The Musician Journal of the Musicians’ Union Summer 2019 theMU.org
Music And Moral Panic Why UK drill artists are being criminalised for making music Discrimination At Work The negative impact of having children on women’s careers Kaiser Chiefs The Leeds indie rockers on why it’s tough for young musicians Zara McFarlane A singer who is rising through the ranks of the new jazz scene contacts Union HQ Regional Offices
General Secretary Head of Communications London Horace Trubridge & Government Relations Regional Organiser: Jamie Pullman Isabelle Gutierrez Palfrey Place, London SW PE Deputy General Secretary t Naomi Pohl (Music Industry) In-House Solicitor e [email protected] Dawn Rodger Assistant General Secretary East & South East England Nick Forshaw (Finance & Administration) PR & Marketing Official Regional Organiser: Paul Burrows Keith Ames a Fentiman Road, National Organiser London SW LD Jo Laverty (Orchestras) Recording & Broadcasting Official t Michael Sweeney e [email protected] National Organiser Diane Widdison (Education & Training) Licensing & Distribution Official Midlands Annie Turner Regional Organiser: Stephen Brown National Organiser Sovereign Court, Phil Kear (Recording & Broadcasting) Sessions Official Graham Street, Geoff Ellerby Birmingham B JR National Organiser t Dave Webster (Live Performance) Live Performance Official e [email protected] Kelly Wood Wales & South West England Equality, Diversity & Inclusion Official Regional Organiser: Andy Warnock John Shortell Transport House, Cathedral Rd, Cardiff CF SD Orchestras Official t Morris Stemp e cardiff@theMU.org
Campaigns & Social Media Official North of England Maddy Radcliff Regional Organiser: Matt Wanstall Bloom Street, Manchester M LY Union HQ t – Clapham Road e [email protected] London sw jj Scotland & Northern Ireland t Regional Organiser: Caroline Sewell f Suite A, st floor, e [email protected] / Woodside Place, Glasgow G QF w theMU.org t @WeAreTheMU e [email protected] REPORT Ensuring A Bright Future A revamped Conference and taking the Executive Committee on the road are just two of the new initiatives of the past two years, but there is more that needs to be done.
a number of changes that we believe Conference Motions and Amendments to be will, over time, grow the membership and fully debated and for any questions on the ensure a bright future for our great union. Conference Report to be addressed. The Conference Report itself was very much in The Join for a Pound initiative, which was need of an overhaul, and as such we believe launched in January, has already proved that delegates will find the new format much very popular; the membership of the MU, easier to follow and the activities of the MU as I write, is already breaking through the over the previous two years will be set out in , barrier for the first time in many a far more user-friendly way. years. Of course, the proof of the pudding will be how many of these new joiners Stronger links continue with their membership after the During my campaign to win election to first year and that will depend very much the post of General Secretary, I spoke at on the MU staff and officials delivering length of the need to demystify the work tangible services and benefits to these of the Executive Committee and build newbies over the next few months. If you much stronger links between the EC and know someone who has joined the MU the Regional Committees. To that end we under this new scheme, please talk to have, over the past two years, been taking 3 them about all the benefits and services the Executive Committee meetings on the © Joanna Dudderidge Joanna © that we offer that make membership of road to the regions and enabling Regional Horace Trubridge, the MU unbeatable value for money. Committee members to witness first hand General Secretary the way in which the Executive Committee Radical changes deals with all the varied and often You will have read about the radical challenging issues that it has to face. Firstly, I want to say how pleased we all changes we have made to the format of are that the European Parliament has at the MU biennial Delegate Conference and This new initiative has proved very popular last adopted the Copyright Directive (see the Conference Report. These changes are and has also served to ensure that all our the lead news story on p). Despite the as a direct result of members’ comments invaluable activists and committee members best efforts of the tech industries, and the that Conference focuses too much on the feel that they are playing an important part faltering support for the Directive from the work of the previous two years instead in the work of the MU. I want to continue this major rights owners, the EU has recognised of debating and agreeing policy for the initiative in future years and also explore the need to modernise copyright in favour of next two years. We have shortened the more ways of recognising and celebrating performers and creators. The next step is to Delegate Conference to one day and the vital role that our committee members ensure that the UK government implements added a Members’ Conference, open to all play in the success of our union. the Directive in such a way as to ensure members, which will enable you to shape the maximum benefits and rewards for the the policy and decision making of the MU’s I can’t overemphasise how much I have performer/creator community. Executive Committee going forward. enjoyed the past two years and I thank you all for having the trust and confidence in me I’ve been in post now for two years and I am Through discussions with Regional to lead this fantastic union. There is much very pleased to say that with the help of my Committees and Section Committees, it is more that needs to be done and I have no colleagues I have been able to implement clear that members have overwhelmingly intention of taking my hand off the throttle. welcomed these changes and support In the meantime and more than ever, keep the new format as an important step telling people what a strong, progressive, towards ensuring that all members have pragmatic and listening union the MU is the opportunity to shape the MU’s future. and have a great summer. By significantly reducing the number of speakers that we will programme for the Horace Trubridge TO HEAR MORE FROM HORACE, Delegate Conference, we are confident VISIT THEMU.ORG that we have dedicated enough time for
The usician • ummer Contents Summer 2019
4
30
“Jazz is a live music art form and the MU has always championed that.” Zara McFarlane
The usician • ummer 16
Frontline Features MEPs give final approval Focus on the vibrant to Copyright Directive music scene in Coventry MU at TUC Young Why I joined the MU Workers’ Conference MU supports People’s Vote Your Voice Exclusive Interacting with MU members interview with Reports and supporters on Twitter indie rockers MU General Secretary Kaiser Chiefs. Deputy General Secretary Profile MU Women in Music The enduring appeal of Conference Leeds band Kaiser Chiefs How drill music artists The MOBO-winning singer- are being criminalised songwriter Zara McFarlane Union Notices MU research reveals profound 5 Cover star – session Key MU contacts Getty / Images Fireman Tabatha © inequality in music education drummer Ellie Daymond Ask Us First The discrimination faced by Tributes mothers in the workplace Reviews Statement of Accounts Maintaining your instrument Albums, EPs and downloads year ending ¢ The MU Theatre Section released by MU members 5 Member benefits
5 MU Contributors
Duncan Katie Henry Neil Seaman Nicholls Yates Crossley Duncan is a Katie is a Henry is a A journalist and journalist and sub- freelance journalist freelance writer from editor who has written editor who regularly and editor whose Gloucestershire for The Independent, writes about music features and reviews who has written for The Daily Telegraph, for publications such have appeared in publications as diverse The Guardian and The as The Yorkshire Post, titles such as Mojo, as Classic Rock, Financial Times. Neil the i newspaper and The Guardian Total Guitar, NME and also fronts the band Louder Than War. p and Kerrang! p Record Collector. p Furlined. p
Pete Ben Neil Maddy Chambers Jones Churchman Radcliff Pete received An ex-MU Neil is an Campaigns & a British Empire Medal Official and long- experienced journalist Social Media Official at for “volunteering time member, Ben in broadcasting and the Musicians’ Union, services to Coventry is now a freelance print. A former BBC Maddy also works on music”. He writes for music business national newsroom the Union’s Safe Space The Coventry Observer consultant and project assistant editor, he initiative and with the and runs Coventry manager for British now writes on music MU’s §, young Music Museum. p Underground. p and the media. p members. p
Cover: Ellie Daymond elliedaymonddrums.co.uk
Photo: Joseph Branston. © MU 2019 Photographed at Pirate Studios, Bristol Photo: Joseph Branston. © MU 2019
The usician • ummer BREXIT AND YOU The MU is fighting to protect musicians’ right to travel when working in the EU post-Brexit. We want to hear from you about how Brexit has ! affected your working plans for . #WorkingInTheEU bit.ly/ AzdUAV
Summer
frontlineThe MU in action, working on behalf of professional musicians.
European Parliament Gives Final Approval
to Copyright Directive Images Getty / kamisoka ©
The MU is delighted that MEPs have finally voted in favour of the Copyright Directive, following years of lobbying and work under the UK Music umbrella promoting the benefits 6 of the new laws for musicians and creators.
The legislation makes streaming services and user-upload sites liable for copyright infringements rather than users. Sites such as YouTube and SoundCloud will now have to seek licences for content, which means artists can negotiate better royalties and receive their fair share of the huge revenues made by these online platforms. The Copyright Directive will empower musicians and music writers online. The tech giants have spent millions resisting the legislation, arguing that it would harm freedom of expression and be difficult to , police, but MU Deputy General Secretary liable for copyright – that responsibility will Naomi Pohl said the vote on March was henceforth be transferred to the platforms.” “There is a real a massive step forward for consumers and creators alike. Musicians’ Union National Organiser for chance of music Recording & Broadcasting, Phil Kear, said: “This directive is about ensuring that “This is amazing news for the UK music rights holders copyright material is licensed and paid for industry. As a result of this vote there is a real finally being fairly properly by platforms that host content, not chance of music rights holders finally being by individual users,” she said. “And also that fairly remunerated for use of their work online. remunerated for use performers and creators are given better Of particular note is the inclusion of clauses contractual terms and full transparency in - , which empower musicians and music of their work online.” royalty accounting.” writers to achieve greater transparency from online licensees. Phil Kear “It is about creating a fair and functioning market for creative works of all kinds on the “The MU wishes to place on record a huge internet. It’s about making sure that ordinary vote of thanks to the MEPs who stood firm people can upload videos and music to in the face of sustained pressure and voted platforms like YouTube without being held this directive through.”
The usician • ummer FRONTLINE
Independent Scrutineer’s Report
Trade Union and Labour Relations (Consolidation) Act as amended.
WALES & SOUTH WEST ENGLAND REGION EXECUTIVE COMMITTEE CASUAL VACANCY
Term of Office: date of election to December ( to be elected):
PHILLIP COURT ELEC TED UNOPPOSED
In accordance with Section £¤ and MU Rules, ‘Nothing in this Chapter shall be The MU supports a People’s Vote, taken to require a ballot to be held at an and believes that staying in the EU uncontested election’. The number of is the best option for musicians. members nominated in the election for the © Maddy Radcliff© Scotland and Northern Ireland Region does not exceed the number to be elected, and a ballot is therefore not required. MU At TUC Young Workers’ Conference 7 I am satisfied that there are no reasonable The rights of arts and entertainment workers to ensure that self-employed workers grounds for believing that there was any in a post-Brexit Britain was the subject of have continued access to the EU market. contravention of a requirement imposed by a motion put forward by the MU at the TUC or under any enactment in relation to the Young Workers’ Conference, held at Congress The motion was passed but not all trade election. I am satisfied that the arrangements House in London on ¤- March . unions agreed. Young members from Unite made with respect to the production, storage, asked the MU to withdraw the motion, and distribution, return or other handling of the The MU’s motion highlighted how restrictions members from RMT asked Conference to vote voting papers used in the election, and the on access to EU markets will undermine against it, a decision that reflects the RMT’s arrangements for the counting of the votes, musicians’ ability to make money from selling support for the Leave campaign. included all such security arrangements as their music and merchandise. According to were reasonably practicable for the purpose data from UK Music, only % of musicians But the Musicians’ Union believes that of minimising the risk that any unfairness or think Brexit will have a positive impact on their protecting workers’ rights is simply common malpractice might occur. work. With this in mind, the MU called on the sense, wherever individuals are on the TUC Young Workers’ Conference to ask the political spectrum. The MU highlighted I have been able to carry out my functions TUC to fight any potential limit to freedom of that its call for a touring visa for musicians without such interference as would make movement for arts and entertainment workers post-Brexit has attracted support from both it reasonable for any person to call my in the EU post-Brexit, and lobby government sides of the House of Commons. independence in relation to the union into question. I have inspected the register of members and no matters were revealed Your Union which should be drawn to the attention of the union in order to assist it in securing that the register is accurate and up to date. I was not requested by any member or 1950 £1 31,000 candidate to inspect or examine a copy of The year when the first The minimum amount The number of paid-up the membership register. The MU did not edition of The Musician required in to join the members of the MU appoint an Independent Person under magazine was distributed Musicians’ Union for the working in all sectors Section £ A of the Act. to all members. first time. of the industry. Anne Hock, Managing Director, Popularis, For the latest news on how the Musicians’ Union is helping you visit theMU.org March
The usician • ummer SUPPORT THE MU Love Music? Encourage your music-loving ! friends and family to sign up as MU Supporters at theMU.org
Naomi Pohl Named Accessing MU In Prestigious List Communications
MU Deputy General Secretary Naomi Pohl Shutterstock / Lisic © The MU wishes to ensure that members has been named in the Alternative Power receive communications in the most Music List. The brainchild of Shesaid. So, appropriate format at all times. Members a global network of women in the music with specific requests – such as sections of industry, the list was started as a response the MU Members’ Handbook, the MU Rules, to Billboard’s Power List and celebrates or ballot documentation in large print – underrepresented communities such as should contact their Regional Office. Disabled artists have to women and people of colour. overcome many barriers. The MU would also like to remind members Shesaid.So praised Naomi, the first female that The Musician is available as a PDF, in member of the MU’s leadership team in large print and audio at the MU website. years, for her stance in the wake of #MeToo. Challenges Faced The large print and audio files are created Naomi launched the MU’s Safe Space Initiative once the contents of The Musician are and set up a confidential email reporting line. By Disabled Artists approved and these files are loaded promptly on the website. Janine Irons of Tomorrow’s Warriors and Jess A disability charity is calling on the music Partridge of the PRS Foundation are among industry to commit to true diversity, access As reported in the Spring issue, members the other names honoured on this year’s list. and representation for all artists after a survey who wish to forgo the print edition can now revealed the barriers faced by deaf and receive The Musician in digital format only, disabled artists and musicians. by selecting the appropriate option under 8 ‘Communication Preferences’ when they log MU Supports The Next Stage survey was carried out into theMU.org by Attitude Is Everything as part of an People’s Vote initiative, funded by Arts Council England and Members who have informed the Musicians’ supported by the MU, to champion disabled Union of accessibility issues due to a visual The MU is urging members to sign the petition talent. Half of the artists surveyed had impairment, are emailed to advise them of for a People’s Vote. The ability to travel encountered access barriers when seeking the availability of such content, with direct and work freely and easily in the EU is of to rehearse. Two in three of the ¯ artists links to the large print versions and audio paramount importance to MU members, and who had played live said they had been forced resources. Each issue of the MU’s Regional the MU cannot support any Brexit deal that to compromise their health or wellbeing to and Section newsletters (The Musician limits freedom of movement for its members. perform, and one in five had to cancel a Extra) is also produced in large print and can To sign the petition visit tinyurl.com/ybr bwr show due to bad access. be downloaded from the MU website.
