preparing for winter’s gloom and the possibility of living without regular social interaction. “The question I ask clients and also myself, going into lockdown again here in Wales, is ‘If things get worse, what would you have 29 wished you had prepped?’. The next question is ‘Can you do that now?’. For me, the answer will involve some practical things and other media companies, journalists and health mental health. She suggests that people need things that can lift your mood now to draw services that can support each other, help to hear nuanced messages about wellbeing, on later.” Quantock’s frst practical step this bring attention to this issue and, we hope, rooted in compassion, not lectures from autumn was to visit a local nature reserve, help to solve it.” stressed cabinet ministers and scientifc not knowing whether it would be placed advisers. The unprecedented viral pandemic, of limits under the Welsh government’s Crisis Ownership suggests Quantock, has afected millions in so-called frebreak. Psychotherapeutic counsellor Grace ways that compare to the shock experienced Quantock has helped several musicians when people discover they have a terminal “I was tired and hurting and had a pile of during her career as a wellness coach. She illness or acquired impairment. “There’s going work to do,” she recalls. “But I knew that notes that the present pandemic and the to be huge fallout from that, which is more afterwards, I’d be glad I went, that this resulting isolation of lockdowns can feel than we can cover here,” she observes. “But would be the memory that feeds you. It’s like an attack on the person, on their health we can say that the uncertainty surrounding about fnding what nourishes you and how and identity, something deeply troubling Covid may be experienced similarly to grief you can access it, especially when so many for musicians unable to perform and earn a or a job loss. And of course many people are have lost access to the things that nourish living from it. The danger to mental wellbeing experiencing grief and losing their jobs during them, such as family, cafes, connecting, increases when individuals take personal this pandemic.” creating, performing with and for people.” ownership of a collective crisis, blaming Her mood-lifter came courtesy of Channel themselves for cancelled gigs and closed Small steps taken steadily are more likely to 4’s on-demand service, with help from concert venues. cultivate wellbeing than quick fxes, however her established daily meditation and yoga tempting the latter may seem. The task, says practices. “I’ve been doing those for years Quantock challenges unhelpful government Grace Quantock, is to make life’s big problems and would not be trying to start them now, at and media narratives about individual and the pain that so often accompanies them least not as the answer to this pandemic. I’ve responsibility and calls instead for a collective feel manageable. “The pain at the moment is been delighted to re-watch Bufy The Vampire response to the rising Covid-related crisis in enormous,” she refects. “I’m in the position of Slayer on All 4. It’s a good, harmless way to having worked with clients for ten years who strengthen wellbeing!” are experiencing profound pain. Now we’re all to some degree experiencing elements of that pain. With grief we don’t say, ‘Oh, get
The Musician • Winter 2020 30 PROFILE Joining theDots Whether working with an orchestra, a solo artist or a rock band, Fiona Brice is most at home when she’s bringing two musical worlds together Profle by Katie Nicholls
Type Fiona Brice’s name into YouTube and the see the genre distinction between them. I’d listen results are a kaleidoscope pick and mix. Fiona to Blondie, Prince, Transvision Vamp – and because 31 arranging Mozart for string quartet as the I was learning violin I’d be playing Shostakovich collaborative composer for the London Mozart and Bach and to me it was all part of the same pot.” Players; Fiona playing West End Girls with Brian Molko from Placebo or performing on stage with Ed Her natural ease dovetailing classical into rock Harcourt; or Fiona featuring on John Grant’s stirring and pop has resulted in a successful career that track Glacier upon which she arranged the strings. includes commissions from the BBC Philharmonic It’s a snapshot into a varied career that has seen and Royal Northern Sinfonia, tours with Jay Z and the Northamptonshire-born arranger, composer Kanye West, collaborations with Anna Calvi and and violinist play a signifcant role in bridging the Roy Harper, and long-term working relationships gap between the rock and classical worlds. with Placebo and John Grant (“If there are strings and brass on it, it’s me”). During the 1990s at Kings College and the Royal Academy of Music, Fiona was busy fnding common For Fiona, who is as confdent in the rock arena ground between the two genres. In the evenings she as she is leading the orchestra, it’s a seamless was out treading the stages of London’s indie scene marriage, but she recognises that it can be an with the band Dream City Film Club. “We were uncomfortable relationship for both parties. “The always performing at The Borderline,” she tells the core of the classical world is pretty cliquey and can MU, “The 12 Bar, Astoria, and what was the one with be slow to change, and the rock world is a bit the really sticky carpet? Oh, yeah, The Bull & Gate.” intimidated by classical musicians in a way that they just don’t need to be. There’s a general sense of Crossing The Divide misunderstanding between the camps. One of the “I always grew up with one foot in the classical world things I try to do is dispel those myths straight away and one foot in the rock world,” says Fiona. “My and bridge the gap so that people realise that infuences would be Bartok and Prince. I didn’t really they’re all coming from the same place.”
An Auspicious Time “I always grew up with one Raised in a non-musical family, Fiona began recording her voice as a small child on her mum’s foot in the classical world and dictaphone, picking up the violin, aged seven. “Music was something I always did but no one
Photo: Joseph Branston. © Musicians’ Union one foot in the rock world” thought it was a career,” she says. “Not an option!”
The Musician • Winter 2020 It was still a revelation to her that arranging was a career when she tumbled into her frst commission from Michael Sheehy of Dream City Film Club, who asked her to compose strings for three tracks on Sweet Blue Genre. London in the 1990s was an auspicious time to be a musician, remembers Fiona, and a particularly fecund era for creatives. “There was money knocking around,” she says. “People had budgets and would say, ‘Let’s have a string quartet’ and ‘Let’s take a string player on tour’ – even for small indie bands. Brian Molko always says that Placebo’s success came of the back of the Spice Girls because the label had money and were willing to risk it. Now it’s tough.”