Dates For The Diary 20 June 21-22 June 06 July 20-21 July 24 July
What: How To Release What: Tipping Point Live What: Pride What: Creative Music What: MU Members’ Your Music And Get Paid (music festival with live Where: Trafalgar Square, Training: Working With Conference Where: Bootleg Social, sessions and workshops) Westminster, Young People Where: Hilton Brighton ¤ Topping Street, Where: Ouseburn Valley, London WCN £DN Where: Guildhall School of Metropole Hotel, East Blackpool FY ¤AQ Newcastle upon Tyne Info: prideinlondon.org Music & Drama, London Sussex BN FU Info: theMU.org Info: bit.ly/URsoot Info: gsmd.ac.uk Info: theMU.org
The usician • ummer that many of us working in the the in working us of many that difficulties healthmentalthe @WeAreTheMUofbehalf about on #STUC the at briefly talk to opportunity the had I health Mental N Janie Solidarity!! proposedby@WeAreTheMU creativesforissues health presentationsmental about ParticularlyrelevantUnion. delegatefor@SCOArtists a as #stuc at motions varied & interesting of day A matters Mind @HelenPorter ´£¤ H #NEU child every educationessentialisfor #ValueTheArtsmusic A @TracyBrabin MP Brabin Tracy school. instrumentin musical atolearnchance childrenaregiventhe governmenttoensureall the urged I Today revealed. has research @UK_Music @WeAreTheMUand recentwealthierpeers,their instrumentthantakean up likelyasarehalftofamilies Childrenlowerfromincome music Facethe YourVoice diverse range of dialogue between the MU and its members. members. its and MU the between dialogue of range diverse the reflects letters and emails tweets, of selection This rts for all for rts elen Porter elen FollowusonInstagram@WeAreTheMU FollowusonTwitter @WeAreTheMU facebook.com/musicians.union icoll @JanieNicoll
@craigratcliffe C feedback!#music#mentor of art theFullyintrained mentorcourse.theirtraining on @musicforyouth towerswith @WeAreTheMU at day Great feedback Positive @SDoughtyMP S #Brexittheirinposition. @WeAreTheMU back to Proud backing Brexit @oursongwriter MikeMacdermid all. us affects It media. the in discussed being said I what of some see to Great face. industry music tephen raig Ratclifferaig provisioninschools. withininstrumentalinequality reveals researchhuge MU D oughty MP oughty
[email protected] FindusattheMU.org soundcloud.com/musicians-union
@RebeccaJLee Rebecca tomusician’s health! hearing up sign @WeAreTheMU the in you’re If made. casts protection eartest hearingandhavinga time nicest the had Just adviceSound @lynnhenderhorn H Lynn #BehindEveryMusician @shesaid.so.with partnership in @WeAreTheMU by womenmusicorganisedin mentoringA programmefor #shegrowsXMU! of part a being byeasierrecitalsmade and stressTheauditionsoffunding together Better enderson L ee
© Chachawal Prapai / Getty Images Musicians’Union. and Limited Publishing Future written of permission the without reproduced or used may be journal this of part No Future reserved. rights © All damage. or loss . Union Musicians’ andLimited Publishing any for liable shall be subcontractors respective or their agents nor employees, Union Musicians’ nor Limited Publishing Future neither and risk your your in to referred submissions. Any material you services submit is sent or at products any any in part in or promotingofpurpose the for media orformat whole in submissions publish your to licence a Union Musicians’ grant format or media throughout the world, and you anyin of worldwide published is that journal this edition any in part in or whole in submissions andMusicians’alicenceUnionto publish your Limited Publishing Future grant automatically appropriate take will any steps. Union If you submit taking the material to this and journal, you before action away other straight editor contact please the made, been has believe error you an if that but inaccuracies, avoid to best Union offeredservices in advertisements. We do our Musicians’ nor accept any liability for the quality of goods and Limited Future Publishing Neither bodies. those with up taken be should services such with problems and bodies regulatory relevant are their by governed insurance or services financial offering Organisations recommendation. of form any Publication of an advertisement does not imply to the price of products/services in the journal. manufacturers and retailers direct with regard contact to such advised in are Readers occur information. that inaccuracies or responsibility errors for any accept Union Musicians’ nor Limited Musicians’ Publishing Future of Neither Union. behalf on Limited Publishing Future by published is journal This press. to going of time the at correct knowledge, our of for is journal informational purposes only and is, to the this best in contained information All Musicians’offices. Union TH See p See at Printed Repro directorArt Editorialdirector RebeccaNannery S production H ClareJonik D Productioneditor Yates WillHenry Simpson, TomSeaman,Duncan Short, KatieNicholls,Maddy Radcliff, NeilCrossley, BenJones, Chambers,NeilChurchman, Writers editorArt C Editor enioraccount manager onsultanteditor eadofFusion procurement and irectorofcontent marketing E TEAM E The usician • ummer The• ummer usician Keith Ames (MU) Ames Keith Gary Stuckey Gary for the contact details of Keith Ames, Pete Pete Ames, Keith ChrisStenner PrecisionColourPrinting
Matt Eglinton Eglinton Matt Stuart Hobbs Stuart F RONTLINE Mark Donald Mark AndreaBall NeilCrossley
9 Securing A Fairer Deal For Musicians On Tour In Dublin MU Deputy General Secretary Naomi Pohl highlights the issues facing theatre musicians visiting Dublin – in terms of both accommodation and the calculation of Rest Day Travel payments – and explains how the MU plans to fight for a better deal.
The ink is barely dry on the revised UK hope for. The reality of touring to Dublin at the Theatre (UKT) / MU Agreement and yet we moment means our members subsidising are chalking up a list of issues to tackle in the producer by overpaying for their our next claim. The first and thorniest by accommodation, staying somewhere far is the issue of per diems for tours that sub-standard or miles away from the venue. visit Dublin. We have long been wedded to the principle that a theatre company touring Fight for change together should receive the same per We remain committed to addressing this diems, and for Dublin those figures are set issue and it is our advice to members and out in an Equity agreement. The UKT per fixers at present that wherever possible the 10 diem for Dublin currently stands at € and producer should book and pay for yet our members overwhelmingly rejected accommodation. The € , or whatever Equity this figure in a ballot. members receive on a particular tour, represents the absolute bottom line. Thus far, we have been unable to get our own deal and to date the producers say that they Touring to Dublin has thrown up another are unwilling to enter separate talks. By far the issue we need to tackle with UKT. The best solution would be for producers to book problem relates to the calculation of the Rest and pay for accommodation and pay a Day Travel payment. Rest Day Travel occurs reduced per diem just for meals. Equity when a member has to give up their allocated understands our concerns and we have had Rest Day to travel from one leg of a tour to the useful discussions with them. next at the behest of the producer. Generally this is because travelling on a Monday Expensive accommodation morning doesn’t allow sufficient time to get We know from what you’ve told us that the from city A to city B and get to the sound cost of accommodation in Dublin is high; check on time. higher by a considerable margin than in most other European cities. The producers argue Necessarily then, we are talking about long that Dublin should be treated as part of a journeys and a lot of time for musicians to domestic tour and we argue that the Republic spend in transit when they should be of Ireland should be treated as any other EU recovering from a long week, spending time member state. If a tour includes the ROI then with loved ones etc. it is international not domestic. Brexit, if and when it happens, will throw this into stark Also, as we all know, Sunday travel is often relief even if we retain the soft border we all subject to delays and disruption. To end up spending valuable time unpaid on a replacement bus service is especially galling. “Musicians are spending a lot of time in transit Dublin airport doesn’t have a train station so when they should be recovering from a long you can only really drive, cab or take a bus there. This presents a problem when week or spending time with loved ones.” calculating a Rest Day Travel payment.
The usician • ummer PROFILEREPORT
The cost of accommodation in Dublin is among the most expensive in Europe. © Lukas Bischoff / Getty Images Getty / Bischoff Lukas ©
Room Price Comparison
The MU looked at a week when its members were in Dublin as part of a recent tour. The cheapest accommodation available in Dublin, a B&B, cost € and was half an 11 hour’s walk from the venue. That left our members € out of pocket that week (€ per day) before buying any EXAMPLE A: If you get a train to any airport, Unpaid hours meals at all. the clock starts ticking on your Rest Day Another anomaly of the clause is that it Travel payment from the time your train is doesn’t explicitly provide for the transfer from A search for equivalent scheduled to leave the station to the time the flight’s scheduled landing to the time that accommodation in other the flight is scheduled to land. If you then the first available train is scheduled to leave. In ‘expensive’ European cities for travel onwards to the venue on another EXAMPLE A, assuming you take an onwards the same week came up with train, or trains, then the clock keeps ticking train after a flight, then this time would be paid the following: until the final train is scheduled to arrive at for. However, in EXAMPLE B it wouldn’t be. This your destination. could lead to another hour or so of unpaid VIENNA time which is exactly what happened to a * hotel inc breakfast: € However, in EXAMPLE B, if you take a bus to band we’ve been liaising with recently. = € per day left for meals the airport in Dublin, according to UKT’s recent interpretation of the agreement, the We would love to hear from members who ZURICH clock doesn’t start ticking on your payment have been paid for captive time in the airport, Conveniently located until the flight is scheduled to leave Dublin either in Dublin or elsewhere, and/or for the Easyhotel: € Airport. So if you take a -minute bus to the transfer time from plane to train so we can = € per day for meals airport and arrive to check in minutes start building a case to change the clause. Our before the scheduled departure time of the claim won’t be going in until next year but we MILAN flight, that is hours and minutes of unpaid are already compiling evidence and City centre self-catering time. Oddly enough, this isn’t something that discussing potential solutions with the apartment: € appears to have cropped up until recently. Theatre Section Committee. = € per day for meals
VENICE Standard double room inc breakfast: € = € per day for meals
The usician • ummer Singer Heather Small delivered the Women In Music keynote speech. Conference Delegates discussed female empowerment, the importance of supporting each other and their hopes for the future of the industry. Report by Maddy Radcliff
Empowerment was the big theme of this one of the seminal British voices of the s year’s MU Women in Music Conference . and building her solo career, in a wide-ranging Delegates descended on HOME Manchester conversation to start the day. for a day of workshops, insights and practical advice led by women working in Small spoke at length about her upbringing the music industry. – “I’m a working class black immigrant from a council estate” – and the subtle ways Andi Hopgood, MU Executive Committee discrimination manifests. “With experience, 12 Vice Chair and Equalities Sub-Committee you know how to deal with things. There’s Chair, opened proceedings with a safe space no shortcut to experience,” she said. Small statement that set the tone for the day: encouraged attendees to think about the “Every single one of us attending this event is attitude they take into every room, even if they entitled to a safe space: a space free of fear, are the only woman there: “Globally, I’m the achievement will be great. You have helped a a space free of bullying and harassment of majority and I have a say. I take that mentality just and a good cause.” any kind. We will work together honouring our with me wherever I go.” differences and celebrating the gifts we each Shaping the future, paving the way bring to the table,” she said. Small’s advice to future generations was just Creating a manifesto for change was the focus as powerful, emphasising the role of talent, of ‘Shaping the Future, Paving the Way’, a “We will always treat one another with but also hard work. “Be your authentic self. panel led by thehub’s Julia Payne and featuring politeness and respect and, if we are To be taken seriously, make sure your creative former The Musician cover star Jen Hingley subjected to or witness bullying and endeavour is true and give your whole self of False Advertising alongside Sidonie B and harassment, we will speak out knowing that to your creative endeavour,” she said. Asked Esmé Dee Hand-Halford of The Orielles. our voices will be heard, and we will be taken what she would tell her younger self, Small seriously. Together we can create a safe highlighted the importance of wellbeing: Being in control of your career was a key space,” she continued. “Keep working on self because that’s all we theme. “It took us ages to become confident can do. And anything is possible if we work enough to put our music online,” said Hingley. Voice of experience really, really hard.” “But being in control of everything really Heather Small provided the keynote, sharing allowed us to figure out our personalities.” her experiences of starting out, becoming While the Women in Music Conference focused on overcoming the challenges “Obviously paths change and your ideas faced by women in the music industry, Small change but it’s good to keep that kind of “I’m the majority and highlighted the importance of having allies dynamic going,” said Esmé Dee Hand-Halford. and bringing everyone into conversations In part, that has meant learning key skills I have a say. I take about equality. “To recruit allies, I think you along the way, such as business, finance and need to go to the people who you think that mentality with would be allies and say ‘We need your help’,” she said. She also had a clear message for me wherever I go.” those with more privilege in the workplace who are in a position to support those Heather Small with less privilege: “Allies, your sense of
The usician • ummer REPORT All photos: © Shirlaine Forrest © photos: All
Paving The Way For Change
Equality please! Extracts from the From left, panelists Jen Hingley of False 13 Manifesto for Change (Part ): Advertising, Julia Payne of thehub, and Esmé Dee and Sidonie B Hand-Halford of The Orielles. • Everyone being treated equally, regardless of race, sex, sexuality or any other factor. • Everyone is welcome to freelancer alongside a music career. Having participate, regardless of their merchandise, such as t-shirts, at shows also background, and everyone is makes a difference, although the income can treated the same. fluctuate. “That’s where the money’s really • Women being treated with at because it’s essentially going straight into equality and respect. your pocket,” added Sidonie B. • A gender-neutral approach, where decisions are based on the quality After the event, delegates were asked to of the music. put together a manifesto for change with • Less focus on image. their own suggestions for the future of the • Respect and representation for all. industry. Ideas included support for parents, • Women are equal and it’s more women in positions of power, and accepted that our gender doesn’t law. “You learn through trial and error really, gender balanced programming alongside mean we are less able/not able to and next time around you have a better set more encouragement for women to make be a musician. of hunches to base your decisions on,” said music and less neglect, discrimination, abuse, • Women are no longer patronised Hingley, who likened navigating the industry bullying and harassment in the workplace. on the basis of who they are to a jigsaw puzzle that can be put together in biologically (for example, different ways. Getting radio play references to PMS). In a session on getting radio play and live Asked for tips on how musicians can survive sessions, music journalist, presenter and Read the full Manifesto for Change financially, Sidonie B Hand-Halford highlighted producer Shell Zenner revealed what happens at bit.ly/ LLtKSx PRS for Music and the importance of royalties when acts upload their music to platforms as a source of income. But the reality is that you still need a second job to survive while pursuing a career in music. In Hingley’s case, that means working as a full-time
The usician • ummer Laura White, Lady Ice, Kelly Wood, Jess Partridge and Dame Evelyn Glennie. “Don’t ever feel that you’re not good enough or that your music is not good enough.” Shell Zenner
such as BBC Introducing. Her key piece of advice? Upload your music and lead with your best track. “Don’t ever feel that you’re not good enough, that your music is not good enough,” she said.
Networking is essential, and social media is a key tool. For Zenner, having an up-to-date Facebook presence is vital and can act as a substitute for a website when you’re starting out. She also urged delegates to research who might like their music and reach out to them, How To Make advising delegates to approach people with a simple and polite message, along the lines Yourself Heard of, “If you like that, you will like me”. Zenner Alison Wenham OBE led a session suggested a good place to start building on public speaking. Here are five 14 relationships is university and community tips to make sure your pitch or radio, where a lot of producers and presenters presentation is a success: start out. • Think about your audience and Monetising your music make your content relevant, Singer-songwriter Claire Mooney focused on reasonable and readily the challenges that delegates face making understood by that audience. money from their work. This was a creative • Use A5 cards with key points, and interactive session, in which participants clearly numbered and with the were asked to share their experiences and subject of the next page at the collectively write a song on the topic in the bottom of the card. Tarrant was keen to stress the difference space of an hour. The session provided a • Build in time to check out the between composing for games and other range of advice on how women can make a venue, acclimatise yourself to the types of composition. A single project can living in the industry. room, use the loo and do some take upwards of five years, with big-budget simple breathing exercises. projects taking up to nine years to complete. Composing for games • Do not allow yourself to be Unlike a more linear TV or film structure, Composer for games Katie Tarrant sat down interrupted. Say something like gaming is an interactive experience and the with the MU Education & Equalities Officer ‘please let me finish’ and music must account for that. Starting out on a Florence Morris for a conversation about conclude your point. project, you may know what the game will be getting more women into the sector. Katie’s • Remember that most of the about, but not what players are going to feel career started with an internship that led time, you know more than as they progress – the music needs to reflect to a full-time job. To gain access to the your audience. players’ real-time experiences, including when network of creators, Tarrant suggests they might start or stop playing, or pause connecting with independent developers and briefly for a cup of tea. building your contacts at that level. While she has never felt actively discriminated against, Plugging the gender gap Tarrant was keen to point out that nine times Featuring musicians Dame Evelyn Glennie out of ten she is the only woman in the room. CH, Lady Ice and Laura White alongside Again, social media comes into its own as Keychange’s Jess Partridge and moderated by a networking tool, with Facebook Groups MU Live Official Kelly Wood, the last session of and hashtags providing a way in alongside the day looked at overcoming the gender gap networking in person. in the music industry.