A Day In The Life Fiona resigned from Placebo in 2017 to pursue her own projects after multiple trips around the world. “It was never dull” she says, “And I have hundreds of stories. Not that I can tell “You feel part of you any of them…” She won’t be persuaded either and so the conversation turns to her a huge heritage… other long-term musical partner, John Grant. “He has such a powerful voice that I’m never I feel like I’m part of going to swamp him. With some singers you 32 worry that you’re going to overload the track something bigger” and they’ll never cut through… they can’t really take that level of orchestration, but with John, there’s no danger of that. His songs are conversations with John are heavily sarcastic so harmonically interesting they just suit it.” and funny, and involve a lot of geeky language jokes and obscure musical references”. Anyone who enjoyed John Grant’s 2014 collaboration with the BBC Philharmonic and Fiona says that most musicians are quite the subsequent tour with the Royal Northern open when it comes to arranging. “I fnd Fiona says that most Sinfonia will appreciate the fnesse with which that they’re delighted that they’ve found of her collaborators are quite open when Fiona’s arrangements weave into Grant’s someone’s who’s going to make it happen,” it comes to arranging
compositions. “It was an amazing opportunity she says. “I think it’s really intimidating to All photos: Joseph Branston. © Musicians’ Union to expand on what we’d put on the records,” stand in front of an orchestra, and they says Fiona, recalling the UK tour with the tend to be more concerned with the RNS. “John’s really hands-on with the practicality of performance than they are stage, and recently I fnd myself a bit nervous arrangements, so he’d describe what he about the intricacies of what the second because my own stuf is really quiet and wanted and I’d write the ideas and send these clarinet is playing.” ambient. When you’re backing away on a rock crappy MP3 demos to him. I know he doesn’t track it’s one thing, but when you’re playing listen to them, but it’s part of the process that Team Player pin-drop music you suddenly become I feel I should share! There are some things Her resignation from Placebo, says Fiona, was painfully aware of every moment. Kelly Jones he doesn’t like or I should avoid, but in general fnancially “a bit kamikaze” but was a pivotal (Stereophonics) calls it ‘walking the tightrope’. we have quite similar musical tastes and moment in her deciding whether to continue I did this tune with him last year and we were classical backgrounds.” on the two-year tour schedules or focus on performing a particularly quiet set and there other projects and her own solo work. Her was only four of us on stage and we were all “He’s hilarious,” she continues. “He’s a super debut album Postcards From, released in 2016, having the same experience… it’s terrifying.” intelligent guy. He speaks nine languages. is a collection of ten emotive instrumental He’s made very public his struggles with life tracks (“musical selfes”) inspired by the In fact, it was her desire to be part of a and he’s vulnerable like all of us, but my places she has lived and visited. community that bought her to the violin, a “technically difcult instrument” that she For a musician who sees herself as a team player, going solo presents its own challenges. “I used to be really confdent playing piano on
The Musician • Winter 2020 PROFILE
Equally at home in the classical and popular music worlds, Fiona feels that they are both part of the same whole 33
says was her gateway to playing with other series. “It’s a real intense period of creativity,” Joining The MU people. “That’s what made me interested in it. she says, “and I’m hugely inspired by the “I’ve been a member for a long I mean it’s physically close to the voice – it’s artists I see coming through there. They’re time. I joined and left and joined right there. And I can be really expressive on really creative with technology but they don’t again. I did that initial thing as a the violin. I’m not the most technically seem to be scared of the genre divide.” musician working in an indie band accomplished player by a long shot but thinking, ‘Oh, it doesn’t I really know how to make it speak my truth.” When asking a musician who’s so clearly understand my world’ – but the respected in both the classical and rock problem with that was that I hadn’t Making It Happen worlds about what her career highlight is, done big enough gigs yet. Once Whether she’s in the studio, on the stage or you’d it expect to elicit a certain amount of you start contracting other conducting an orchestra, Fiona’s sense of deliberation. But Fiona is quick to respond. musicians and bringing other musical oneness goes beyond just the “Doing the John Grant stuf was a highlight people in the studio you realise musicians that surround her. “I love being in and the success was obvious,” she says. there’s paperwork that needs to the studio with an orchestra or session “People really enjoyed the gig and the be done. It’s my frst port of call musicians,” she reveals. “So when we’ve got atmosphere was electric, and for me those for advice as a fxer, and I’m a past the demo stage and we’re in the room tracks were some of my most successful registered contractor with the MU making it happen I feel so privileged to be in blend of orchestra and band. But I also did so I have a safety net. If there’s Air or Abbey Road… to be in those studios with some stuf with Jarvis Cocker and the BBC anything I’m unsure about I can some of the best session musicians in the Proms, which again was just one of those run it past the MU. I think the MU world, I fnd that to be an honour. You feel part nights. I was a huge Pulp fan when I was culture is changing fast – and for of a huge heritage… I genuinely feel like I’m younger, but to work with him and hear the the better – in understanding the part of something bigger.” orchestrations come alive in the Albert Hall diversity of musicians. I’m a – that was pretty special. I got to write for the classical violinist but I’m also a It’s a privilege she likes to share with up and organ in the Albert Hall, which is a bespoke session player and a solo artist coming musicians as a mentor for Sage instrument. There’s nothing like it in the world. and an arranger and I work all over Gateshead working on its Summer Sessions I had to go and sit with the organist while he the world. And I just like being part talked me through its more special features. It of something. Part of the team.” was a real stand-back moment. It makes you feel like you’re part of a bigger picture…”
The Musician • Winter 2020 Arun Ghosh has begun to look after his clarinet more carefully Tools Of in recent years The Trade Clarinettist Arun Ghosh shares tips on how to maintain his instrument Report by Neil Churchman
Pioneering British-Asian jazz composer and performer Arun Ghosh is talking about his beloved clarinet, and it’s a bit like hearing someone describe a soulmate.
He was a precociously talented schoolboy musician, living in Bolton some thirty years ago, when he frst laid eyes, and hands, on the elegant French-made Bufet R13, with its grenadilla wood body and silver keys. They’ve 34 been inseparable ever since.
He remembers that frst encounter well.
“When an instrument is really right you know Union Musicians’ © Sessions. Joby photos: All it,” says Arun. “It feels like an extension to your body. It just felt right under my fngers. I have made so many of my life-long friends through “The way I was playing music wasn’t quite listen,” he says. “After a gig you’re on a high, it. Signifcant relationships, and the starting of what the makers of Bufet clarinets had in there’s a lot of people you want to chat to, and a family – it all came through people I met mind. I was going from the freezing cold of you don’t necessarily think about caring for through playing the clarinet. It’s taken me the Manchester night into a steaming hot your instrument, but actually these are habits round the world, and it’s supported me.” club, playing in the back room of a psychedelic you should get into.” trance night, having to blow really hard over Delicate Instrument samba drummers, blasting the instrument as New Perspective As in many long partnerships, Arun’s feelings hard as possible. I was also busking, out in It all changed around three years ago, for his instrument have matured into ones of the street playing all kinds of diferent with a visit to Woodwind & Co in Irlam, deep respect. But only, he admits, after years environments that were not a concert hall, Manchester, where the respected repairer of neglect. “My clarinet has been through the and it put the clarinet under all kinds of strain. Eddie Ashton set him straight about the toll mill a bit,” he confesses. “An instrument like being taken on the instrument by years of this is really designed for the concert hall, for Inevitably there were disasters. The R13 fell hard playing. “He was pretty shocked, and the conservatoire. You are supposed to let it silent after being knocked over just before he quite upset with me for the state it was in. It get to room temperature before you even blow was due on stage to support John McLaughlin had fallen downstairs, it had been knocked it, for example. Blow it too hard when it is cold at The Barbican. A frantic repair job managed over, and the pads weren’t in a great state. He and it can lead to cracks. to patch it up, but as Arun recalls, there were said he wouldn’t even recommend it to still more than a dozen screws left on the table someone learning Grade Two.” after it had been reassembled, and he had to “When an instrument is borrow an instrument to complete the gig. Eddie set to work, realigning the keys, He’s embarrassed now, to think of the way replacing the pads and painstakingly restoring really right you know it. he behaved, and how he failed to heed the the Bufet to its former glory. “When I played it warnings of other clarinettists. He remembers again it just sounded amazing, and I realised It feels like an extension how one fellow player, Luca Luciano, told him of for not drying his instrument properly. to your body” “I knew all of these things, but I just didn’t
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“It’s secure and stable. It’s obviously so well made it has lasted all this time.”
French Tone Arun is a huge fan of the French clarinet tone, rating it above that of its international rivals. “The R13 is a great instrument,” he explains. “French clarinets have a very pure, clear sound, in contrast to the old English Boosey & Hawkes clarinets, or the German instruments, which have very thick, warm tone. I really appreciate the action and the ease of the Bufet, because I like to bend the notes a lot for the Indian music I play in jazz. I need to be able to attack the sound, and I think this clarinet suits that very well.”
Arun acknowledges that today’s jazz audiences are much more used to a saxophone or trumpet taking the lead. But the clarinet, he insists, has earned a unique place in the line-up. “Immediately when you play the clarinet you are ‘other-ed’ in a sense,” he says. “The music I choose to make uses the clarinet in diferent novel ways. As clarinettists we need to fnd that versatility.”
Lockdown has seen Arun working on a new 35 album, thinking about the future and musing Full Respect about the intimacy between all musicians and Arun’s advice to fellow woodwind their favourite instruments. “As you age, you players is simple: treat your start to think about mortality. Our bodies are instrument with the respect you changing and we’re getting older, there may would give any living thing. be a point where I can’t play the clarinet any “The clarinet is alive because you more. I have always played lots of instruments, are breathing air through it. The but the immediacy of playing the clarinet, wood is a material that changes I really don’t want to lose it.” with the heat, the moisture, and the air pressure. And you have to Arun and the R13 have got closer over the be able to keep it all under control. I had recorded my last album on what was years. “I think it has improved with age, You should always make sure quite a clapped-out instrument,” explains because the instrument grows with you. It that after you play you dry all the Arun. “Now I am far more considerate and starts to follow the contours, in a subtle way, moisture that has passed through careful. I feel a little bad at all the ways I of how you use the keys and the way you it. Take the diferent joints apart have disrespected it over the years, but breathe through the instrument. It becomes and dry those, otherwise things I really look after it now.” more and more a part of you. like the cork can get damaged, and if it becomes too loose the joints Arun’s frst-aid kit includes a spare “When I have had to borrow various people’s will fall apart. mouthpiece, a pull-through mop and a brush clarinets because mine has been a bit to clean between keys. There’s a small messed up, I really miss mine, there’s no “Be very careful not to let the screwdriver set to tighten and loosen keys, getting away from it.” keys become overly bent or let and cigarette papers for drying moisture in too much moisture build up in the between the pads. One accessory he would For more information on Arun’s work, and to pads, in case they expand and not be without these days is a proper clarinet listen to some of the music he has produced don’t seal properly. Remember stand. “I did terrible things standing it up on go to arunghosh.bandcamp.com that there are many great people the foor,” he explains. “It’s much safer to have at music shops around the country it on a stand. I just wish I had taken that side of who do brilliant repairs. Take yours things more seriously. But my clarinet is still to them now and again.” here, and I am looking at it right now. I realise I was lucky with this instrument,” he refects.
The Musician • Winter 2020 New Methods To Promote Your Music It’s never been more important to fnd alternative methods of promoting our music. Thankfully, plenty of online tools exist, but getting the best out of them can become a full-time job Report by Gary Walker
Much has been written about the great merchandise, hiring a radio plugger or PR 0.28p, you’d need 3,114 plays to make a single democratisation of music. Recording and guru, paying middle-man sites to pitch your hour’s pay at the minimum wage of £8.72. releasing your work has never been so songs to blogs and playlists, starting a Add in the fact that a staggering 40,000 afordable. But that’s only a fraction of the Patreon ofering, or shooting a stunning music tracks are uploaded every day and it begins battle. There’s never been more music out video? “It depends on your strengths and to seem a daunting task that’s led the United there, and few things are more defating what you’re trying to achieve,” says Walker, Musicians and Allied Workers Unions to call than watching your labour of love fall on deaf but often the answer is all of the above. for a ‘minimum wage’ of at least one cent per ears. With the live music industry in stasis stream in the US. 36 and printed music magazines becoming By far the biggest dog in this fght is Spotify. increasingly rare beasts, how do you cut With 320 million monthly users and 144 million The golden ticket for many bands is the through the noise and get your music heard paid subscribers, the site controls around streaming giant’s editorial playlists. Using in this fragmented digital landscape? 35% of the global streaming market according the Spotify For Artists feature, you can pitch to a 2019 study by Counterpoint Research. your track to Spotify’s editors, while the “You can get the ball rolling with not a lot However, with a stream paying approximately independent Daily Playlists site allows you to of spend, rather than wait for a record target individual curators. The results can be label to discover you,” says Rich Walker, game-changing. strategic director at 4AD and co-founder of independent label Dalliance. “Record Bristol band Lespectre saw success with their companies are attracted to self-starters who single Obliquely Serenely after crowdfunding can connect the visuals and music. If you’ve a vinyl release of their debut album through got a social media audience, radio plays Kickstarter. “Our frst single had 1,000 plays on and streams it makes it easier for you to be Photo: © 2020 Spotify AB Spotify,” says the band’s multi-instrumentalist spotted, and with ground already covered, producer Tom Hackwell. “With the second, says you’re less of a gamble.” we concentrated on creating a consistent aesthetic, asked a journalist friend to write Choose Your Method an engaging pitch, and used Daily Playlists to There may be innumerable tools to pique target playlists where we seemed a good ft. the interest of those labels, but it’s unlikely We got picked up by an editorial playlist with you’ll have a bottomless pot of money, or three million followers, and within three weeks time. So should you be focusing on social the track had been streamed 100,000 times.” media advertising, creating a mailing list, So what makes a good pitch? “Editors love to learn about context and community,” say “You can get the ball Spotify’s guidelines. “Give us the who, what, rolling with not a lot Getting onto a Spotify playlist can increase your profle of spend” immeasurably, but the fees that they pay for each play of your Rich Walker song are still pitifully low
The Musician • Winter 2020 REPORT Photo: Sentric Sentric Photo:
Go Fund Me “How would you spend £1,000 on promoting your band?” Independent music publisher 37 Sentric has a rolling blog post on its site posing this question to a range of industry professionals, and the Laura Bettinson is wary of answers are well worth a read. the value of Spotify plays, and favours a more direct engagement with her fans Sentric operates a fund for artists,
Photo: © 2020 Spotify AB which can be used for promotion as well as recording and touring costs. The Sentric Academy Fund why, when, where and how of your song. It’s infuencers. Artists can buy credits to pitch supports 12 artists a year, with also helpful to include any press, music video their song to curators, and in turn those applications opening quarterly. plans, release schedules and promotions, as curators must listen to a minimum of 20 Artist services manager James well as social media accounts linked in your seconds – and if they choose not to feature Cherry says: “We want to enable artist profle.” the song, explain why. In the frst fve years, artists to make music their full-time the site has shared 1,154,000 songs. The career and, with the right plan, this New Platforms approval rate for Premium submissions funding can be a stepping stone Spotify’s allure has seen a number of is around 17%. towards that.” third-party sites spring up, bridging the gap between artists and the thousands of “It’s a really efcient communication tool, it’s Sentric’s Simon Pursehouse playlists and blogs feeding its ever-watchful way cheaper than hiring a publicist, but given suggests that creating a clear algorithms. The founders of those sites the amount of other artists competing against visual identity is where his money recognised that while PR tools such as you, it’s an uphill battle,” admitted Grishkof in would go: “As much as this might PromoJukebox and Mailchimp allow bands a recent Q&A. make your teeth grind, if you have to mass mail a press release and stream to two artists making music of a reviewers, those reviewers are drowning in Similarly, Musosoup is “a press generation similar quality, I, and everyone else, a sea of unsolicited music. engine for bands and artists, helping them will be drawn towards the one with get reviews, interviews, live sessions and the better looking press shot, logo, Jason Grishkof, founder of the Indie Shufe music video, etc.” blog, set up SubmitHub in 2015. The site helps musicians reach music blogs, YouTube Find out more at sentricmusic.com channels, Spotify playlisters and Instagram
The Musician • Winter 2020 Aly Gillani, “Having a presence on Bandcamp label and artist representative at Bandcamp makes you part of that thriving community that is growing all the time” Aly Gillani