The usician • ummer REPORT
15 Above: Composer for games Katie Tarrant talked about her experiences I still write every single day. Until you become working in such a male-dominated unstoppable.” profession and shared tips on how to build a network of useful contacts. Left: Shell Zenner advised delegates to Keychange programme use social media as a networking tool. Normalising gender equality is at the heart of the Keychange programme, organised by PRS Foundation and project managed by Partridge. More than ¦ festivals have signed up to the The DIY ethos emerged as a key theme. “I have to learn the art of creating our own Keychange pledge, committing themselves had to write my own songs to create my own opportunities, while recognising that it is a to a §:§ gender balance by ¨¨¨. “Until we look. You just have to know yourselves in an business and we need to learn that too,” normalise it, it won’t be the way it naturally is,” industry dominated by men,” said White. “It she told delegates. But that does not mean said Partridge. The end goal of the project is made me work much harder and become having to work in isolation: “When you’re a clear: to not be needed anymore. more determined. But it was tough… You fight young musician, you feel isolated. You feel wars every week but the love of music has the team is you. But actually the team isn’t That optimism was evident in the networking to carry through. That’s what you’ve got to you. And success doesn’t happen in isolation facilitated by the MU to conclude the day. stick with,” she said. That DIY ethos extends either. It happens with teamwork.” She is MU member and Women in Music delegate beyond making music. “I thought, you know clear that having a diverse team around her Amy Boyd summed up the mood: “It’s been what, I’m going to be more self-sufficient and in terms of age and gender – which also absolutely fantastic. It’s been great to hear do it for the ladies,” Lady Ice told delegates. reflects her audience – has had a positive how women can support each other: the She bought her own studio and video impact on her career. problems that we all face, the problems that equipment so she had control over every we don’t all face, and how we’re going to work aspect of her career. Asked what advice they would give to the together to support each other and make it a room, the big themes that emerged were better world.” For Glennie, the walls came up while pursuing hard work and having confidence in what you music at the Royal Academy in London. “We create. “Stick to your passion, perfect your have to create our own opportunities. We craft, write every day and learn the business side,” said Lady Ice. For White, it’s about being the best you can be, musically. “Learn, study. I must have written million songs by now but
The usician • ummer 16 The usician • ummer The• ummer usician © Andrew Benge / Getty Images Souls something about music must believeyou.”inmust music aboutsomething knowsthatthere up someone– label major a on To be records. our buy and shows our see to come still people that and living a for music make to chance a got we believe quite can’t we day “Every agrees. White out.”nighttoprovidegoodgoing a knowthinkpeopleKaiserIwithit.areChiefs along go to music new any or record a have wedidn’tconsidering wasreallygood which out,festivals. toursoldwasmostlylastThe of lots doing major, a on being albums, seven for going kept we’ve But bands. of lot a were so then but – time right the at place right the in were we think I so do, to thing right the was band regionala in ,being In songs. good writing band the to testament it’s think “I Rix. “We’reupbeat.sosound pleased,” very says White and Rix that then, wonder, small It’s Who. Theof guests as July in toscheduledplayareWembleyand Stadium Road, Elland beloved their at gig city home a have –performed just Vijay Mistry drummer White,keyboardand playerBaines Nick Andrewguitarist Rix, Simon bassistWilson, LeedstheRicky quintetsingerlabels,– biggest UK’s the of one Polydor, to Signed health. rude in so do they releaseapproachsevenththetheirof album, airwaves,theguitargroupsruledthey as but indieBritish whenerastandingfroman band last the almost be may Chiefs Kaiser Profile by Duncan Seaman Duncan by Profile down. slowing of signs no showing are Chiefs Kaiser rockers indie soon, out album seventh a and Wembley at date a Road, Elland at gig homecoming recent a With Northern write in a room together.” room a in write to like we members, different got we’ve though “Even White. says same,” the of kind is write we way “The Mistry. Vijay by drums on replaced was He . in Hodgson Nick songwriterprincipal of departure thesince but now officially titlednowofficiallybut codenamedband’s Thealbum,new Team effort fine.” be they’ll is, them selling of way the whatever songs, good there’s as long as say always “I Music. Apple and Spotify of era an in farewill album newtheir howtosee intrigued records.”massiveofamounta says Rixhe’s andmusic,oflots buying people of hurrah last that in be to lucky very were “We king. were CDs started, they When end.”thein important quite be to proved it Obviously that’. about sayingsomebodyworry ‘Don’ttous, “Andrecalls.or lawyerRixtheremember I music,”digitalsentence aboutone was “there recordcontractKaiserChiefs’firstIn wrong.”goessometimesit andright goes itSometimes labels. the and people other trust and time the at whatever.Youhappening what’swith go just vinylor heavyweight on albumsreleasing only on insist and mud the in stuck be not to important always it’s think “I Rix, says times”,at“bewildering landscape but, today’stofinding admitBoth musical
Duck Employment , is their third third their is ,
#KC sold
PROFILE
“The band dynamic is a unique thing that needs to survive.” imon Ri
17
The usician • ummer “Music is part of what makes us human. It frees you of everything.” Andrew White
18
Nonetheless, they are not averse to wanted to test the waters of the pop thing Kaiser Chiefs’ show at Elland Road – their experimentation – on Duck’s predecessor, and we enjoyed it; we got a couple of good third there since – coincided with Leeds Stay Together, they hooked up with Brian songs out of it in terms of the live set.” On United’s centenary. “I think Leeds needs Higgins of Xenomania, who had worked with Duck, the band worked with “good ally” Ben H more stuff like this,” says White. “It needs the likes of Girls Aloud and Franz Ferdinand. Allen, who produced their No. Education, bigger events.” “It’s kind of like our pop album,” says Rix. “I Education, Education & War, and Iain Archer, don’t think everybody jumped on board with formerly of Snow Patrol. “We need to be proud of what we do and that, to be honest, but we’re glad we did it.” of the city’s great creative and sporting “We want to experience new things,” says achievements,” adds Rix. “This city and the “Just because we’re Northern blokes doesn’t White. “There are some amazing songwriters surrounding areas have a lot going on and we mean we don’t like pop music or jazz or dance and musicians out there that are much need to do more things because it’s always music,” adds White. “We cover all genres. better than us. Even if you don’t take a song great for the city.” We wanted to do something a bit more from them, or a chorus, you can take away commercial because that’s all we’d heard on the experience.” As for the state of today’s music industry, the radio – and there’s nothing better than Rix appreciates how hard it is for young hearing one of your songs on the radio.” “We are aware – and obviously the record musicians. “I don’t think I’d like to be in a new company are pushing you on that as well – band at the moment, I think it’s tough,” he Time for change that if you come up with an album that sounds says. “We were doing quite nicely – we’d had As the band’s guitarist, he admits he got angry like -, that isn’t what people want now,” NME singles of the week and videos on MTV when Higgins took out all the guitars, but says Rix. “It’s difficult trying to be Kaiser and songs on the radio – but at some point reflects: “As musicians, I think you need to do Chiefs but also trying to look forward and something different, to challenge yourself. We think about what we like nowadays and what can’t just release I Predict A Riot times. We our fans would like. It’s a difficult balancing act – when you think about it too much you end up doing nothing. So we tried to do something that has the Kaiser Chiefs’ DNA, but in .”
The usician • ummer PROFILE
Kaiser Chiefs, from left, Simon Rix, Nick Baines, Ricky Wilson, Vijay Mistry and Andrew White. Bassist Simon Rix (below). © Mike Burnell; © Tracey Welch / Shutterstock; © Danny North Danny © Shutterstock; / Welch Tracey © Burnell; Mike ©
Standing Up For Your Rights
Kaiser Chiefs have all been members of the Musicians’ Union Having once co-run a small independent from the band’s early days. “It’s the music venue himself, Rix is also attuned to same with BA A British Academy the difficulties they face, with many closing of ongwriters, omposers 19 due to noise complaints or rising council rates. and Authors , says imon Ri . “We played a gig at The New Adelphi Club in “Later in your career you realise Hull so they could get a new roof,” he says. it’s important to stand up for “The people there are not doing it so they can musicians’ rights. If you’re us – get rich or rub shoulders with the glitterati; Kaiser Chiefs – or a bigger band, we needed a record label to go, ‘Here’s a little they’re doing it because they love music you’re doing okay: you’re playing bit of money’. It wasn’t a massive amount, but and they think it’s important to have a music live and making some money and enough so we could all give up our jobs for a venue at the heart of the community, so those you’ve got a nice lifestyle; it’s year and focus on the band. Nowadays, the people are important.” maybe more about the creators amount of money is so small for those things, I who don’t have that buffer, who just don’t know how people can make it work.” “The more venues the better,” White adds. sit at home creating music for He believes record companies, “or whoever’s “I think it should be kind of compulsory – television or film, and then people getting the income streams,” need to invest every city should have five small venues that steal it and put it online and the in new artists, particularly bands. “The band should be full every night, or they should take creator gets nothing for it. With the dynamic is a unique thing that needs to schools there to watch gigs, because music usicians’ Union and BA A and survive. There are so many solo artists these is part of what makes us human. It frees you all unions – it’s about everybody days, which is great, but it must be because of everything. It’s such a luxury to have the standing together and representing of money, because you’re only splitting things opportunity to go and see any band. It’s a everybody to make sure no one’s one way instead of four or five.” travesty that venues are closing. getting short-changed.”
Uncertain future “We need a way for musicians to make money, “We joined because it’s a great White is equally sympathetic. “Everyone’s in basically, like they could or ¥ years ago. organisation,” says White. “It helps a panic. The music industry – artists and the Bands need to get paid more for performing struggling musicians, it helps people who press the buttons – everyone live, and they need more ownership of their people like me with insurance still doesn’t know what to do. No artist wants music. It’s skewed towards the people that advice – all sorts of things. It’s a to live like this. Surely every artist would like push the buttons and it’s not fair. But that’s collective, and it has a much louder to release vinyl or CDs for people to come to just the way it is at the moment.” voice if lots of people are talking shops and buy. In a perfect world everyone together. It’s a group of like-minded would want that because then a) everyone people who will speak up for you, gets paid fairly, and b) you feel like you’re which is a great thing.” creating something of more worth.”
The usician • ummer 20 The usician • ummer The• ummer usician MU the Crime, Knife & Music Drill society.” in issues deeper from distract to panic moral of focus the been often has “Music Jones Ben by Report violence. gang stop not will musicians young silencing but press, the in demonised and venues by shunned performing, from banned been have artists Drill Music Making For Criminalised has long been an issue before drill music. The The music. drill before issue an been long has society.inissuesdeeperfrom Youth violence distract to panic moral of focus the been often has “Music stated: It Conference. Workers’ Black TUC the to Crime’ Knife & Music ‘Drill entitled motion a submitted MU The panic Moral nature? its by criminal be genre a can but violence; incite or glamourise videos and lyrics drill’s that accusations by tarnished beenrecenthasyears.risein Its– Londonin particularly – UK thein popularity in grownhasit lyrics, nihilistic dark, and music foreboding beats, stark by Characterised decade. the of start the at Chicago in originated that music rap of form a is Drill againstrivalviolencemembers”.gang injunctionandthatit “incited andencouraged wasperformancepreexistingbreachainof thethat claimedPoliceMetropolitan The . sentencesplayingfortrack,their suspendedreceived bothnine-monthAM rappersSkengdoownDrilltheirsong.x arrested performing sentencedforand history,legalBritishwere musicians two in time first the for year, this January In , at a concert in LondonDecember.inlast concert aat, Attempted Attempted Official John Shortell noted: “Youth violence violence “Youth noted: Shortell John Official MU As create. or to listen may proponents the crimecannotwhatblamedsolelyonmusicbe knifeClearly,and membershipgang inrises suppressesandcommunitytheir voice.” behaviouryoungthedemonisesblack antisocial or violent of outcrops in rise the of cause the to contribution a as origin black of diversiontactictocontinuallymusicblame socioeconomicexperience. government’sThe individual the of cause, a not and reflection, a self-expressionartistic and are“Music said: Stephens Linton delegate motion, the Moving incidentsofviolence.” incite not does and people young of needs the into insight an provides drill of majority
© Joanna Dudderidge riseinviolenceonthecapital’s streets(below). JoshuaMalinga). Drillmusichasbeen blamedfor a DrillrappersSkengdo xAM(Terrell Doyley and
© Victoria Jones / PA Archive / PA Images REPORT © © @Sibby2597
Injunctions Are Not The Answer
John Shortell, Equality, Diversity and Inclusion Official, is leading on this issue for the MU and outlines his concerns: “The recent focus on drill is part of a long history of the persecution of black music and the MU has serious concerns at the increasing use of ‘gang injunctions’ as a means of policing artistic expression. 21
“These injunctions present a threat to all musicians’ civil liberties. Music has always dealt with difficult issues; to suppress artistic output, based on the notion that musicians rapping about their is a complex issue, and there is no single Because of the localised nature of the lyrics, lived experiences is to blame for solution, but criminalising young people rival gangs, specific individuals and real-life the increase in youth violence, is a making music about the reality of their lives events are often referenced. More than dog-whistle. Using drill music as a is not one of them.” drill videos have been removed from YouTube scapegoat distracts people from at the request of the Met, which claimed that calling out the government for its Artistic censorship they invoked or incited violence. This included inaction on tackling institutional A joint letter to The Guardian from Attempted ., which it concluded referenced racism, rising poverty, and cuts to human rights organisations, musicians and real-life gang-related violence, although school and youth funding, which academics expressed deep concern at the you can still listen to the track. “The video mean less young people are given types of repressive injunctions being used censorship doesn’t make sense,” Skengdo the opportunity to excel. These against musicians: “Incitement to violence told The Guardian. “As soon as it goes down, are just some of the reasons for an is rightly an existing offence, but these fans will put it back up.” increase in youth violence. injunctions go much further than this.” They also cautioned against censoring artistic In an interview with BBC Xtra, Skengdo x AM “The government could make expression: “We condemn this suppression: discussed their take on how they had been more of an impact by investing silencing one of the few avenues, through interpreted. “We don’t always talk about in community centre models threat of criminalisation, by which young violence, we talk about solutions, we talk that would amplify the voices of people can discuss the reality of their lives about economic problems, we talk about the young black people, for whom with any hope of being heard.” repercussions of violence,” claimed AM. the threat of violence is a daily reality. Policies need to be created Gospel drill fuses the genre with Christian to reduce school exclusions, fund messages in a bid to reach out to troubled youth workers and better connect youths and lead people away from potential them with police.” gang involvement. A BBC¤ documentary
The usician • ummer 22 The usician • ummer The• ummer usician in the eventthein ofharassment”.police non-repetitivenatureof themusic the confirm to times all at present lawyerandamusicologist purchasingitshould“have a containedwarningthethatanyone Thepackaging ofthe ¢separate drumpatterns. Flutter released Autechre protest, In retrospect. inblunt seemsofmusic type specific intothistoacompartmentalise antisocialbehaviour,and trying legitimateconcernsover drugs ‘repetitivebeats’. Whiletherewere composedprimarilyofmusicof a–somewhat derided–definition earlythescentredand on proliferationofillegalraves in responseintroducedintothe controversiallegislationwas This . Act Order Public oftheCriminalandJustice Thisyearththeanniversaryis noughties. garagegrimeandtheandins, andgangsterrapin thesand inpunkthes, acidhouse throughcontroversies surrounding audiences.You cantracealine music,targetingandboth artists discriminationandpersecutionin Therehasofbeenalonghistory Discrimination Of Decades
© Ryan Glover , which was based on on based was which , bythemedia and authorities. havebeenunfairly persecuted believesthatgrime anddrill (right) ShaoDow MC Grime AntiEP
when it all changed.”allit when was that and church, to me invited Someone prison. in years ¯ to sentenced was friends my of “One case: serious a in involved was he feuds.”essentiallyfamilyiswas ® he When “Andsaid. violence,whichgang camethen he violence,” comes that with and ¤, at drugs backgrounds.selling similarstartedfrom “I came who people to lives their in on going was what communicate to was intention initial their said He scene. drill gospel the of forefront the at group a Dealers, Hope of leader the A-Yis Turninglivesaround testimonialsmembers. formergangfrom itscongregation betweensermonsand to performances delivershigh-energy which church, Nation SPAC the of work the Londonandin drill ofgospelemergence RedemptionDeath,OrJail year,thisscreenedearlier , detailed thedetailed , EscapingGangs: reoffended in the last two years.”twolastreoffended thein haven’t and prison, of out and in been have who men people: young least at mentoring youngpeople.areMostactively one-to-one ¤ than more employing is Dealers Hope the of One mentoring. grassroots is work our of lot “A says. he “ %,” behaviour? criminal from away people guiding in successful been has group the think he Does arecurrentlythrough.”going we what of reflection a be to going it’s butmusic, drillpeople’s do Dealers lives.Hope of reflection a is “Music context: wider a expressedlookedmusicmustbein at in A-Y thatbeliefcriminality theechoes cause.”root the missed already have we so happened, already has saying are they whatever track, a creates and mic the on gets somebody When issue. root the hitting not are we but so, rightly say would some “And media: the anddiscriminatedpoliceby againstthe been has music drill that agrees He
REPORT
Stormzy pulled out of a “One of the clubs festival after accusing its organisers of racism. cancelled on the day. They said they’d be closed down.” ShaoDow
And it is not an issue specific to the UK. Stormzy, who this year will be the first grime artist to headline Glastonbury, cancelled his appearance at the Snowbombing festival in Austria in April after accusing the organisers of discrimination. He believed that members of his crew were racially profiled and targeted by security staff who were searching for weapons.
Freedom of speech
© RMV / Shutterstock / RMV © Music has always operated as a mirror for society; it has the ability to influence and Amy Lamé, the London Mayor’s Night Czar, is working with the authorities, venues and inspire, and to allow people to reflect their artists to try to prevent discrimination. realities and speak truth to power. This is why censorship should never be the answer. 23 The London Mayor’s Night Czar, Amy Lamé, cross-departmental action by government says that she and her team are continuing to develop guidance for all the relevant to try to ensure that no specific genres are authorities to ensure that urban music acts maligned or neglected, but that it requires a do not face discrimination.” combined effort: “I’m hugely disappointed that some artists are still facing prejudice in our The fear factor capital. We are working closely with the police, The hip-hop and grime rapper ShaoDow, who licensing authorities and London’s promoters,
WENN Rights Ltd / Alamy Stock Photo addressed a Parliamentary committee about venues and artists to ensure our music scene the prejudices grime artists face, says he can thrive for everyone.” has had issues booking his own shows: “One The fallout from Form , the Met’s of the clubs cancelled on the day when they To return to the MU’s motion to the TUC, controversial risk assessment for putting on realised what sort of music I make. They said its conclusion and recommendations were live gigs – that “predominantly feature DJs or they’d be closed down and were ‘not allowed clear: “Censorship is not a solution to youth MCs performing to a recorded backing to play that sort of music here’.” violence. Adequately funding schools, track” – which was scrapped in London in youth services and giving all young people ® following extensive lobbying from the He blames a complex mixture of issues opportunities to develop their creativity in a MU, continues to resonate. The recent Digital, for this sort of attitude, including “fear, positive way are.” Culture, Media and Sport Committee’s Live ignorance and an unwillingness to Music Report covered several issues affecting understand that an entire genre of music John Shortell is adamant that the MU will the live music industry, including “concerns is not the cause of violence”. continue to follow the issue closely. “We will about discrimination hindering work with and support members who are the success of urban music”. He also thinks that grime and drill have impacted by gang injunctions and campaign been unfairly persecuted by the media and for access to a music education for all.” UK Music CEO Michael Dugher approves authorities, in a similar way to hip-hop, reggae of the report’s findings: “We must root and dancehall in the past. “It’s curious that the out discrimination wherever we find it sorts of people who listen to and frequent the and we support the Committee’s call for venues to enjoy these kinds of music tend to have a similar ethnic background and often already have a difficult relationship with the police and the media,” he says.
The usician • ummer The State Of Play New MU research highlights profound inequality in music education provision in England, and a demoralised workforce. Report by Neil Crossley
Growing concerns over the crisis in music education in England were reinforced by an MU report in April, which highlighted the “perilous state” of music education across the country. The report, The State Of Play – A Review of Music Education in England , Evidence suggests is supported by UK Music and the Music learning an instrument can have a profoundly positive Industries Association, and based on impact on a child’s 24 the responses of more than , instrumental personal development. teachers, classroom teachers and music managers. It reveals huge inequality in instrumental provision, and concludes that children from families earning under £, ‘on-the-ground views and voices’ of teachers understanding, are also diminishing. “This is the a year are half as likely to learn a musical and managers offer a particularly valuable result of the systematic de-professionalisation instrument as those with a family income perspective. It is hoped that State Of Play will of the workforce,” suggests the report, above £ , a year. help to envisage a workable new approach for “through the liberalisation of constraints music education in England. around initial teacher education, poorly The -page report – written by Dr Jonathan designed pieces of curriculum development, Savage of Manchester Metropolitan University Diminishing returns heavy-handed processes of accountability for and David Barnard, MU Music Education Official It is eight years since the Conservative and schools and music education hubs, and the – paints a picture of creeping cuts to music Liberal Democrat coalition unveiled its national impact of cuts within local government.” education and a demoralised workforce, and plan for music education (NPME), which was concludes that chaotic education policies are set to extend to . The aim of the plan was Creative shortfall at the heart of this demise. to ensure every child had the opportunity to In recent years, there has been a sharp learn a musical instrument. The NPME also saw decline in the number of schools offering “This research demonstrates beyond the establishment of government-funded music at GCSE and A-Level. This inequity has reasonable doubt that music education has music hubs – partnerships between schools been hampered by the increased emphasis on reached a crisis point,” said Dr Savage at the and localised arts organisations – to create academic subjects within the curriculum. Of launch of the report, “and that schools need to “joined-up music education provision”. those surveyed in State Of Play, % said that be supported properly to ensure that music the introduction of English Baccalaureate continues to be included as a national But despite the NPME’s commitment, State Of (EBacc) had directly affected music provision curriculum subject.” Play concludes that a young person’s access to in their schools. Creative subjects have comprehensive and coherent music education become marginalised. The “squeezing out” of The findings make for stark reading, but they frequently depends entirely on the whim of their music from the curriculum has also resulted in also offer clues for potential solutions. The headteacher, the priorities of their music the number of postgraduate students training education hub, and their postcode. The report goes on to conclude that the chances of a young person being taught by a qualified teacher with an appropriate set of musical skills, and with the appropriate knowledge and
The usician • ummer REPORT
“Music must be an integral part of every child’s educational life.” Diane Widdison
MU Music Education Official, David Barnard, who co-authored State Of Play, also reinforces the importance of job security
© monkeybusinessimages / Getty / Images monkeybusinessimages © and opportunities within the profession. “The growth of bogus self-employment and zero-hour contracts has undermined Profound music teaching as a career option,” he said. “Recruiting qualified and experienced Benefits teachers has become increasingly difficult as job security and career progression has “Countless studies have shown all but evaporated.” the positive impact that learning an instrument has on Making a change a child’s development, both in The MU’s report concludes that the terms of academic achievement government needs to provide an urgent and and general wellbeing,” says coherent response to rectify the impact of its MU General Secretary Horace failing education policies. The report contains Trubridge. more than ¡ recommendations. These include developing music within teacher training and “The MU has found that in professional development, strengthening schools with headteachers who music hubs and holding schools to account 25 understand the benefits of music more rigorously for the delivery of music as a education, the opportunities to universal entitlement during the school day as learn instruments tend to be far part of the national curriculum. to be music teachers shrinking by two thirds better subsidised. In other over the past decade. schools, the offer is limited or The MU is now calling on government to ensure even non-existent. that every child learns music. The Union Savage accepts that some schools have believes that the government must accept that outstanding music provision. “But for every “This report, along with other the cumulative effect of education policies over one that is fantastic, you will find another recent research, is a vital step the past nine years has been detrimental to school in which next to nothing is going on,” towards persuading the decision how music education is delivered to, and he told The Guardian. makers in education that music accessed by, children and young people. needs to be part of every child’s Skilled and supported workforce life and that access to a broad In a concerted drive to enact change, the As MU National Organiser – Education & and balanced curriculum, which MU is keen to work with the Department for Training, Diane Widdison is all too aware of the includes the arts, should be Education and Arts Council England to ensure challenges facing MU members who work as experienced by all children, that the issues raised and recommendations music teachers. She emphasises the regardless of their background. made are incorporated into the next NPME. importance of music education and highlights The Musicians’ Union is also urging members that the welfare of teachers is crucial. “As has been widely of the public to write to their MPs in support acknowledged, talent is of the recommendations made within the “Music must be an integral part of every child’s everywhere in the UK but State Of Play report. educational life,” she says. “Access to a broad opportunity isn’t. If we are to and balanced curriculum, including the arts, maintain our fantastic talent To access the State Of Play report, visit should be experienced by all children pipeline, this government musiciansunion.org.uk/StateOfPlay regardless of their background. The success of desperately needs to ensure any music education plan or policy is that all young people, from all dependent on a skilled and supported areas of the UK and from all workforce who are engaged to teach on proper socio-economic backgrounds, terms and conditions with all the necessary have easy and affordable access checks and balances in place.” to musical instrument tuition.”
The usician • ummer Motherhood At Work Women in the industry who are pregnant or have young children still face discrimination, but campaigners are lobbying for change. Report by Katie Nicholls
When Beyonce was pregnant with her twins, “work in the performing arts is Rumi and Sir Carter, one of the first things precarious, with one in three she did once past her first trimester was participants saying that they whip off her clothes and pose as a goddess do not have a formal contract in for a photoshoot to announce her happy place… % of parents and carers news. This depiction of her as mother and had to turn down work because artist was a glorious celebration, something of childcare responsibilities (even every female musician should be able higher for women at %); % 26 to enjoy if they choose to have a baby – were unable to attend auditions
glamorous photoshoot or not. and other opportunities. More Shutterstock / Micelotta Frank © Beyonce performing in while freelance workers with caring pregnant (above). Concert pianist and Sadly, for many female musicians, a responsibilities have had to turn conductor Jocelyn Freeman (right). pregnancy announcement can be something down work (%) than other workers.” to fear rather than celebrate. Anecdotally, the MU reports a rise in the number of women The state of society seeking advice after negative reactions from MU member, concert pianist and conductor I felt like the choice and control had been bookers, promoters or band members; stories Jocelyn Freeman was “shocked” when she taken away. It was my worst fear come true.” that are backed up by some shocking figures. lost a contract because of her pregnancy. An Equality & Human Rights Commission She was “super-proud” of the strong The promoter cited ‘health and safety’ as the report from ¡¢ revealed that % of relationships she had spent years building reason for the cancellation. On speaking with women surveyed said they’d experienced with promoters. Sadly, one of those the MU, Freeman says she was advised that discrimination because of their pregnancy, relationships came crashing down when she this was an over-reaction and not very lawful. and one in nine mothers felt forced to leave contacted a promoter five months ahead of a She suspects that the promoter may consider their job – scaled up to the general population, concert to tell him she was pregnant. pregnant performers to be unreliable. this could amount to £, women out of work simply for becoming mothers. “I wrote to him to tell him I was looking forward “It’s society that discriminates,” affirms MU to the concert and also to say, ‘I’ll be pregnant. Live Performance Official Kelly Wood. “It’s The picture is even bleaker in the I’d like to have someone on standby just in not even the industry, it’s just the way things entertainment sector, particularly once case the baby comes early’. He wrote back are… Until relatively recently, it was normal women have given birth. Campaigning group and said, ‘You should not perform’. At first I for a woman to stay at home and not have a Parents In The Performing Arts reports that didn’t realise why. The threat of losing work career – it’s not that long ago. I also think in was my biggest fear when it came to having the music industry, a huge part of it is based children. I’d grown up in an environment around the aesthetic of women – that you “Losing work was my where there was still a bit of an attitude that have to look a certain way on stage.” women should stay at home. big fear when it came The situation is exacerbated by a culture of “I’m passionate about getting out there and silence. Women, says Joeli Brearley, from to having children.” making sure women feel they can have that choice, a rewarding family life and a career, so Jocelyn Freeman when the email came through I was in tears.
The usician • ummer REPORT Photo: Joseph Branston. © MU 2019
Forced To Make A Choice
How does discrimination against pregnant musicians affect the future of the music industry? Women make up % of MU membership. Would this figure be higher if starting a family didn’t present such an iron ceiling for female musicians? “I think women 27 get to a certain age and stop working as a musician and settle down into a permanent job so they can have certain benefits when they have a family,” says Kelly Wood. “There’s a lot of women support and campaigning group Pregnant Alongside the work of groups such as walking away from the industry Then Screwed, are too frightened to speak Pregnant Then Screwed, which is lobbying for when they have a baby.” out about the discrimination because of the political change on several issues, including fear of losing more work. “You can’t talk about to increase the time limit for tribunal claims Songwriter Helienne Lindvall pregnancy and discrimination because you’re from two to six months, it undoubtedly helps says the situation in the UK is branded as a troublemaker,” she says. that successful women in the entertainment significantly worse than in Nordic industry are also campaigning for change. countries. “In Sweden attitudes Freeman was forced to choose between are very different. Maternity/ a compromise, agreeing to postpone the Olga FitzRoy, an award-winning engineer, paternity rights and pay are much contract until ¡¡, or “kicking up a stink” has gathered momentum with her fight more equal and it doesn’t matter if and the potential loss of the relationship to give freelance workers the same rights you’re self-employed or whatever, and years of bookings. “I’ve accepted the as employees when it comes to Shared because the government takes postponement,” says Freeman. “I’d love to Parental Leave. “I had been lucky enough care of it. It hasn’t always been have a shiny story about how I’d won and I’m not to experience serious discrimination or like that, though: you can see a paving the way for women, but it doesn’t really harassment in my professional life, but this all big difference in attitude with the feel like that. There are still difficulties.” changed when I had my son in ¡¢,” younger generations.” FitzRoy told Music Week. “While clients and The winds of change studios were accommodating and loyal For singer Shelly Poole, the Discrimination doesn’t stop at the end of (I breastfed my baby in the control room at pressure to stay focused on a pregnancy – it can also continue into the Abbey Road while printing a mix – glad those career rather than a family is a early years of motherhood. Brearley says it’s days are behind me!), the government had real issue. “If you don’t keep up “frustrating” that in the three years since the you can’t do it anymore. Music is Equalities & Human Rights Commission report changing all the time. I’m always “the government has done nothing. It’s being scared for my position.” talked about but there’s no action”.
The usician • ummer “Families of musicians, producers and crew are forced to revert to a 1950s stereotype.” Olga FitzRoy
Diversity & Inclusion Official. “It places the entire burden of childcare on women. That reinforces gender inequality. Then there’s taking time off work, losing all those contacts; it’s just barrier after barrier. We’ve also had members hide their pregnancy for as long as they can so people aren’t put off booking them.” Freeman supports this, telling the MU that she hasn’t spread the word about her Engineer Olga FitzRoy is campaigning for freelancers to pregnancy too much, “largely because of the get Shared Parental Leave. disappointing initial reaction, but I’m gaining
© Blake Ezra Photography Ltd confidence to do so now”.