more”. The site charges the sum of £30 for site is fast becoming a virtuous one-stop shop a 45-day listing. Chris Sharpe, who founded for independent acts. the platform, says its mission statement is “to turn the PR world upside down, on its head”. “Bandcamp fans are a special subset of your overall fanbase,” says Gillani. “In an era when Producer, DJ and vocalist Laura Bettinson, aka they could listen to your music for nothing, lau.ra, gets around 700,000 monthly Spotify they’ve chosen to pay. If you can develop that streams, due in part to the success of the group of fans, it’s a really solid foundation for Photo: © Bandcamp song Fever Boy, which has 1.8 million plays. Yet a healthy and long-lasting career.” she remains sceptical about the lasting value Get The of those numbers. “I really like the business model,” says Walker. “It’s very democratic, and if you start to build Best Out Of “I haven’t ever relied on Spotify. The money something and are consistent, it gives you Bandcamp I get from those 700,000 listeners won’t continued access to your audience. With be enough to live of, so I’ve always seen Spotify, if you put out a track and get good Bandcamp has gained a reputation streaming as a bonus string to my business. traction, it changes your mindset for the next as the virtuous online music The most important thing has always been the track. There’s a case of ‘what will the editors platform, but how do you reach its engagement with my fans. I’d rather have 100 think?’. Bandcamp allows you to be a little 38 vast community of music fans? super-engaged fans who are willing to spend more creative and spontaneous.” “Our artist guide (bandcamp.com/ money on the things I want to do, than millions guide) has a number of great tips of faceless listeners on Spotify.” Other artists favour Patreon, a subscription- for maximising your presence,” based rewards site used by over 200,000 says label and artist representative The Good Guys creators, that enables bands to ofer exclusive Aly Gillani. “A couple of tactics If it’s a more engaged audience you’re after, access to music and merchandise, and really stand out for me. Firstly, the answer may lie either in investing in social engage directly with paying members. Social personalise your page to suit your media advertising, fnding your tribe on Reddit, media, too, can be efective in building a more style and add as much information or focusing on ‘the good guys’ of online music engaged following. Although increasingly as possible. Then, sell merch – sales, Bandcamp. The site’s users spend you’ll need to pay to reach those followers physical product now accounts for $17m per month, with 80-85% going direct to through sponsored posts. Get your targeting half of our revenue on Bandcamp. artists. Crucially, Bandcamp enables you to wrong and, as Walker puts it, “It might be You can also use our vinyl service if access your fans’ data, and encourages them as fruitful to go down to the bottom of the you want to create a vinyl record.” to follow you. It also has an artist app, which garden and burn the money”. Having grown a enables direct messaging to those fans, and sizeable audience through the site, Bettinson, There’s also Bandcamp’s editorial sophisticated recommendation tools. who also produces a podcast and ofers arm, the Daily. “It exists to shine merchandise and brand collaborations on a light on the expansive world of “We have built the site into a music discovery Instagram, decided enough was enough when music on the site,” says Gillani. “We platform and fan community where for every Facebook’s business model changed. cover as much music as possible, two sales you generate, we’ll drive a third,” from monthly genre columns to says label and artist representative Aly Gillani. “When I launched lau.ra, I purposefully scene reports, album reviews, “Having a presence on Bandcamp makes you didn’t make a Facebook page. I spent so interviews and more. The key is part of that thriving community that is growing long as FEMME building a following, but it was to send us your music early and all the time.” crushing the amount of time and energy you let us know why it’s going to be put in only for Facebook to clamp down interesting to write about. Our The Covid lockdown saw the launch of on organic reach. It’s defating when you audience loves stories, so if you Bandcamp Fridays, where the site waives have an interesting tale behind your its revenue share for all sales. Fans have music, we’d love to hear it.” responded by paying $100 million direct to artists. There’s also a vinyl pressing service, and Bandcamp Daily ofers the opportunity to pitch editorial features about your band. The
The Musician • Winter 2020 REPORT Photo: Doug Evans Evans Doug Photo:
Lespectre have found creating a bold online presence to be very useful (left). Bandcamp, the virtuous platform (right) 39 put something out and it reaches 100 of BBC Dance started playing them, and now Ipsamus magnime 60,000 followers. I want to reach my fans other people at Radio 1 are playing them. It’s evelesciet earum eum, rerum et and give them news, I don’t want it to be all come from BBC Uploader, they do amazing ofcidene sequi an advert constantly. For me, Instagram has work for new artists.” been great, in terms of collaborating with fashion and lifestyle brands. It’s been a fairly Online music promotion has become a sizeable chunk of my income.” hugely lucrative industry, with the question for bands being where should you deploy On My Radio your resources? The answer is, there is no
With Spotify, Facebook, Instagram and universal answer. The established principles Bandcamp Photo: YouTube playing such major roles, not to of knowing your audience, having a tireless mention the vertiginous rise of TikTok, is work ethic, being lucky and leaning on there still value in chasing radio plays? friends with useful skills remain important. The crucial thing is control. Bands can control While a plugger may be prohibitively It may even be worth enlisting a marketing the narrative from an early stage now and expensive, Bettinson recommends using professional who’ll draw you up a promotional choose the direction they want to go in. BBC Introducing’s online Uploader platform, strategy. Mike Burgess, aka Sound With Mike, which enables bands to put their tracks will have a free ‘virtual cofee’ with you and “With Dalliance, we try to make things a in front of the show’s producers, with the generally charges around £150 for a broad two-way street for our artists. We listen to chance of being fed up the chain from local six-month plan. what they want to do, try not to interfere with stations to 6 Music or Radio 1. their creative processes, and a lot don’t need “For me it’s about being authentic,” says huge spends, as they’re already making great “I’d never really focused on radio, but Bettinson. “It’s a full-time job, keeping talking records and videos. They’re artists who are Nemone on 6 Music got hold of one of my and joining in other conversations.” Says the full package and can do all these things. singles and single-handedly made it a Walker: “It’s a mix of it all, rolling your sleeves That makes it easy for us to say, ‘Come and success. Since then, the BBC have been up and working hard. Luck happens in lots of work with us’.” super-supportive of everything I’ve put out. diferent ways. Once the momentum is there, I uploaded a couple of tracks and Jaguar at people start getting in touch, and that’s why you’ve got to think medium to long-term. If you still want to be doing this in fve or six years, don’t go spending money on the short-term.
The Musician • Winter 2020 Securing a publishing deal can give you more time to concentrate on creating the music
40 Photo: © Guido Mieth / Getty Images ADVICE
MAKING THE MOST OF: PUBLISHING With Covid shutting down income streams, it’s never been more important to make your original music work harder. With expert advice from songwriters and industry insiders, Henry Yates investigates how you could beneft from a publishing deal, how to secure one – and the common pitfalls to avoid
For most writers, the frst song you pen is a Even so, talking to a cross-section of “A great publisher can pure fash of innocent creativity, untouched musicians sparks polarised opinions. One by commercial ambitions. But unwittingly or group will insist that a publishing deal is an be so valuable in terms not, by writing that frst song, you have also essential rung on the ladder to commercial just created your frst copyright. And at some success, putting a musician’s songs in the of taking a holistic point, along the long and knotted road of fast lane. The counter-argument is to retain the career songwriter with your credits your publishing at all costs, or risk joining approach” mounting up, a dilemma will arise. Do you the cautionary-tale artists who handed over need a music publisher? exclusive rights to their catalogue, only for an Pip Newby 41 unscrupulous or incompetent publisher to sit Either way, it’s worth understanding the role on their songs ad infnitum. of this sector. Fundamentally, publishers look publisher gives me the best connections after your original songs – the compositional The Reality Of Self-Publishing to artists who are looking for songs.” content, as opposed to the recording – and Most parties, however, agree that a musician ensure you receive the royalties when they are can get started without a deal. For a The Right Time To Approach A Publisher performed, reproduced or synced to a visual motivated independent artist with good The mistake most musicians make is medium such as flm or TV. “Pretty much organisational skills, argues the acclaimed approaching one of the established publishers whenever you hear a song, the person who singer-songwriter Anna Neale, DIY might be before they have a credible career. For a new wrote it should receive a royalty,” says Simon the best short-term option. “I held out and artist, with a slim catalogue, low streams and Pursehouse of Sentric Music. “And the basic stayed solo almost 20 years, before signing at a light footprint on the live scene, there is a rule is: the more people who hear it, the more the start of lockdown with the independent mutual lack of beneft. Traditional publishers money the songwriter is owed.” publisher May Music Limited. I’d been ofered won’t be interested in the commission on your deals by big publishers in the past and just negligible income, while paying up to 