Pregnant Then Screwed is currently running other ideas. While the £¢£ a week Maternity five campaigns to improve the status quo for Act Quickly Allowance I received was better than nothing, pregnant women and mothers, including free 28 there was no option for me to share my leave childcare from the age of nine months old Freelancers often falsely equally with my husband. I was restricted to and for fathers to have access to six weeks of believe that because they working for only ¢ ‘keeping in touch’ (KIT) paternity leave at °% of their salary. “Some aren’t employed, they are at the days while on leave… of the campaigns are quite radical,” says mercy of discriminatory action. Brearley. “But you’re not going to change Whether freelance or employed, “Introduced by the coalition government in things by tinkering around the edges.” it is illegal for a woman to suffer ¡¢, Shared Parental Leave was supposed discrimination because of her to level the playing field when it came to With a little help... pregnancy, says David Sorensen childcare. Yet a huge proportion of the ¢, While the current situation regarding pregnant from Morrish Solicitors, but people working in music are self-employed, women and mothers in the music industry is members need to act quickly. and therefore not eligible. Although self- hardly ideal, John Shortell believes women are employed mothers get Maternity Allowance, feeling more confident about coming forward. “If a member has been rejected self-employed dads cannot claim a single “We are there to offer support and we can talk because of her pregnancy, it is day of paid leave. Many families of musicians, through options and consequences. It’s about completely unacceptable, composers, music producers and touring our members realising that there are options unlawful and discriminatory. I’d crew are therefore forced to revert to a and that it’s not just about accepting what’s suggest any affected member ¢°s stereotype.” happening, or accepting what an organiser or contacts the MU for immediate promoter has said to you.” assistance, being aware that FitzRoy has garnered support from high- in most cases there’s only a profile artists such as Coldplay, Keane, Laura While Freeman’s experience was deeply three-month time limit to take Marling and Ed Harcourt who signed an open upsetting she refuses to be bowed by it. “If legal action, running from the letter to the prime minister alongside the MU, I think I can do the concert, I’ll do the concert. date of the rejection or other BASCA and Help Musicians. Former Coronation That, as ever, is my professional prerogative.” act of possible discrimination. Street actress turned MP Tracy Brabin has And she’s looking forward to celebrating the If successful, compensation, picked up the baton and is fighting for a birth of her baby: “The arrival of my little one including for loss of earnings and change in Shared Parental Leave in parliament. will enrich who I am.” injury to feelings, is available.” “The issue of not being able to share parental leave as a freelancer adds another financial burden on women alongside existing concerns around working as a mother in the music industry,” says John Shortell, MU Equality,
The usician • ummer REPORT Tools Of The Trade In the first of a new series, jazz saxophonist Derek Nash shares his repair tips and the kit he never goes on tour without. Report by Neil Churchman
Derek Nash is one of the UK’s leading jazz saxophonists and a mainstay of Jools Holland’s Rhythm and Blues Orchestra. He fronts the saxophone ensemble Sax Appeal Jazz saxophonist Derek Nash plays a and the jazz/fusion band Protect the Beat, range of modern and and he is also part of Ronnie Scott’s Blues vintage horns. Explosion. Despite extensive gigging (with around live performances a year with Jools Holland alone), he has found time to compose and record a string of acclaimed who takes care of things when Derek instinct and you know the second when 29 solo albums, as well as performing with and isn’t on the road. On Martin’s advice, he something isn’t right. Luckily there is usually arranging for big names in jazz and pop. doubles up on instruments, so one can be a ‘get out of jail free’ card in the repair kit.” repaired or overhauled while the other is out The sax bug bit at an early age when Derek’s on tour. That way he always has a sax ready Sadly, there are some things a humble father, Pat, a renowned arranger with the BBC for action on his return. musician cannot fix, such as the tenor sax Northern Dance Orchestra, took him to Derek dented after he dropped it at the Rye rehearsals and recording sessions. Band aid Jazz & Blues Festival. “It doesn’t take much to When something goes wrong far from home, make a saxophone unplayable,” he admits. “I looked at the drummer and thought ‘well, it’s often a case of Keep Calm and Carry On… that’s a lot to carry’. Then I looked at the and reach for a rubber band. It’s a key part of Quality vintage bassists and they didn’t seem to do much (the the sax first aid kit. “They are the most Even though modern instruments tend to be ignorance of youth!). The trumpeters were all important piece of my armoury,” explains more reliable, Derek favours those of a bright red, so that seemed like hard work, and Derek. “The things most likely to break on a certain vintage. Modern saxes, he says, are then I stood by the saxophones and that was saxophone are the springs. Pretty much any like modern cars. it. The Pink Panther Theme had just come out key can be made workable with a rubber and I was hooked.” band. It may not look very nice, but % of the “Everything works perfectly all the time but time it will get you out of trouble. A good stock it doesn’t have the character of driving an The saxophone looks and, in the hands of an is imperative for a saxophone player. old Bentley or a Rolls Royce. I have played expert like Derek, sounds beautiful, but it’s a some fantastic new saxophones that sound complex beast. Anyone seduced by its “Second most important is a set of jewellers’ really good but, personally, I prefer the feel bewildering fusion of keys, springs, felt, cork screwdrivers,” explains Derek. “Ordinary and layout of the old Selmer instruments. and reed must be a mechanic and a musician. screwdrivers are too big.” Sometimes, when I play a modern Derek, who plays soprano, alto, tenor and saxophone, it can feel like I am playing a baritone, has a regular repairer, Martin Todd, Little bits of cork to repair malfunctioning typewriter. Whichever model you choose, keys are also vital: Derek once saved the day though, a basic repair kit can really save your with a sharp knife, a wine cork and some bacon. Happy gigging!” “Pretty much any key impact adhesive. can be made workable “The sax is an astonishing piece of engineering,” he says. “There’s so much that with a rubber band.” can go wrong on it, but you get a kind of
The usician • ummer Without
The MOBO-winning singer-songwriter Zara McFarlane on rising through the ranks of the new jazz scene and breaking down musical boundaries. Profile by Nick Hasted
Singer Zara McFarlane’s latest album, McFarlane’s versatility is deep-rooted. She Arise, shows how representative she is of has written songs since she was , but it was London’s garlanded new jazz generation. two years at the BRIT School, from the age Most of the scene’s key players perform of , which grounded her as a performer. on it – saxophonists Shabaka Hutchings “Studying Music Theatre taught me how to and Binker Golding, drummer Moses Boyd command a stage,” she says, “in ways you 30 and guitarist Shirley Tetteh are present and don’t necessarily learn with a pure music correct. But a listener coming cold to its degree. We did dance and drama. And as a stately structures and dub textures might singer, there’s a dialogue that people be surprised to hear that McFarlane won expect because of the words. Your posture ’s Best Jazz Act MOBO. Like so many and how you use your body in dancing also of her contemporaries in a scene which helps you to tell stories through singing.” has achieved mainstream acclaim in recent months, McFarlane starts with jazz, but Being at the BRIT School at all required sees no borders to where she ends up. unusual gumption for a -year-old from Dagenham in Essex. Seen last on interview “Jazz is an American art form, and there are day, the minutes she was due was cut people who have lived that history,” says to five. “I thought, I’m supposed to have McFarlane, sat in an east London pub where minutes,” McFarlane remembers, “so I expect she lets her tea grow cold while considering to get it. Then you can tell me if I didn’t get in.” her career to date. “But I think as Londoners in this scene, most of the people I know are She got her full interview, and her place. “I’ve of black British heritage, and other influences always been determined,” she reflects. “And come from that, such as reggae or African I always felt confident in my voice, because I music, or UK garage or dubstep. With American knew what I was trying to do with it.” jazz artists you’re going to hear references to swing feel and traditional sounds, as well as Growing talent hip-hop. It’s natural that where we come from McFarlane didn’t hear much jazz at home doesn’t lend itself to just that. We’re exploring in Dagenham. She dived into it through the things we know and love.” revered British jazz bassist Gary Crosby’s outreach outfit Tomorrow’s Warriors, an invaluable incubator for the new jazz “I always felt confident in my scene, which supports young players from outside the conservatoires’ traditional base. voice, because I knew what McFarlane’s initiation came aged at a Tomorrow’s Warriors Sunday jam at the I was trying to do with it.” Jazz Cafe, during her second year at the
The usician • ummer PROFILE
31
Zara On The MU “I joined the MU when I became a professional performer at . In the early days, before I was signed to a record label and when I was dealing with different kinds of people in the Photo: Joseph Branston. © MU 2019 industry, I didn’t have anyone to go to for advice. My parents aren’t musical, so the MU was the first point of call for assistance. I needed it for contracts first but, over the years, the magazine has also helped. If you’re a gigging musician, it offers advice on how to get gigs, and how to approach marketing. And the MU is the Musicians’ Union, not the pop or jazz music union. So there are things in the magazine about aspects of the industry that I’ve never considered before, which may not be immediately relevant, but are still interesting. You’ve also got someone on your side. Jazz is a live music art form, and the MU has always championed that. I feel safer being part of it.” From the BRIT School to Glyndebourne: Zara McFarlane, who joined the MU when she was , has come a long way on her musical journey. oriolebar.com
32 All photos: Joseph Branston. © MU 2019. Taken at the Oriole Bar.
University of West London’s Vocal Tech when I was and a teacher got me restaurant stripped-back album, If You Knew Her (), School (since absorbed into BIMM). She had gigs. But I knew that I wasn’t going to be a pop she drags on the words of You’ll Get Me In already played the Royal Albert Hall while star. I wasn’t the right size and look. So jazz Trouble until they nearly go into reverse. gigging with tribute act the Counterfeit Stones was comfortable for me. I could still do what I Arise’s Police And Thieves cover, too, sees (mostly a backing singer, she took Merry wanted, in a very different arena.” words hang suspended. Does McFarlane like Clayton’s belting part on Gimme Shelter). Her to hold back, more than overstate? debut for Crosby was similarly high profile, in Learning on the job a -piece version of Warriors offshoot Jazz Feeling out of her depth among jazz pros, “I hear things in a sparse way sometimes,” she Jamaica, when they played the Barbican in McFarlane took a Masters in Jazz and says. “I’m not the greatest pianist or guitar with anti-apartheid and trumpet icon Improvisation at Guildhall. “I liked the player, so I begin things very simplistically. Hugh Masekela. She toured with Jazz Jamaica composition course but I learned way more Sometimes I’ll take time to work out more for the next four years. about jazz from just doing it. They taught intricate chords later. When I’m writing, the theory, not stagecraft.” feeling’s the most important thing, actually. I’m “Jazz is scary at the start; you’re in a small bar trying to take people on an emotional journey, and someone’s sitting right next to you,” she Jazz neophyte she may be, but McFarlane’s and give them a particular feeling, so I like that says. “I’d done that even before Jazz Jamaica, sense of time is mesmerising. On her second sense of suspension.”
The McFarlane who could be seen in a “When I’m writing, the feeling’s the traditional, improv-heavy jazz setting in was very different when she toured most important thing. I’m trying to Arise, standing at the centre of majestically controlled compositions. Her stretching take people on an emotional journey.” of words on If You Knew Her had bent time
The usician • ummer PROFILE
grandparents she felt “comforting” reggae course through her. Its precarious beauty, with wooden homes doomed to be destroyed in hurricane season, was a vivid contrast to Dagenham, which was then a solidly white, working-class area and, in her opinion, stolidly inward-looking. The BNP became its council’s second biggest party in ¬.
“It was very scary sometimes,” she says, 33 “but it was normal to me. BNP and Combat ® would hold meetings in a pub up the road so it felt like a racist area. And that makes you defensive.”
Widening horizons McFarlane stills lives in Dagenham, which has become more multicultural, but she’s rarely and space much like dub under the guise of A song on If You Knew Her reveals another there. She performed in Howard Moody’s straight jazz. But this was something else. side to McFarlane’s thinking. Move is mostly community opera Agreed at Glyndebourne, “If You Knew Her was instigated by lyrics and about her decision to stop teaching (although in a part written for her. The classical world, melody,” McFarlane says. “Arise was instigated she still does so occasionally, valuing what requiring a month’s rehearsal for six small by the rhythm.” the process teaches her as a musician), and singing moments, and a similarly rigorous commit to full-time singing. Its lyrics, though six months singing in the RSC’s Anthony & Call for change – “My joy clings to the beauty of your soul” – Cleopatra, has been startlingly different to An Arise track such as Fussin’ And Fightin’, in have another meaning. Like many young black her usual gigs. A course at the Theatre Royal which she cries, “Things can’t go on/You can British musicians, McFarlane was raised with Stratford East is a step on the way to her see us dying”, also demands social change. what US jazz musicians call “church chops”, long-term goal of writing a musical. “That feeling was there for a long time,” she and the song reflects spiritual understanding. says of writing the ¦ album’s lyrics. “From “My mum was a single mum who sent us to After such a winding path, does McFarlane Brexit, and this feeling of unrest. There was a one of those black churches where you’re even consider herself a jazz singer? “Most growing sense of people not being okay with there from am till pm,” she explains. “I don’t people know me as that,” she says, “and it’s the government. We also had the coalition, so know if I believe in the way I was taught at not a negative thing. But I’m not completely there was a sense of nothing’s okay, nothing’s church now, but I believe in something bigger, attached to the idea. I see myself as a vocalist. stable. No one’s doing anything that’s pleasing and I’m happy to call that God. When I connect I want to do everything.” anybody, really, from a social point of view. with people, those feelings are very poignant, Everyone was pretty much unhappy. I had that and they’re not tangible. So that shows me feeling the whole time I was writing.” that there’s more than what we can see.”
McFarlane’s Jamaican heritage is central to her music. The first time she visited her
The usician • ummer MU Theatre Section Focusing on the vital role of the Union’s Section for theatre-based musicians. Report by Henry Yates
Put it down to the impact of Hamilton or the “Without us and without these Agreements it appeal of a live experience in the age of the would be the Wild West out there,” says Dave. smartphone, but all evidence suggests that “Producers would be able to hire and fire, musical theatre is in the rudest health of pay as little as they like. The theatre sector the decade. Last year, West End theatres is a dangerous place to be if there isn’t union announced record box-office takings of regulation and representation.” £m (up .%), with all-time-high audiences of . million happy to pay an average Terms and conditions £. for tickets for musicals. The picture Chiefly focused on the UK’s touring musicians 34 was bright across the UK, too, with regional – there’s a dedicated sub-Committee and theatres reporting revenues of £m (up separate Agreement for London’s West End .%). “There are reasons to be cheerful,” musicians – the Theatre Section is a true agrees Dave Webster, MU National Organiser democracy, with up to industry-hardened of the Theatre Section. “One of the most MU members sitting on the Committee and exciting things is to be in the theatre getting involved with duties ranging from and see it all happening live onstage, negotiating with producers to lobbying right in front of you.” local councils. At the core of the Section’s wide remit, explains Dave, is improving and But with more shows in production, more enforcing the UK Theatre Agreement that sets players in the pit, more cash in the tills – and out the minimum terms under which touring the creep of technology threatening the and static regional theatre show musicians a child and you’re out on tour? One of the livelihoods of theatre musicians – it’s may be employed. “We’re currently in the longer-term challenges has been making sure arguably never been more important for middle of a three-year agreement with UK that the subsistence and touring allowances workers in the sector to be represented and Theatre so, come , we’ll be renegotiating. are right for our members. Alongside our protected. As one of the dedicated Union After we’ve finished, we’ll present the terms colleagues at Equity we’ve made significant bodies offering guidance and support to to our members to vote on – and they’ll either improvements in the past few years. The key members in specific industries, the Theatre tell us they’re happy, or we’ll go back and seek thing is that musicians shouldn’t be dipping Section liaises with member musicians, further improvements.” into their hard-earned wages to be able to producers, theatre venues, councils and eat and sleep.” government to ensure that rights ranging Once the drafting of the current agreement from pay to working conditions adhere to is completed it will be available on the MU Off the record the MU-negotiated UK Theatre Agreements. website. If members have questions they An increasingly relevant clause in the can contact their Regional Office or email Agreement, continues Dave, pushes back [email protected] for advice. “We’re against the use of recorded music in shows. “Without us and these obviously trying to get the money as good “It’s a big problem for us. We’ve worked as possible,” says Dave. “But we’ve also protections into our agreements around the Agreements it’d be the negotiated terms and benefits to be included in the Agreement, such as pension provision, Wild West out there.” health and safety, sick pay and family-friendly allowances – you know, what happens if you Dave Webster need compassionate leave or you’re having
The usician • ummer REPORTREPORT
The Theatre Section is driven by feedback from musicians on the ground, and with MU Regional Offices across the UK, Officials regularly visit venues, meet informally with players and identify issues as they arise. If parties don’t honour the Agreement, says Dave, the Union can take action.
“Generally, if we’ve got an issue with a member of the trade organisations we work with, we’ll resolve it through our relationships. There’s a conciliation process we can call on, and we can industrially negotiate something that’s gone wrong. There’s a disciplinary and grievance procedure built into the Agreements, but they’re not invoked very often, which is great. It’s a valuable relationship on both sides. The global financial crisis has impacted everyone, and it’s a delicate balance. We need these theatres to be open and working economically, so our members can work
© Richard Davenport Richard © and earn a living.”
The bigger picture When bigger issues arise, the Theatre Section Could You wields an influence beyond local jurisdiction. Join The “If needs be,” says Dave, “we’ll go all the way to the top. The European legislation on lighting 35 Committee? regulations would have had a devastating effect on the theatre sector and we were The Theatre Section and the able to help with that. Westminster wanted officials are reliant on the to change its parking regulations and charge Theatre Section Committee, people up until midnight, which would have Shows such as West Side Story at and Dave is always looking for had a massive effect on our members, the Royal Exchange, Manchester have enjoyed sell-out runs. theatre-based professionals so we lobbied hard. We had demonstrations, who want to help shape the the West End bands came out and supported future of their industry. “The us, and in the end we were able to overturn it committee is committed and Westminster didn’t impose those charges. use of recordings. And we had a very public to assisting the Union in its If that happened around the country, we’d do campaign against a show, Dirty Dancing, work. They’re there to help the same thing.” which reduced the band, and also replaced and advise and to give me a some of the original band with recordings. mandate to say ‘yes’ or ‘no’ to a MU members needn’t pay any additional Unfortunately, that show went ahead, but we request. We rely on Committee fees to benefit from the work of the Theatre made a very public statement about it, and members to come into the Section. “It’s knowing that the help is there the producers had to leave UK Theatre, negotiating room. It’s really if you need it,” explains Natalie Witts, an because, in our view, they had breached the important that the musicians experienced theatre musician and the terms of the agreement.” are in the room with the outgoing chair of the Committee. “It’s about officials, telling the producers making sure theatre musicians are getting With the Agreement in place, MU Live exactly how it is for them. the right pay. There’s also support for health Performance Official Kelly Wood reports that and safety, and even the mental health side of most musicians are able to focus on the job at “We can have a maximum of things. It’s just good to know that the Theatre hand. “Most of our members are just getting people on the Committee and Section is always there.” on and doing it, because if they know they’re there are currently spaces,” he working under our Agreement with UK Theatre, adds. “If anyone is interested, To find out more about joining the Theatre I think they feel quite safe and protected. who has worked under our UK Section Committee, please contact If they know the producer is a UK Theatre Theatre Agreement and can T: E: [email protected] member, they just think, ‘Well, it’ll be fine’ – and help us affect change for good, the Agreement acts as a safety net. But if they please get in touch.” run into any problems, they can let us know.”
The usician • ummer Regional Focus Coventry Feature by Pete Chambers
36
Rebuilding Coventry after the devastation of had made Coventry its home. The Who and A multicultural melting The Blitz heralded the start of a brave new The Rolling Stones also played there, pot with a vibrant past world. This was the land of opportunity: alongside homegrown talent such as the Ray Coventry was motor city – soon to be dubbed King Soul Band. Led Zeppelin took to the and an exciting future. the ‘British Detroit’ – and it welcomed workers Locarno’s revolving stage in the s, and it from across the globe. This multiculturalism was also the venue where Chuck Berry would soon start to weave itself into the recorded his only No., My Ding-A-Ling. The Anyone who thinks Coventry’s musical city’s musical DNA. audience was in full voice that night, a crowd journey began in with Tone has some that included Jerry Dammers of The Specials, significant ground to make up. The truth is, Electronic innovator Noddy Holder and singer Lene Lovich. this exciting and often overlooked city in Musician, composer and revered electronica the West Midlands has always had a pioneer Delia Derbyshire hailed from Coventry. The Windrush generation had become lords musical heartbeat. Located smack bang Her realisation of the iconic Doctor Who theme of the sound system. Blues parties were held in the middle of England, it is one of the most was the first time many people had heard all over the city, and there was little chance of vibrant and thriving multicultural cities in electronic music and her legacy is profound. avoiding the infectious rhythms of ska and the UK, and boasts a crossfade of styles, Take a trip to the small but perfectly formed reggae, even if you wanted to. Jerry Dammers cultures and genres. Coventry has been venue The Tin, and chances are at some point soaked it all up, forming The Specials in named the UK’s City of Culture for and a ‘Synthcurious’ concert will take place, and then, two years later, setting up Tone there is already a different feel to the music testament to the genius of Derbyshire. Records, the DIY label that would change the scene: a real sense that something special city’s musical landscape forever. is about to happen. In the s, the Locarno ballroom (now the city’s Central Library) hosted Irish showbands The Specials, fellow Coventry band The who entertained the emigrant community that Selecter, The Beat from Birmingham, and
The usician • ummer AKP Photos / Alamy on November . November on CambridgeCornExchange TheonstageSpecialsat people and residents:andpeople [email protected] MU Pete Waterman OBE Waterman Pete R Population: Birmingham BJR Birmingham Sovereign Court, FamousCoventry egional Nigel Hawthorne Nigel Sir FrankSir Whittle DeliaDerbyshire StephenBrown HazelO’Connor W Jerry Dammers Jerry Graham Street, Graham Billie WhitelawBillie M NevilleStaple Lady GodivaLady FrankIfield Clive Owen Clive est est TerryHall idlands Coventry Vince Hill Vince PaulKing M O idlands rganiser: rganiser: , R egion
The Broomfield TavernTheBroomfield nearCoventry TheArches’ smallfunctionroom Venues An excellentAn livemusicvenue housed AsecondhandbookshopinFarGo THE THE COM BIG THE AR THE cinema. There’s capacity for in the the in for capacity There’s cinema. greatbandsandagreat atmosphere. andmetalbands.Tribute bandsrock andall-round Americana. roots country, folk, of range eclectic Villagethatalsohosts anincreasingly coventryempire.co.uk Greatrangeandciders,ofbeers craft archesvenue.co.uk formoreintimate gigs. plus a small -capacity hallupstairs asmallplus -capacity andclubevents,mainhallforconcerts rugbygroundticks alltheboxes. packs a punch when it comes to punk punk to comes it when punch a packs Snooker in the day, music at night. night. at music day, the in Snooker in a building that was formerly a a formerly was that building a in heretoo; always atmosphere.agood thebigcomfybookshop.co.uk BROOM bit.ly/broomfieldtavern EMP C F HES IRE IELD T IELD F Y BOOKSHO Y AV ERN ERN
© Valerio Berdini / Shutterstock P
E The hubsupports Jerry Dammers andDaveDammers Jerry &Ansell -capacity venue -capacityinThe-Tone THE THE standardsandprovides strivesschools,to raise checkbands. outlocal development. alongsideopportunities aninclusive, richand andhasattracted legendssuchas alsoencouraged,itplushosts Village.Itinmajorsskaandreggae, Orchid Ballroom in the s, Tic Toc Tic s, the in Ballroom Orchid coventrymusichub.co.uk Collins. Rock and jazz bands are are bands jazz and Rock Collins. Caribbean foodCaribbeanisavailable. tonevillage.com for training and and training for the Kasbah now attracts acts such as as such acts attracts now Kasbah the £¢ , facelift. A great place to to place great A facelift. £¢ , CO regularDJ nights.English and Small but perfectly formedbutperfectlySmall It closed for a while and now it’s FormerlyTheatre,theGlobe the New kid on the block, well, sort of. of. sort well, block, the on kid New DandyLivingstone, Cadogan, Susan Noah andtheWhale.Noah PiL,CagetheElephant, La Rouxand facebook.com/thenewalbanypub inthe¢ sthenandtheColosseum, back, better than ever, after an an after ever, than better back, balancedprogramme KA KNIGHTS M kasbahnightclub.com USI ducation S V BA EN N C HUB C EW AL EW H T RY RY NIGH The Empire. The Rattlesnakesat The & Carter Frank
BA TC NY LU B
§ original theatreoriginal§ stand-up comedy gigsstand-upcomedy a films, short andcabaret. egoperformance.co.uk COM performances and performances producedmorethan programmeofmusic, Since , Ego has has Ego , Since E GO PER GO
PA
NY F ORM The Stones, Bruce Springsteen, BruceStones, The Thevenueholds standing. all when happens what is This , intheEricssonHall. Exhibition TIN TIN , -capacity arena or you can fit fit can you or arena , -capacity seems to have the ability to book the the book to ability the have to seems somethingabitspecial.Located in arts complex is worth the journey. journey. the worth is complex arts of Birmingham Symphony OrchestraSymphony of Birmingham genreyoucare to mention.TheCity elementsworktogether tocreate Out of town, but this multi-venue multi-venue this but town, of Out Oasis, Take That and many more have have more many and TakeThat Oasis, folk,rock,classicalandany other these days it’s where hot jazz meets thrilledthecrowds here.There’s a talent, awhim. onseemingly Tin The Basin, Canal historic city’s the regularly performs here.regularlyperforms WA warwickartscentre.co.uk Bob MarleyBobplayedonce here,and ricoharena.com bestcult,andlocal up-and-coming thetinmusicandarts.org.uk RIC ANCE RWI OH AREN OH M
USI C K AR K C The usician • ummer The• ummer usician & AR The NexusInstituteThe certHE courses in courses certHE an is Arts Creative of Worship andanMMus (Hons)andone-year Performance. Popular&Music nexus-ica.co.uk inPopularMusic instituteofferingBA NE A T S CEN S X TS US FE PROFILE I AT CA T RE URE
37 © Eugene McLaughlin - instagram.com/eugene.ireland Up-and-coming “Barb’d Wire and Ruder r’n’b/soul duo Izeidi & Izeidi. Than U are keeping the Festivals ska flame alive in 2019.” GODIVA FESTIVAL This three-day music festival, held in the city’s War Memorial Park, is indie pop band The Primitives began their own Coventry’s major cultural statement, assault on the charts with albums and a run of and it gets bigger every year. Godiva singles such as Crash. Bhangra artist Panjabi Calling is a multi-genre band/solo MC kept the city on the musical map in the artist music competition that gives the late- s, with his global hit Mundian To Bach winners a chance to play the Godiva Ke. And in , indie trio The Enemy’s debut main stage. Past festival headliners album, We’ll Live And Die In These Towns, went include Kasabian, The Charlatans, straight to No. . The Boomtown Rats, Fun Lovin’ Criminals, Buzzcocks, the Happy The beat goes on Mondays and The Enemy. Bands such as Barb’d Wire and Ruder Than U godivafestival.com are keeping the ska flame alive in , while grime artist Skatta tours internationally and COVENTRY PRIDE
© JayXVisuals © does valuable outreach work with young The sun always seems to shine ex-offenders. Singer-songwriters now on this joyous event, which keeps dominate open-mic nights and bijou venues getting bigger. The theme for this London bands Madness and The such as The Big Comfy Bookshop, while guitar year’s festival, on ¢- June, is Bodysnatchers helped Tone to dominate the bands rule the roost at The Arches, Knights #SuperHeroesofPride. The main charts over the next three years. The Coventry and the Godiva Festival, the city’s major outdoor stage is in University Square, Sound was born, and from to ¢ it was musical showcase. Jazz fans are catered for at but there are events at venues and the most happening music city in the UK. the Corner Pocket Jazz & Blues Club, and Don bars across the city. Tone galvanised the whole scene; bands Mather of The Don Mather Big Band has done coventrypride.org.uk 38 that had previously played jazz/art/rock were much to promote jazz in the city. suddenly knocking out ska-infused pop. That BOUDICA FESTIVAL lineage continues today, including a first-ever Coventry artists currently making waves Named after the warrior queen No. album for The Specials, Encore, to mark include Feet, Shanghai Hostage and thought to have been defeated in their ª years in the business. r’n’b/soul siblings Izeidi & Izeidi. At the time of battle just north of Coventry, this writing, Coventry rapper Jay had just entered female-focused festival, which takes By the mid-¢ s, Coventry was producing a the UK singles chart with Your Mrs. Originally place in October, has an all-female proliferation of bands. In ¢ª, singer Paul King from London, he prefers to work from programming/management team of rock-ska band the Reluctant Stereotypes Coventry: he too knows that something and aims to give a platform to and relaunched himself, sporting a mullet and special is happening. Roll on . celebrate the underrepresented talent spraypainted Dr Martens, with King. The band of women in the music industry. notched up two Top albums and five Top boudicafestival.co.uk singles in the space of a year. Two years later, MOTOFEST This free two-day festival celebrates Coventry’s automotive heritage and always includes lots of local artists. coventrymotofest.com The Local View
“The ska explosion in the late s/early s was “I really bless up Coventry because it’s where a product of the city’s cultural diversity and the my music career began. From dancing with Pete music spoke out against economic deprivation. Waterman at the Locarno and sound system That multiculturalism still drives the city’s musical rehearsals at the Holyhead Youth Club, through identity. There are some great things happening the founding days of The Specials and Tone with MU members such as Sarah Workman (Ruder Records, to photoshoots at the Canal Basin and on Than U), in grime (Skatta), and there’s an active top of the Odeon, there have been so many iconic jazz and bhangra scene, plus Nexus ICA has a moments for me. I still tour all over the world, but fabulous music education course. Culturally, Coventry will always be my home.” Coventry is an exciting place to be right now.” Neville Staple (Neville Staple Band and formerly Stephen Brown, MU Midlands Regional Organiser The Specials and Fun Boy Three)
The usician • ummer FEPROFILEATURE Professor Green on stage at the Godiva Festival.