30% Pros And Cons Of A Publisher never saw any beneft. If you’re working your for their services isn’t viable. “If you’ve only But a music publisher is far more than a way up, establishing a fanbase and writing got two tracks on Spotify,” explains Neale, royalty-chaser. In theory, a good publisher connections, know how to enter your songs “then, actually, you’re better holding onto that will proactively push your music, whether into PRS and check your statements – then income yourself, because you can register that’s a word in the ear of a Channel 4 music there really is no need for a publisher. But your own tracks on PRS and collect money supervisor, seeking out tour supports, helping there does come a tipping point.” from Spotify using DSP services. And if you you hook up with a songwriting team, or really struggle with the business side, then pitching your songs to the stars who’ll fre “Self-publishing is a viable option if you’re there are services like Songtrust, who’ll mop them up the charts. “A great publisher can already established or an independent artist,” up any potential royalties for you.” be so valuable in terms of taking a holistic says Mike Macdermid, a highly rated singer- approach to an artist’s career,” says Pip songwriter with credits on several Top 10 How To Prepare Your Pitch Newby, former Atlantic Records A&R and hits in Asia. “As an indie, if you’re selling your So where is that tipping point? “When you founder of the Friends Vs Music label. own music and dealing with your own gigs, start dealing with international territories then self-publishing makes sense, as you’ll on your own, it becomes difcult to manage keep control and retain all the income. It’s a the administration in terms of receiving case-by-case decision though, and for me, as a songwriter writing for other artists, the right
The Musician • Winter 2020 “Take time to see who else is on their roster and what releases they have had. Trust your instinct” Anna Neale Photo: Clerkson Tony / Alamy Stock Photo the royalties and making sure everything is HOOKING UP registered properly,” advises Neale. “ I write Is collaboration the key for radio and theatre, I work with international to a publishing deal? artists – and have some international exposure myself – and it got to a point where Scan the credits of any chart hit the sheer volume of admin got too much.” and you’ll fnd the solo composer has been overtaken As with managers and agents, the imbalance by the songwriting committee. If of supply and demand means publishers can Gerry Cinnamon (top) you can master the art of aford to be choosy about which musicians uses the independent writing with others, says Simon they sign. “There are certain things that make rights management company Kobalt, while Pursehouse of Sentric Music, you more appealing to a publisher,” continues singer-songwriter Anna you’ll be more attractive to Neale. “Being a performing artist is a Neale (right) signed with modern publishers. “Ultimately, particular bonus in the current climate. Having a publisher in early 2020 I just want our songwriters to your own studio or some way of recording write the best songs they yourself. Being a producer and an engineer. possibly can, and nine times out A lot of the bigger publishers rely on data, so of ten that’s going to happen if they’ll look at everything: the streams and 42 they’re open to writing with YouTube hits you’ve got.” other people. I understand that creating art is precious, and the Choosing Your Publisher And Deal the world shouldn’t sign up to a publishing idea of writing with others for Still, musicians shouldn’t be too eager to sign administrative service like Sentric. Collecting the frst time might feel with the frst publisher to return their call. It’s publishing income around the world is time- uncomfortable, but take the vital to poll colleagues and get an overview of consuming, complicated and, above all, boring leap of faith and do it as early as the sector before drilling into the strengths as hell. That’s not how you want to spend your possible in your career. The and shortcomings of individual publishers. time as a songwriter.” more you do it, the better the “You want a publisher who’s equally excited results will be over time.” about your music,” says Macdermid. “Their job Study The Small Print is to sell your music and you as a songwriter/ If a publisher invites you to meet, ask Pip Newby agrees: “The artist. Don’t rush in, just because someone pertinent questions about past success and advice I always give to people, shows interest. Take time to see who else is tactics taken with comparable artists. If a whether they’re at school, or on their roster and what releases they have contract is presented, don’t just scan and music college, or whatever, is to had. Trust your instinct.” sign: individual deals are drawn up based on start writing songs with other the publisher’s projection of your value, with artists. To fnd new artists they Likewise, before making an approach the surprisingly fuid terms. “It’s always good to can attach themselves to and musician should be aware there isn’t just be wary of the minimum commitment clause,” develop alongside. What I one type of publishing deal. “The exclusive says Neale. “That designates how many songs always recommend is for new songwriter agreement: that’s the one that you need to write within the term of your writers to be their own A&R everyone views as the ‘I’ve made it’ publishing contract, so you need to work out whether scouts. Find artists and say, deal,” explains Neale. “That’s when you’re you could realistically fulfl that.” ‘Can we try writing together?’ tied to a publisher for two or three years, and Especially if you produce as you’re almost like their staf writer. You’ll get “There are non-exclusive and exclusive deals,” well. If you’ve got a studio an advance, and you’ll have to show them that adds Macdermid. “Non-exclusive allows you to set-up, you can say, ‘Come in you’re a viable business to invest in.” In the continue to pitch your songs elsewhere and to and let’s put down some tracks’. online era, however, there are more hands-of other publishers, usually with some conditions, And then that can be your deals and plenty of less exclusive publishers and exclusive means you’re tied to that route through.” ready to ofer them. “You don’t have to hope for a deal anymore, you can just go and get one,” says Pursehouse. “There’s absolutely no reason why every songwriter around
The Musician • Winter 2020 ADVICE
Top 5 Tips How to fnd the right publisher for you 1 Do your homework Read up on the nuts and bolts of music publishing, then liaise with your peers on the best and worst publishers they’ve worked with and start to draw up a wishlist. 2 Collaboration Positioning yourself as the next Dylan might not do you favours in the modern industry. Being able to write with others when required makes you a more
Photo: Philm PhotographyPhoto: viable prospect for publishers. 43 3 publisher. It’s important to understand what has no proof they’ve done anything, then percentage you’re giving up: this can vary you could potentially get yourself out of that Time your approach wildly depending on the territory and deal.” contract. But a lot of people just sign, and I’ve For most musicians, the smartest heard many horror stories from friends whose tactic is to wait until you reach the “Retention period is another thing to be publishers gave them an absolutely pathetic tipping point when the admin is aware of,” picks up Neale. “With an exclusive advance and never did anything but hold onto threatening your creative output, songwriter agreement, you assign all your those songs for evermore.” then look into a deal. copyright to the publisher and at the end of the term, you have a retention period: that Ultimately, with the small-print making the 4 means the publisher has the right to exploit diference between a career springboard this catalogue for 15 years. If you can get the and a set of creative handcufs, it’s vital Play the long-game publisher to then revert the copyright back to to study every inch of your contract – and You could sign a traditional deal with a you at the end of the retention period, that’s that’s another area where MU membership lower advance early on with a publisher really good. But be aware that, particularly is invaluable. “While we understand that who helps to develop you, or you could when you sign your frst deal, they’ll want to musicians can be keen to enter publishing hold of and build your catalogue. retain the copyright in perpetuity.” deals, especially if they’ve been pursuing one for a while, we encourage members to 5 The Costs Of A Bad Contract send any publishing contracts to us prior By requesting clarifcation and amendments to signing,” says MU Live & Writers Ofcial, Understand the diferent deals to the contract’s less favourable clauses, Kelly Wood. “This gives us the opportunity If you are ready to commit, then look you might also dodge the nightmare scenario to ofer advice on the terms – which may into an exclusive songwriter agreement. where a publisher takes on your songs, only to be negotiable – and also have it checked by If you want to retain control, then an shelve them and leave you in limbo. “If you’ve a specialist solicitor through our Contract administration deal could be the thing. got an agreement in the contract before you Advisory Service.” sign it, saying that the publisher agrees to exploit the catalogue or create opportunities CHECK EVERYTHING FIRST for you, then you can argue to get out of the Don’t sign any contract without deal if they don’t,” says Neale. “If the publisher TOP frst closely combing the clauses TIP and fagging up anything you don’t understand or accept.