Music Resources
THE COVENTRY NATIVE MAGAZINE MUSIC MUSEUM Just launched in a This award-winning handy A§ size, it’s interactive community what Coventry has museum is based at The been waiting for: a -Tone Village. It’s where stylish joined-up the King rubs shoulders local magazine that with Delia Derbyshire tells it how it is and and The Enemy are is solely focused on celebrated alongside improving Coventry’s Coventry’s iconic Tone creative future. music phenomenon. destinationnative.com covmm.co.uk THE -TONE VILLAGE FARGO VILLAGE A whole area in the city Art, music, food, books, dedicated to its most scooters, records, ale, famous musical export: design, it’s all here in tone ska. Watch a gig, one area, just outside shop for clothes and the city centre. Regular memorabilia, or enjoy events are held here, a skappuccino and a including record and Caribbean meal in the
© Godiva Festival Godiva © craft fairs, and there is Tone Cafe. Also home also a micro brewery, to the Coventry Music plus live gigs at The Box. Wall of Fame. fargovillage.co.uk tonevillage.com 39 Studios Flipside offers a pro environment. THE CAGE Small independent studio specialising Music Shops in audio production and mastering. Previous clients have included JUST DROPPED IN EXPRESS MUSIC Attrition, Nine Inch Nails (Coil remixes), Store in FarGo Village selling new Coventry’s biggest music shop Psychic TV, Steven Severin, Pigface and used vinyl, indie, psych, rock, with a full range of guitars, and Sharks. dub and electronic. amps, keyboards and drums. thecagestudios.co.uk facebook.com/justdroppedin expressmusic.co.uk
FLIPSIDE VINYL DESTINATION NOISE WORKS Modern, comfortable studio offering Based in Coventry’s distinctive Huge range of new, used and premium production, recording, round market, Vinyl Destination vintage guitars, basses and mixing and mastering services in a PLANET STUDIOS caters for all musical genres. amps. Its workshop can also relaxed and professional environment. Planet is one of Coventry’s longest- Mostly vinyl plus a few CDs repair, upgrade or even build you Its facilities and recording equipment running studios and it’s hugely and cassettes. a guitar from scratch. are also available to engineers looking popular with bhangra artists: Aman facebook.com/VinylDestination guitarsandbasses.co.uk for studio facilities to hire. Hayer, Mehsopuria and Jazzy B have flipsiderecordingstudios.co.uk all recorded tracks here. It’s also the
studio of choice for Neville and his wife Express Music also ONE NATION Christine ‘Sugary’ Staple. buys, sells and trades The staff at One Nation are proficient facebook.com/PlanetRecordingStudios pre-owned instruments. in all aspects of sound engineering, have an intimate knowledge of the industry, and first-hand experience on the stage as well as in the studio. They’ve worked with professional artists, and recorded albums and EPs for more than bands. onenationstudios.com ASK US FIRST It is in the interest of all MU members to read this list carefully.
If you are offered work or an agreement by anyone below, consult the MU contact shown before saying yes. Or talk to MU In-House Solicitor Dawn Rodger on or [email protected]
— The Akademia — Jan Mulder/Miller Music USA — Peter Frosdick Productions The latest Jamie Pullman Phil Kear Ltd/Shout Tour Ltd edition of the — Band Management Universal Ltd — Jonathan Gilbert — Productions at Southwark Ask Us First — Big Al Entertainment Group aka Jonny Gilbert Playhouse Scotland & Northern Ireland Sam Jordan — Ross Dorrance list can be office — MB-Xperiential Limited/ t/a Skinny Music obtained from Sam Jordan — The Convent Guildford Jazz Festival Sam Jordan the ‘Advice & Jamie Pullman — Simmonds Music Limited/ downloads’ — Fest Camden — Neil Eckersley/Speckulation Thomas Simmonds Ben Benson Entertainment Ltd/Wonderland — Spirit Productions Limited section by the Musical Ltd — Geronimo Festival / — Wave Media Ltd logging into — Oliver Weindling / Babel Label Geronimo Events Ltd — Wayne Maughan/Wayne theMU.org Ben Benson — Oren Rosenblum Maughn/Wayne Keith Barry Dallman
40 MU STANDARD CONTRACT ADVISORY FOREIGN CONTRACTS SERVICE CLAIMS
Members are strongly advised to Throughout their professional When undertaking professional obtain written confirmation of all life, musicians may be required activities with a contracting party engagements. The MU produces to enter into complex and often based abroad, members are Standard Contracts for engagement long-term agreements for such strongly advised that they ensure and these are available from your services as recording, songwriting, fees are paid upfront before the Regional Office or at theMU.org management, touring and contract is performed and that an merchandising. It is vital that advance is obtained against any Members should always use an MU musicians receive expert advice on future royalty payable. Members Standard Contract as these provide the terms and implications of such are also reminded of their obligation evidence of the conditions of an contracts. This service could be under Rule XI. to ”submit written engagement if a dispute arises. obtained, at a cost, from one of the contracts for professional activities The MU cannot always assist if a many solicitors who specialise in abroad to the Union before they are contract does not cover you. Where music business matters. entered into”. MU contracts are not used, written evidence is essential. A letter or However, during the early stages Members should be aware that note should specify the date, time of a musical career, Musicians’ requests for legal assistance in and place of the engagement, the Union members may be invited relation to claims abroad must fee, and that the engagement is to enter into an agreement whilst be considered against the MU’s subject to MU rates and conditions. not having the means to pay for criteria for legal assistance. Such The letter or note should be signed such legal advice. To cater for claims are often not cost effective by someone fully authorised to such circumstances, the MU offers to pursue and if no upfront payment do so. We recommend reading members a Contract Advisory is obtained, members may remain p- of Playing Live and p of Service (CAS), which, in the vast completely unpaid for their services. Recording and Broadcasting in the majority of cases, is available at no MU Members’ Handbook. cost and grants up to an hour of our specialist solicitor’s time on any music contract.
The usician • ummer REVIEWS To submit an album The Musician, You should also forward We try to help as many or download track for - Clapham Rd, your cover artwork and/ members as possible, review, send recordings London SW JJ or or photos (minimum and preference is given and PR material to: email TheMusician@ dpi resolution) to: to members not theMU.org [email protected] previously reviewed.
Reviewers: Keith Ames reviews & Tom Short A look at some of the new albums, EPs and downloads released by MU members for , together with links for more information on the featured artists.
41
THE ASKEW SISTERS Frasia Konstantina ©
nglish folk duo Emily and Hazel Askew have gained a reputation as THE ASKEW two of the foremost performers and interpreters of English SISTERS Enclosure folk music, multi-instrumentalists who rework and reinterpret songs A fascinating fourth and balladry from across the generations. In , their third albumIn album that brings The Air Or The Earth won much acclaim, and new album Enclosure is contemporary E relevance to th an equally bold and captivating release. century songs that relate to the enclosure laws. Here, Emily and Hazel have returned with a and spans issues of gender and mental Exquisite, pared- collection of th century songs relating to health. As ever, Hazel’s vocals enthrall, set back performances the enclosure laws, which wrested public against soaring fiddles, melodeon and rich, blended with field land from rural people into the hands of the textural cello. Overall, a compelling argument recordings across few. The album explores how these laws for broaching contemporary social issues this ingenious set. impacted on people’s economic freedoms, through historical music. askewsisters.co.uk
The usician • ummer instrumental jazz rock
PETE JUDGE AKA TRIO BURT Piano Joy MACDONALD Seas In Cities The trumpet Together with player and multi- Adriano Adewale and Recorded around the JOANOVARC instrumentalist in Antonio Forcione, islands of Scotland, JOANovARC Three Cane Whale is kora player Seckou this pared back openly humble about Keita has formed CD sees George The sophomore his piano abilities, a tri-continental Burt and Raymond album from this but he demonstrates fusion which sounds MacDonald hone in on fast-rising four- significant strengths sublime. Adewale’s the essentials of their piece is a series as a composer. This Brazilian carnival partnership, drifting of taut, polished album of instrumental spirit and Forcione’s from minimalistic hard-rock bangers miniatures is rich sparkling classical soundscapes to with stadium-filling with whimsical guitar make for a squalling sax freak-outs. choruses and melodies. joyful listen. store.cdbaby.com/cd/ irresistible riffs. petejudgemusic.com aka-trio.com georgeburt joanovarc.co.uk
NEIL CAMPBELL NATALIA THE DAVE JONES Last Year’s News WILLIAMS- QUARTET WANDOCH Answers On A This is the third Piano Music By Post Card release in a ‘flood’ Arnold Bax JOHN LEWIS trilogy, exploring the This EP is a delightful & HIS ROCK-N- 42 music that musicians Composer Arnold reminder of Dave ROLL TRIO would make after Bax was once a Jones’ flair as a Where Would an apocalypse. The towering figure pianist and composer. Rock ’n’ Roll Be? result contains many in English music. We are in classic moments of beauty Williams-Wandoch’s Blue Note territory, John Lewis is a and is deserving of a debut takes us on a though Kalimba Blues rockabilly hero from broader audience. fascinating survey of boasts an infectious, the Welsh valleys who neilcampbell. his passions. modern funky shuffle. has played with Fats bandcamp.com uskrecordings.com davejonesjazz.com Domino. His songs burst with unbridled energy, carried by a STAND OUT tremendous voice. therealjohnlewis.com This issue’s highlights include an enthralling album from a saxophone innovator and an inspiring project of music and social activism.
TRISH CLOWES SOUNDS LIKE Ninety Degrees A WOMAN MOSTLY AUTUMN Gravity Without Violence White Rainbow And Of All Colours The sax innovator Surely one of the UK’s and composer has An important project most treasured cult reassembled her quartet of music and social acts, Mostly Autumn for another stellar activism from Polish- write heartfelt songs album. Her great skill born artist Luiza Staniec, full of shimmering is combining complex, which is inspired by soundscapes. Here, ambitious concepts with women’s stories of Olivia Sparnenn’s infectious hooks and inequality, domestic amazing voice shows raw passion. violence and racial bias. they deserve their trishclowes.com luizastaniec.co.uk devoted following. mostly-autumn.com
The usician • ummer REVIEWS singer/songwriter folk
JAMES HOLT SEAN TAYLOR LIAM JORDAN Come Out To Play The Path Into Blue Liam Jordan
Holt’s idiosyncratic Sean Taylor is a born Jordan has honed mix of folk, glam-rock and bred Londoner his craft through BECKY MILLS and prog has caught who records his music countless open- Tall Tales And the attention of Brian in Texas, using the mic nights around Home Truths Eno; given Holt’s flair classic touchstones Brighton. He already for crafting baroque of Americana to sounds at the peak Mills is a master pop songs fizzing with skewer everything of his powers in storyteller and her ear-worms, this is no that’s wrong this highly-assured bewitching songs surprise. Top-notch about Britain with debut, melding gentle are shot through with production gives coruscating wit. His country stompers wisdom, exploring the whole project an songwriting goes from with swaggering family tragedies expensive sheen. strength to strength. Brit-pop. and imagining the jamesholtmusic.com seantaylorsongs.com liamjordanmusic.com mysterious lives of others with enormous sympathy. alt rock beckymillsgigs.co.uk
KEVIN GRICE BEAUTIFUL ARMSTRONG One Thousand MECHANICA Run Birds Melancholia
The unsung guitar Self-styled Bristol-based synth RACHEL HAIR 43 hero behind many art-rocker Grice has poppers Beautiful & RON JAPPY world-famous rock produced another Mechanica make Sparks acts, Armstrong gorgeous album, music with an showcases an with sultry jazz- elegiac beauty – Hair is one of the UK’s impressive versatility, tinged arrangements bathed in cathedral- finest performers blending alt rock and electronica sized reverb and and educators of the headbangers and from one-time propelled along lever harp. Here she timeless ballads. Japan keysman by skittering drum partners with multi- First class. Richard Barbieri. machines. instrumentalist Ron kevin-armstrong.com gricemusic.co.uk beautifulmechanica.com Jappy for a selection of traditionals, and inspired originals. blues rachelhair.co.uk
AJAY SRIVASTAV MARK COLE MIKE VASS Karmic Blues Cole Save His Calm
Ajay has forged his Cole has already Illness forced Vass reputation fusing enjoyed great to take a sabbatical EDGELARKS unlikely genres. His success with Sons but since his Feather latest project marries of the Delta and recovery he has delta blues, Indian The Jigantics. This consistently pushed Rejecting the notion folk and a light fantastic debut himself, first with that folk embraces dose of Beatles-in- solo record should ’s Notes From the darker side of India-psychedelia. win him new fans, The Boat and now life, Hannah Martin’s Tranquil lyrics are and proves he’s a with this masterful hopeful songs are accompanied by prodigiously talented set of indie-folk given plenty of space hypnotic tabla beats musician and songs. The sense of to breathe against and the twang of a restlessly imaginative new-found freedom Philip Henry’s banjo resonator guitar. songwriter. is palpable. and shruti box playing. ajayhq.com markcolemusic.com mikevass.com edgelarks.co.uk
The usician • ummer tributes
until , also finding time to serve on the MU Executive Committee for a period of years – no mean feat in itself. Upon the creation of the Union’s current regional structure in , Ian was elected as Chair of the Wales & SW England region, a role which he continued to embrace with Mark Hollis passion and dedication until Talk Talk singer-songwriter and The Colour Of Spring (). It ill health forced him to resign hugely inspirational musician was a landmark release, deeply in December . textured and ethereal with a Mark Hollis, who died in February fragile, haunting melancholy. Ian Bowser On a personal note, I have a lot at the age of , charted a Bassist and former Chair of to thank Ian for. A fellow bass stunningly creative course The critically lauded follow- Wales & SW England region player, he was on the interview against the commercial tide of up, Spirit Of Eden (), was panel when I first applied for a s pop. Tottenham-born Hollis a groundbreaking work, a The Musicians’ Union played job as Regional Officer in was blessed with a spellbinding sound later dubbed ‘post-rock’ 44 a huge part in Ian’s life over – the first and last interview voice – all anguish, pleading and and developed on final album the decades. A passionate I would thankfully ever have. heartbreak. He formed Talk Talk Laughing Stock in . Hollis musician, he first joined the He was someone you would in and they released debut retired from music in MU in as a young double want as an ally: friendly and album The Party’s Over on EMI in returning only for a stunning bass player in various jazz and approachable, always the first . The follow-up, It’s My Life, solo album in . It reminded big bands around his home to arrive at meetings, always was a huge success, but by the fans that his absence had only town of Bristol and at summer immaculately turned out, and mid-s, Talk Talk had rejected made them fonder of him still. seasons at Pontins. He went always on top of all the issues at the synth pop sound, opting for on to contribute his significant hand. He was a wise friend who acoustic instrumentation on Clive Somerville expertise as a committed Union naturally commanded respect. member until his sad passing in Such was his enthusiasm, as February at home in Bristol. late as last summer and at the grand age of , Ian and his wife, Ranking Roger “He was someone you Eve, attended the Tollpuddle Charismatic singer with His engaging, energetic style Martyrs’ Festival and helped run The Beat and General Public and Jamaican-influenced would want as an ally. the MU stall in the searing heat vocals added to the group’s A wise friend who of a stuffy tent. I struggled; Ian ‘Ranking’ Roger Charlery rose recognisable sound. commanded respect.” hardly seemed to notice. to fame as vocalist in the Tone band The Beat, formed the After The Beat broke up in Ian’s other great passion was highly-respected General Public ¦, Roger and Dave Wakeling By the end of the s, Ian the Avon Valley Railway where and collaborated with artists formed General Public, releasing had been elected as Vice-Chair he was a director and latterly including The Specials, Sting, the album All The Rage. to Bristol Branch , and from duty manager stationmaster, a Pato Banton and Big Audio. until carried out role for which he was admirably Roger was a welcome MU the role of Chair, a position he suited. He made a great many Roger grew up in Birmingham panel member at Music Live embraced with great knowledge, friends both in and outside of the and began DJing with reggae in ; a charming, humble humour and meticulousness – Union, and it goes without saying sound systems while still at and delightful man, whose an enviable combination that that his loss is, and will continue school. He was the drummer advice for rising artists was greatly benefitted to the smooth to be, keenly felt. in the Dum Dum Boys before hugely appreciated. running of meetings. Ian then joining ska revival pioneers became Chair of the SWDC from Paul Gray The Beat in the late s. Keith Ames
The usician • ummer TRIBUTES
Les Reed Walter Anthony Hitmaker for the biggest ‘Tony’ Dilley names in s pop Percussionist and lifelong jazz fan Les Reed, who has Gerry Ingram John Marshall died at the age of ¦, Double bass player who Talented East Midlands Walter, aka Tony, was was best known for toured Eastern Europe jazz musician born in Camberwell in writing Tom Jones hits ¦, the youngest of It’s Not Unusual and Gerry started as a brass John Marshall was an three boys. Music was Delilah. During the player before happening acclaimed jazz musician, in the family: his father s he carved out a on bass. National playing tenor sax and and one of his brothers niche for himself at the Service with the RAF flute in various bands both played the sax. easy listening end of enabled him to broaden Eric Speak and ensembles in the pop – The Carpenters, his interest in jazz, as Trumpeter, cellist East Midlands. Tony loved jazz Engelbert Humperdinck the base where he was and music teacher from an early age. and Elvis all recorded stationed in the s He contributed to all Although taught as his songs, many of was only a coach ride Eric always loved music of pianist/composer/ a percussionist, he which were written from central London. and enjoyed playing the arranger Tommy remained enthusiastic in collaboration with Noteworthy in his trumpet in the village Saville’s bands: the about the flute and sax. lyricist Barry Mason. playing achievements brass band with his Riverside Band in the His main playing period were two long spells father and brother. He s with Mel Thorpe, started with the bugle Accomplished on the with Harry Gold And joined the army aged Saville’s Travels Quintet in the Boys’ Brigade. He piano, accordion and His Pieces Of Eight, and played cello and the Nottingham was a fan of Brazilian vibraphone, Reed which included tours of and trumpet in the Jazz Orchestra, of music, a style which studied at the London Eastern Europe behind Royal Artillery Band. which he was a founder enabled him to display College Of Music before the Iron Curtain – often Eric married Edna on member. His own his expertise on drums. joining The John Barry being the first Western October and they quintet, Milestones, Seven in . After European musicians to had two daughters, with trumpeter Nathan He explored his 45 leaving, he embarked have played in certain Janet and Jennifer. In Bray, earned a very high fascination with various upon a varied career countries post war. , he joined the reputation. genres at Goldsmiths writing and arranging, orchestra of RMS College under the which encompassed Concurrently, he and Caronia on a world In later years, John guidance of Howard the soundtrack to cult his wife ran a business cruise. On his return enjoyed orchestral Riley. He played drums Marianne Faithful film supplying music to the family moved to music with the and percussion with The Girl On A Motorcycle, public libraries at a Sowerby Bridge, where Nottingham Symphony many bands including Des O’Connor’s I Pretend time when they were Eric played the cello in Orchestra and the those led by John Stent and a hit single for Leeds sufficiently resourced to the Yorkshire Nottingham Saxophone and Les Simons. United. He even fulfilled take an interest in jazz Symphony Orchestra. Quartet. He also a long-held dream of recordings. For most regularly supported Tony stayed a fan of jazz writing a West End of the time I knew him, The family moved to amateur operatic throughout his life and musical when Beautiful as a near neighbour Torquay, where Eric societies in the area. could often be found in And Damned enjoyed a and provider of advice started his own band. clubs such as Ronnie run at the Lyric Theatre about double bass Later, he decided John passed away on Scott’s. He was kind, in . He was awarded bowing and studies, he to become a music February . Music generous and funny, the OBE in . was constantly trying teacher, graduating and family were his life and much loved by all to improve, even while from St Luke’s College in and he is greatly missed who knew him. He will
© Popperfoto / Getty Images; © ITV / Shutterstock / ITV © Images; Getty / Popperfoto © Will Simpson battling serious illness. Exeter and then moving by all who knew him. be hugely missed. A dedicated musician. all over the UK. He was forced to take early Andrea Ball Audrey Dilley John Hoskins retirement but enjoyed spending time on the moors in his camper van with Edna and their dogs. Every week, him and his mates enjoyed The MU also notes the sad passing of: playing music together. • Denis Edwards (trumpet) • Laurence Stevens (drums) Jan Cobley • Roger Sutton (bass)
The usician • ummer Statement to members 8 Statement to Members as required under the Trade Union and Labour Relations (Consolidation) Act (Amended) for the year ended December . Summary financial information extracted from the full accounts.