The Musician • Winter 2020 WHERE TO FIND… FINANCIAL SUPPORT There is money out there to be claimed by our members, so here’s a rundown of the fnancial support schemes that are still live or returning soon…
If you are currently If there is a positive to be taken As a working musician you should have no unable to work in music, there are from the Covid-19 pandemic, it’s hesitation or shame when it comes to applying many funds that the sheer resourcefulness of for fnancial aid. After all, this money has been can help you the UK’s musicians. In glorious expressly provided to support the workers defance of this once-in-a- of a vital industry that contributed £5.2 billion 44 century crisis, artists have to the UK economy in 2018 – and has been hit pivoted with skill and ingenuity, harder than almost any other. While some of Association of Independent Music (AIM) keeping income streams alive the best-known musicians’ support schemes Covid Support Fund with everything from web have closed for applications – at least for now Created by AIM board members with the goal concerts to remote music tuition. – here are 13 ongoing avenues ofering the of distributing £1 million to 1,000 individual But as the statistics in this fnancial support that could arm you for the creatives, this fund was put on hold in issue’s cover story on p12 make fghtback ahead. November as the frst cycle of claims were clear, the profession is still in processed – but with £300,000 of additional need of desperate help. MU Coronavirus Hardship Fund funding recently announced, applications Set up when the crisis took hold, the should reopen soon. With a maximum grant of With venues still shut, streaming Union’s £1 million fund can be accessed £1,000 available per two-month period, it’s well income still negligible, and a by eligible MU members sufering extreme worth bookmarking. tinyurl.com/aimukfund recent MU survey revealing fnancial hardship through loss of work. While that 38% of freelance musicians we acknowledge that the maximum individual Help Musicians UK Coronavirus have fallen through the cracks grant of £200 cannot ofer long term support, Hardship Fund of Rishi Sunak’s Self-Employment our aim is to help the largest possible number Since the pandemic hit, Help Musicians’ Support Scheme (SEISS), it’s of musicians with a sum that allows, for £11 million fund has been a lifeline for over vital for musicians to be just as instance, a vital household bill to be paid. 3,800 musicians, and the charity recently proactive when it comes to the For eligibility criteria and to apply, visit announced on Twitter that the scheme will be pursuit of fnancial support. theMU.org/hardshipfund extended until March. Keep an eye on all the social channels for application developments, Creative Scotland Hardship Fund and also visit helpmusicians.org.uk to for Creative Freelancers discover additional help that can be provided. With the culture secretary recently adding a further £3 million to the pot – bringing Oppenheim-John Downes Memorial Trust the fund’s total to £8 million – applications The Trust ofers small grants to British-born reopened in November for any freelancer creatives over the age of thirty to help with working in Scotland, seriously impacted by the pressing fnancial difculties. Applications can cancellation of work and able to demonstrate be made at any time throughout the year, and they were already making an income before lockdown began in March. To make your application, visit tinyurl.com/crscfund
The Musician • Winter 2020 ADVICE
The Royal Variety Charity Nationwide Grant Scheme Supporting entertainers of every kind, the Royal Variety Charity is currently ofering special grants to young performers afected by the pandemic. Call 020 8898 8164, email Photo: © Keoni Cabral / EyeEm / Getty Images [email protected] or apply at tinyurl.com/rvcgrant
The Incorporated Association of Organists Benevolent Fund Founded in 1930, organists and their dependents stand to beneft from this charity, which ofers both grants on a continuing basis and emergency one-of assistance, as determined by the trustees. To qualify, applicants must have been a member of an afliated organists’ association for at least two years. For details, call 01225 421154, email [email protected] or visit iao.org.uk
The Royal Theatrical Fund APPLICATION ADVICE Supporting musicians who have worked professionally in the theatre industry for over • If you’re surviving, please seven years and are incapacitated by illness, don’t apply for hardship grants. The Royal Theatrical Fund ofers fnancial With thousands of UK musicians support, alongside assistance with benefts out of work – many of them with and debt advice. If you’ve worked in the 45 it may help your chances of success if you dependents – there simply isn’t orchestra pit, visit trtf.com for more details. haven’t previously beneftted from another enough funding to go around. fnancial award. For more details, Royal Society of Musicians of Great Britain see oppenheimdownestrust.org • It’s worth taking the time to Established in 1738 – when it was named hone your grant application, the ‘Fund For Decay’d Musicians’, and Business Wales Cultural Recovery Fund setting out your career to notably included George Frideric Handel on The Welsh government has put forward date, fnancial commitments, its Declaration Of Trust – the Royal Society a generous rescue package, with eligible and how you’ll use the money. Of Musicians has stepped in for centuries individuals invited to apply for a £2,500 grant. Funding bodies can’t help with support across the profession, and is As this issue went to press, the fund was everybody, so it pays to stand currently working hard to ofset the fnancial suspended to allow ofcials to assess the frst out with a passionate but damage from Covid. To start your application cycle of applications, but you’ll be the frst honest application. rolling, contact the casework team on to hear when it reopens by regularly visiting [email protected] or call 020 7629 6137. businesswales.gov.wales/coronavirus-advice • Be clear on the terms of the grant. Are you allowed to apply Artists Emergency Programme The Van Morrison Lockdown Financial to multiple funding bodies at the Supporting individuals in Northern Hardship Fund same time, for instance? Ireland with over £1.2 million of funding, The Belfast bandleader’s emergency fund the Artists Emergency Programme was ofers one-of grants of £500 to successful • Keep an eye on the web. temporarily closed in November as the Arts applicants. Following a hugely popular frst Additional funds are released all Council moderated the frst two rounds phase, organisers are currently lobbying the time, and support schemes of applications, but should be back soon. hard for more support, and promise to open that were previously closed can To apply, you’ll need materials including a a second cycle of applications in early 2021. suddenly open back up. recent CV and a completed Expression Of Keep your eye on Van’s social channels and Interest form, which should be submitted to check back regularly at vanmorrison.com • Stay close to the MU. We’ll [email protected] – for details, keep doing everything we see tinyurl.com/acnischeme PRS Members Fund Winter Heating Scheme can to unlock funding for our If you’re a PRS member, you could be eligible members, and by staying active for a contribution towards your heating bill. within the MU community, you’ll Contact the fund on 020 3741 4067 or email be the frst to hear about it. [email protected]
The Musician • Winter 2020 reviews Reviewer: Roy Delaney jazz A look at some of the new albums, EPs and downloads released MICK FOSTER by MU members for 2020, together with links for more Live at The Vortex
information on the featured artists Captured live at London’s Vortex club, these smooth jazz The Rheingans Sisters have put tunes highlight Mick’s their own glacial edge onto the singular baritone traditional sounds of the North saxophone stylings, alongside players Dominic Ashworth, Tom Farmer and Tristan Malliot. mickfoster. bandcamp.com
46 MARTIN TROTMAN Let’s Begin
The renowned keyboardist, MD and producer has stepped into the spotlight to treat us to some THE RHEINGANS SISTERS Photo: Elly Lucas vibrant funk, slow jazz jams and cool owan and Anna Rheingans grew up in a village in Derbyshire. With a R&B. Caleb Quaye, Nik musician for a mother, a violin maker for a father and surrounded by Carter and Belinda Kae all add extra favour. traditional music from an early age, they were always destined to fnd martintrotmanmusic.com R their way by making their own very particular soundscapes. These songs take historic British folk elements, many other award nominations. On this terrifc steeped in a pastoral feel that surely comes collection of new songs their gentle melodies from their rural upbringing, and bends them into hint at dark gothic edges, but still leave you JT4TET something entirely more contemporary. Their feeling bright and uplifted. The CD also comes Bluesion! Receiver unique fusion of ideas and styles has seen with a beautiful booklet that painstakingly talks them become a highly regarded act, resulting us through the making of each song. The London soul jazz in a BBC Radio 2 Folk Award in 2016, among rheinganssisters.co.uk quartet featuring Jon Taylor on guitar, Tim Richards on keys, Andy Lafone on bass and Pete Miles on To submit an album The Musician, You should also forward We try to help as many or download track for 60-62 Clapham Rd, your cover artwork and/ members as possible, drums ooze out four review, send recordings London SW9 0JJ or or photos (minimum and preference is given fne tunes that are as and PR material to: email TheMusician@ 300dpi resolution) to: to members not sweet as honey. theMU.org [email protected] previously reviewed. jt4tet.bandcamp.com
The Musician • Winter 2020 REVIEWS collaborations pop
DYBLE BALUJI PETE THOMS LONGDON SHRIVASTAV & MICHO Between A Indian Classical Latin Waves Breath And Interactions A Breath Delivering the many NATASHA The popular sitar favours of Latin AWUKU A beautiful swansong player brings light American music, this Flowers to the late Julie into a selection of ranges from highly Dyble’s career, the classical Indian music, danceable tunes like The cool and one time Fairport alongside musicians Playa Marino and summery sounds member teams up including Ignacio Cumbia Cucatah to of new British soul with David Longdon Monteverde, Boo the laid back easy betray a bittersweet on a gentle collection Boo Sianturi, Linda listening grooves of mood, as Natasha of contemporary folk. Shanson and his own Aruba and Caracas By commemorates bigbigtrain.com/ Inner Vision Orchestra. Night. Lovely stuf. the passing of her dyble-longdon baluji.com tinyurl.com/thoms-micho mother, drawing an analogy to the briefness of life. classical natasha-awuku.com
JACOB STEPHEN FARR BOXWOOD HERINGMAN Organ Works & BRASS Inviolata Beethoven Critically acclaimed Transformed Vol. 2 One of the world’s player Farr presents KIOKO 47 most respected the complete organ The period wind Queen Of The lutenists, Jacob works of Scottish ensemble return Dancefoor intabulates the composer James to recording with a work of renaissance MacMillan, all played second collection of This fast-rising composers, as well on the Rieger Organ the great composer’s Birmingham reggae as presenting some of St Giles’ Cathedral work, with excerpts outft blend the styles of his own work in in Edinburgh, in this from Egmont, Sonata between sweet gentle and compelling dynamic collection Pathétique and lovers rock and arrangements. of solo work. Symphony No.7. stompy ragga on this heringman.com stephenfarr.co.uk boxwoodandbrass.co.uk bouncy funtime party classic to be. primarytalent.com/ singer-songwriter kioko
DAVID OKANGBA TIM HOLEHOUSE KATY ROSE Social Refugee Come BENNETT Where Does An ambitious double- Adding a more It Hurt? disc debut takes us on folksy edge to his CALUM BAIRD an autobiographical usual bluesy style, A greatest hits of A View From journey through Tim weaves deeply sorts, featuring eight The Notebooks David’s experience of personal yarns of the best songs from living on the streets in around his twinkling Katy’s back catalogue The Scottish singer- what he subtitles the guitar sound, aided and two new works. songwriter delivers ‘Soundtrack To My Life’. variously by a small The sparse and a slew of highly His warm but fragile string section and delicate title track and bankable folk pop voice draws you into some very roomy the jauntily optimistic numbers in his strong the rich pathos of his drums. Laid back opener One Day are vocal tones. An EP tempestuous tale. and thoughtful among the many that is dripping with davidokangba songs aplenty. highlights here. potential hit songs. socialrefugee.com timholehouse.com katyrosebennett.com calumbaird.com
The Musician • Winter 2020 Delegate Conference 2021 Members are invited to submit Motions to the Union’s policy-making biennial event, being held online for the frst time
In view of the circumstances resulting from This approach will once again demonstrate the Covid-19 outbreak, the Union’s Executive closer links between governance and Committee has agreed to hold next year’s reporting to members. Biennial Delegate Conference online. The structure and format will remain in keeping Questions from delegates on the various with the previous event that proved so sections will be taken on a section-by-section successful in 2019. The Conference is basis, in line with traditional arrangements. The 2019 event was split into currently scheduled for the mornings of The Report, along with all other Conference both Delegate and Members’ Tuesday 20 and Wednesday 21 July 2021. documents, will be made available to Conferences. Here, General Secretary Horace Trubridge attendees in digital format as soon as possible addresses the Members day Please be aware that while the Union prior to the event. has every intention of fulflling the schedule 48 and format outlined below, arrangements Conference Motions may be subject to changes due to The timetable for the submission and Submitting Motions government announcements. moderation of motions is unchanged. Motions For Conference will be contained in a separate section within Members are invited to put forward Programme the Report. Each will be allocated to a section motions, for consideration by Conference, The Delegate Conference will continue to and numbered accordingly. Delegates will via their Regional Committee at their consider the Conference Report, motions and consider each motion at the conclusion Regional meetings to take place online in rule changes. It will maintain the traditional of questions on the section to which it has January 2021. Details of how to attend the and essential format, communication and been allocated. January meetings online will be emailed to reporting between the Executive Committee Regional Committee members in due course. and the membership via the delegates. Rule Changes Proposals for Rule changes will be contained Each Region is entitled to propose one Depending on the motions to be considered in a separate section of the Conference conference motion for every 750 members in by Conference, online presentations by Report. Delegates will consider rule changes the Region at 31 December 2020. This is Ofcials might be made on particular issues. sequentially as a separate item on the subject to a minimum of three and a maximum Any external speakers will be invited to Conference programme. of fourteen motions per Region. Please note contribute remotely. that Retired (Free) members are not eligible Standing Orders Committee to submit motions. Conference Report The activities of the Standing Orders The Conference Report will build upon the Committee continue unchanged. Conference motions must be supported by concise document that proved popular at the fve fully paid up members of the Region and previous Conference and this will continue to Nominations should address matters of Union policy at a report on activities over the previous two Nominations for delegates will be called national level. years, but will exclude lengthy detail on (for in Spring 2021 in order to reduce as far example) pay rates, which will once again be as possible the number of delegates who Motions must be submitted in writing made available on the MU website. drop out, and to allow potential delegates with the names and membership numbers to view the motions before the nominations of the supporting members of the The structure of the Report will match that process begins. Region attached. of the Executive Committee agenda and be based on the MU’s organisational structure. The Regional Committee will determine which motions are to be submitted for inclusion on the Conference Agenda.
The Musician • Winter 2020 REPORT
Members’ Conference
Following the inaugural Members’ Conference in 2019, which was warmly welcomed by all those in attendance, the Executive Committee has agreed to a second Members’ Conference. This is intended to give all members an opportunity to contribute towards the development of policy and strategy on current and anticipated music industry issues.
Photo: Joanna Dudderidge. © Musicians’ Union Musicians’ © Dudderidge. Joanna Photo: This is less formal than the Delegate Conference, with a programme incorporating a range of breakout 49 No member may move or support more than Birmingham B1 3JR, to be received by no later sessions. Topics will be selected for two motions. Motions may be submitted via than midday on 15 January 2021. these sessions, with attendees email. Acknowledgement of receipt will be Email: [email protected] choosing which to attend. The provided on request. sessions will be led by National East & South East England Region Organisers, alongside Executive Motions should be sent to your Regional The Regional Organiser, Musicians’ Union, Committee members, and will be Ofce as set out below. The dates and times 1a Fentiman Road, London SW8 1LD, to be based around the National of the meetings will be available on the MU received by no later than midday on Organisers’ remits. website in the New Year. 22 January 2021. Email: [email protected] Attendees will be invited to select Scotland & Northern Ireland Region their preferred sessions to attend The Acting Regional Organiser, Musicians’ Wales & South West England Region when joining, although some Union, 2 Woodside Place, Glasgow G3 7QF, The Regional Organiser, Musicians’ Union, adjustment might be needed to to be received by no later than midday on Transport House, 1 Cathedral Road, Cardif ensure a reasonable spread across 15 January 2021. CF11 9SD, to be received by no later than the sessions. The outcome will be Email: [email protected] midday on 21 January 2021. a series of reports from each Email: andrew.warnock @theMU.org session, which will identify issues North of England Region and recommend actions for the The Regional Organiser, Musicians’ Union, London Region Executive Committee to address. 61 Bloom Street, Manchester M1 3LY, to be The Regional Organiser, Musicians’ Union, received by no later than midday on 33 Palfrey Place, London SW8 1PE, to be The Members’ Conference is also 15 January 2021. received by no later than midday on 19 January likely to be held online, and Email: [email protected] 2021. Email: jamie.pullman @theMU.org Invitations to apply for places will be distributed in due course. Please be Midlands Region For full details of submitting a motion to a aware that no date has been set for The Regional Organiser, Musicians’ Union, Regional Committee, please refer to Rule VI this Conference just yet, and 2 Sovereign Court, Graham Street, in your 2020/2021 MU Members’ Handbook. members are encouraged to keep a watchful eye on member emails and the website for details when This information is also available at theMU.org they are confrmed by the A large print version of this information is available on request from your Regional Ofce. Executive Committee.
The Musician • Winter 2020 NOTICES Musicians’ Union Election Results Independent Scrutineer’s Report This report is issued in accordance with the Trades Union and Labour Relations (Consolidation) Act 1992 as amended.
Executive Committee Elections
I am satisfed that there are no reasonable Scotland & East & SE England grounds for believing that there was any Result of ballot of members (2 to be elected) contravention of a requirement imposed by or Northern Ireland under any enactment in relation to the election. Result of ballot of members (1 to be elected) Julian Field 252
Xenia Horne 476 Elected I am satisfed that the arrangements made Diljeet Bhachu 184 Elected Richard Lightman 461 Elected Matthew Whiteside 134 with respect to the production, storage, distribution, return or other handling of the Spoilt ballot papers 4 voting papers used in the election, and the Spoilt ballot papers 4 Total ballot papers arrangements for the counting of the votes, Spoilt ballot papers (no vote) 36 received 663 11% included all such security arrangements as Total ballot papers Total ballot papers 50 were reasonably practicable for the purpose received 358 14% dispatched 6121 Total ballot papers of minimising the risk that any unfairness or dispatched 2557 malpractice might occur.
Wales & SW England I have been able to carry out my functions Result of ballot of members (1 to be elected) without such interference as would make North of England (1 to be elected) it reasonable for any person to call my Tracey Kelly 176 independence in relation to the union Rachael Parvin 255 Elected Eileen Spencer Elected Unopposed into question. Spoilt ballot papers 2 In accordance with Section 53 and MU Rules, I have inspected the register of members and Total ballot papers ‘Nothing in this Chapter shall be taken to require no matters were revealed which should be received 433 12% a ballot to be held at an uncontested election’. drawn to the attention of the union in order to Total ballot papers The number of members nominated in the assist it in securing that the register is dispatched 3492 election for the North of England Region does accurate and up to date. I was not requested not exceed the number to be elected, and a by any member or candidate to inspect or examine a copy of the membership register. ballot is therefore not required. London Result of ballot of members (4 to be elected) The MU did not appoint an Independent Person
under Section 51A of the Act. Midlands Stephen Done 477 Elected Result of ballot of members (1 to be elected) Michael Horne 288 Anne Hock David Lee 544 Elected Managing Director, Popularis Ltd Peter Hartley 144 Maxim Rowlands 357 9 November 2020 Millicent Stephenson 236 Elected James Topp 450 Elected Sarah Williams 727 Elected Spoilt ballot papers 1 Total ballot papers Spoilt ballot papers (no vote) 19 Any member of the Musicians’ Union received 381 13% Total ballot papers requiring a copy of the Scrutineer’s Report Total ballot papers received 953 10% should write to Naomi Pohl, Musicians’ Union, dispatched 2855 Total ballot papers 60-62 Clapham Road, London SW9 0JJ with dispatched 9191 such a request enclosing a suitable SAE.
The Musician • Winter 2020 MEMBER BENEFITS
MU Sections To join, contact the Have you registered relevant MU Ofcial. Live Performance Section Dave Webster National Organiser Live Performance for your MU benefts? 60–62 Clapham Road London SW9 0JJ While membership of the MU ofers a wide range of free services, T 020 7840 5512 there are a number of benefts that you need to register or apply for. E [email protected]
Music Writers’ Section Kelly Wood decide to join, we can ofer and retired musicians, whatever the MU website Live & Music Writers’ Ofcial To fully access our website – free partnership advice and an genre. helpmusicians.org.uk 60-62 Clapham Road theMU.org – you will need to agreement. Contact your Regional London SW9 0JJ register on your frst visit using Ofce for more information. Medical assistance T 020 7582 5566 your membership number. The British Association for E [email protected] Motoring service Performing Arts Medicine delivers Contract advice – The MU Family Motoring and specialist health support to Orchestra Section before you sign Accident Aftercare Scheme musicians. Visit bapam.org.uk Jo Laverty Receive professional advice on provides 24/7 cover. Members must National Organiser the terms and implications of enter discount code MU24 to obtain Music Minds Matter Orchestras any complex agreements via free membership of the scheme. A comprehensive mental health 60–62 Clapham Road our Contract Advisory Service. Register now via telephone or the support service providing advice, London SW9 0JJ Contact your Regional Ofce to web. mu.assistprotect.co.uk/ information, resources, and T 020 7840 5571 51 fnd out more. TMAJoinFree.cfm professional and clinical services E [email protected] for musicians in need of help. Instrument and Musician’s Hearing Services musicmindsmatter.org.uk equipment insurance A range of hearing related Recording For £2,000 worth of free musical services for MU members. Music Support & Broadcasting Section instrument and equipment cover. For an appointment, call MHS A charity for individuals in the UK Geof Ellerby Register by calling Hencilla on 020 7486 1053 or visit music industry sufering from National Organiser Canworth on 020 8686 5050. musicianshearingservices.co.uk mental, emotional and behavioural Recording & Broadcasting health disorders. musicsupport.org 60–62 Clapham Road Partnership advice Help Musicians UK London SW9 0JJ For full details of all the T 020 7840 5555 If all the members of your group Charity ofering practical, positive benefts of MU membership are already MU members, or support to emerging, professional see Members’ Handbook. E [email protected]
Education Section Chris Walters Are you due a royalty payment from the Musicians’ Union for the use of any National Organiser Education, Health of your recordings in television programmes, flms or adverts? Are you the & Wellbeing next of kin of a musician who used to receive royalties from us? 60–62 Clapham Road London SW9 0JJ The Musicians’ Union pays royalties to a growing number performed on the recording; or we do know the names T 020 7840 5558 of musicians for the secondary exploitation of their of the musicians but we have been unable to trace them E [email protected] recordings. In most cases we know which musicians or their next of kin. If you can assist the Musicians’ Union performed on the recording and already have their with line-up information or contact details, visit theMU. Theatre Section contact and payment details, so the royalty income can org/Home/Advice/Recording-Broadcasting/Royalties Dave Webster be distributed straight away. However, there is a certain Here, you will be able to fnd more information on the types National Organiser amount of income we have collected that we cannot of royalty income we collect, as well as lists of musicians Live Performance distribute as we have not been able to identify who and recording line-ups we are currently trying to trace. 60–62 Clapham Road London SW9 0JJ theMU.org/Home/Advice/Recording-Broadcasting/Royalties T 020 7840 5512 E [email protected]
The Musician • Winter 2020 Gigs
MUM65.back.indd 1 24/11/2020 15:40