Main Fund and Political Fund Combined Funds Benevolent Fund ummary ncome E penditure Account Balance heet ummary ummary ncome E penditure Account or the year ended December As at December or the year ended December
’ £’ ’ £’ Total Income i ed Assets , ’ £’ Total Expenditure () nvestments , , Subscription Income , , Other Income , , urplus Deficit urrent Assets , , for the year () 46 Total ncome , , urrent liabilities , (,)
Total Expenditure , (,) Collection and Net assets , , Operating De cit () Distribution Other items ummary ovement in onies eld Accumulated unds Investment Operations , for Distribution Taxation () Main Fund , or the year ended December ,
De cit urplus Benevolent Fund for the year , Political Fund Remeasurement of ’ £’ defined benefit liability Total Receipts , , , , Total Payments , (,) De cit urplus et ension cheme Asset , (,) t r a n s f e r r e d t o r e s e r v e s , , Net Movement For The Year , , Monies Held for Distribution Brought Forward
Monies Held for Distribution Carried Forward ,
The usician • ummer NOTICES
POLITICAL FUND: YOUR law or in breach of rules of the union and RIGHT TO WITHDRAW contemplates bringing civil proceedings Under the Trade Union Act , all against t e union or res onsi e o cia s members who joined since March or trustees, he should consider obtaining and who opted to contribute to the Union’s independent legal advice.” Political Fund, have the right to withdraw their option to contribute in the future. REPORT OF THE There are several ways to change your INDEPENDENT AUDITORS contribution options: Set out below is the report of the • Log onto t e we site and se ect independent auditors to the members as ccount ic t e t ut utton on contained in the accounts of the Union Salaries and Benefits the page and follow the instructions. for the year ended December . ummary of alaries and Bene ts • E ai o itica und t e org stating or the year ended December your wish to opt out of contributions to Opinion the Political Fund. Include your name and We have audited the financial statements your membership number. of the Musicians’ Union [“The Union”] Horace Trubridge, the General Secretary, • De iver our notice eit er in erson or for the year ended December , received a gross salary of £, and by authorised agent, to MU HQ at – which comprise the Main Fund Income benefits of £,. Clapham Road, London SW JJ, or to our and E enditure ccount enevo ent Regiona ce und nco e and E enditure ccount The General Secretary is reimbursed for any o itica und nco e and E enditure expenditure incurred by him in the performance Account, Collection & Distribution No ¥ of his duties on behalf of the Union. Movement In Monies Held For Distribution, STATUTORY DECLARATION the Consolidated Balance Sheet, the The members of the Executive Committee are We are required by the Trade Union and Statement of Cash Flows and notes to the 47 reimbursed for any expenditure incurred by Labour Relations (Consolidation) Act financial statements, including a summary them in the performance of their duties on (Amended) to include the following of the significant accounting policies. behalf of the Union. They are also reimbursed declaration in this statement to all The financial reporting framework that for their loss of earnings whilst on Union members. The wording is as prescribed has been applied in their preparation business and this is listed below. In certain by the Act. is applicable law and United Kingdom cases these amounts are reimbursed directly Accounting Standards including Financial to the employer of the Executive member. “A member who is concerned that some Reporting Standard , The Financial irregularity may be occurring, or have Reporting Standard applicable in the UK occurred, in the conduct of the financial and Republic of Ireland (United Kingdom ame Amount ame Amount affairs of the union may take steps with Generally Accepted Accounting Practice). £ £ Alex Gascoine NIL Andi Hopgood a view to investigating further, obtaining Rab Noakes NIL Ruth Ballantyne , clarification and, if necessary, securing In our opinion, the financial statements: Kathy Dyson NIL Andy Gleadhill NIL regularisation of that conduct. • give a true and air view o t e state o Brian Pilsbury NIL Rachael Parvin NIL the Union’s affairs as at December Dave Pigott Rick Finlay “The member may raise any such concern and of its income and expenditure Eileen Spencer NIL Dave Lee , with one or more of the following as it for the year then ended; and Pete Hartley Gerald Newson NIL seems appropriate to raise it with: the • ave een ro er re ared in Rosalind Page NIL Barbara White NIL o cia s o t e union t e trustees o accordance with United Kingdom Harriet Bennett Sarah Williams , the property of the union, the auditor or Generally Accepted Accounting Practice. Nickie Dixon , Natalie Witts , Julian Field NIL auditors of the union, the Certification cer w o is an inde endent o cer Basis for opinion appointed by the Secretary of State) We conducted our audit in accordance and the police. with International Standards on Auditing S s and a ica e aw ur “Where a member believes that the responsibilities under those standards financial affairs of the union have been are further described in the Auditor’s or are being conducted in a breach of the responsibilities for the audit of the financial statements section of our report. We are independent of the Union in
The usician • ummer accordance with the ethical requirements material misstatements, we are required Auditor’s responsibilities for the that are relevant to the audit of the to determine whether there is a material audit of the nancial statements financial statements in the UK, including misstatement in the financial statements ur o ectives are to o tain reasona e t e R s Et ica Standard and we ave or material misstatement of the other assurance about whether the financial fulfilled our other ethical responsibilities in information. If, based on the work we statements as a whole are free from accordance with these requirements. We have performed, we conclude that there material misstatement, whether due believe that the audit evidence we have is a material misstatement of this other to fraud or error, and issue an auditor’s o tained is su cient and a ro riate to information we are required to report report that includes our opinion. provide a basis for our opinion. that fact. Reasonable assurance is a high level of assurance, but is not a guarantee onclusions relating to going concern We have nothing to report in this regard. that an audit conducted in accordance We have nothing to report in respect of the with ISAs (UK) will always detect a following matters in relation to which the atters on which we are required to material misstatement when it exists. ISAs (UK) require us to report to you where: report by e ception Misstatements can arise from fraud or • t e E ecutive o ittee s use o t e The Trade Union and Labour Relations error and are considered material if, going concern basis of accounting in the (Consolidation) Act (Amended) individually or in the aggregate, they could preparation of the financial statements is requires us to report to you if, in our reasonably be expected to influence the not appropriate; or opinion: economic decisions of users taken on the • t e E ecutive o ittee as not • a satis actor s ste o contro over basis of these financial statements. disclosed in the financial statements any transactions has not been maintained; or identified material uncertainties that may • t e nion as not e t ro er A further description of our responsibilities cast significant doubt about the Union’s accounting records; or for the audit of the financial statements ability to continue to adopt the going • t e nancia state ents are not in is located on the Financial Reporting concern basis of accounting for a period agreement with the books of account; or Council’s website at: frc.org.uk/ 48 of at least months from the date when • we ave not received a t e in or ation auditorsresponsibilities. This description the financial statements are authorised and explanations we require for our audit. forms part of our auditor’s report. for issue. We have nothing to report in this regard. Use of our report to U members Other information This report is made solely to the Union’s e E ecutive o ittee is res onsi e Responsibilities of E ecutive e ers as a od ur audit wor as for the other information. The other ommittee been undertaken so that we might state information comprises the information As explained more fully in the Statement to the Union’s members those matters included in the annual report, other o Res onsi i ities o t e E ecutive we are required to state to them in an than the financial statements and our o ittee t e E ecutive o ittee auditor’s report and for no other purpose. auditor s re ort t ereon ur o inion on is responsible for the preparation of To the fullest extent permitted by law, we the financial statements does not cover the financial statements and for being do not accept or assume responsibility the other information and, except to the satisfied that they give a true and fair to anyone other than the Union and the extent otherwise explicitly stated in our view, and for such internal control as Union’s members as a body, for our audit report, we do not express any form of t e E ecutive o ittee deter ine is work, for this report, or for the opinions we assurance conclusion thereon. necessary to enable the preparation of have formed. financial statements that are free from In connection with our audit of the material misstatement, whether due to W isher ompany, financial statements, our responsibility fraud or error. hartered Accountants, tatutory Auditor is to read the other information and, in Acre ouse, William Road, London doing so, consider whether the other In preparing the financial statements, W ER information is materially inconsistent with t e E ecutive o ittee is res onsi e Dated ay the financial statements or our knowledge for assessing the Union’s ability to obtained in the audit or otherwise appears continue as a going concern, disclosing, to be materially misstated. If we identify as applicable, matters related to going such material inconsistencies or apparent concern and using the going concern asis o accounting un ess t e E ecutive Committee either intends to liquidate the Union or to cease operations, or have no realistic alternative but to do so.
The usician • ummer FEATURE Why I Joined The MU We asked three musicians why they joined the Union and why they treasure their membership.
49 ALEXANDER BONE CAMILLA MATHIAS THE MOTION “For me, the biggest benefit of being an MU “I joined the MU as soon as my acting “As a self-releasing artist, producer, member is knowing that, should I ever need career started to involve more music. I have engineer, co-writer and session player, I advice or have a music-related problem, always believed in the power of unions, joined the MU because it provides a there’s a specialised team I can contact. having been a union member outside the handful of fundamental support systems This kind of tailored support is invaluable, UK. The MU is in a class of its own. I will wrapped up in one simple option, from especially with the array of situations that forever be grateful for the emergency and learning about Fair Play gigs and venues to musicians can find themselves in, and the rehabilitation support it gave me when I using the Contract Advisory Service to MU staff are always incredibly helpful and couldn’t work due to injury and post-op review distribution deals. As a self- friendly. The other member benefits are recovery. I was referred to Help Musicians employed gigging musician, knowing that I very useful too, including public liability UK and BAPAM, who I wouldn’t have known am protected by instrument cover has insurance and instrument insurance. I existed. I have also relied on the MU for given me total peace of mind. Through would especially urge any music students last-minute advice on contracts, deals and taking part in online webinars, such as to take advantage of student membership issues, and I’m a fan of the developmental Finances for Freelancers, I have been able – it’s been fantastic for me while studying and networking events it runs. The to meet other professionals and manage at music conservatoire.” insurance alone is a no-brainer!” my jobs and finances more effectively.”
Alexander Bone is a saxophonist, composer and A polyglot polymath, Mathias has performed for The Motion is the musical project of non-binary producer based in London. The inaugural BBC Radio Music, recorded with film composer songwriter, engineer and producer Penny winner of the BBC Young Musician Jazz Award, Yann McCullough (Spectre), provided classical Churchill. Born and raised on the Isle of Wight he has worked with artists including Nile Rodgers, guitar for C’s Unreported World, and had her but now based in south London, Churchill draws Rudimental, Cory Wong (Vulfpeck), Kylie Minogue, Romanian-language track Sunt Româncă feature on deeply personal experiences and offers an Gwilym Simcock and Liane Carroll. This year, on MITRA Music For Nepal, produced by Anni emotionally driven, raw and dream-like Alexander finishes his jazz studies at the Royal Hogan (Marc Almond). She fuses classical and presence. New single Sleep Talk follows The Academy of Music. His own band, Said Skeleton, contemporary genres and has performed in more Motion’s warmly received debut Hollow, which recently won the Drake YolanDa Award, and are languages than she has fingers in over picked up online praise as well as airtime on set to release their debut EP later this year. Bone countries. If you check out one thing, make it BBC Music Introducing: Solent. Exploring is a Yanagisawa Saxophones and D’Addario Mathias’s award-winning new music video Don’t, themes of isolation and insomnia, Sleep Talk is Woodwinds artist. For more information, visit her anthem to technology and admin stress. Find described as a sonic representation of
© Steve Bone; © MCH Photography / Martin Tsachev; © Barbora Mrazkova alexanderbone.com out more at camillamathias.com entrapment versus freedom.
The usician • ummer COVER STAR
Beating Her Own Path 50 Session drummer Ellie Daymond, this issue’s cover star, on the Drumsense programme, Access To Music and why she’s always loved Keith Moon.
What made you take up the drums as a child? I properly got into. Keith was a very expressive paid for the privilege. However, these positions I’ve been listening to s rock bands since I performer who played with passion, which rarely offer much creative control. was four: The Who, Led Zeppelin, Deep Purple definitely inspired me. and Thin Lizzy. My dad plays bass, so I had What can be done to encourage more girls to that rhythm built in. When I was about nine, You graduated from Access To Music (now start drumming? I knew I wanted to start learning an instrument. Access Creative College) in – what It’s all about exposure. Showcasing the talent My dad would say, ‘there are a million guitarists difference did it make to your career? of all the incredible female drummers out and vocalists out there,’ which stuck with me. The course gave me lots of opportunities to there means more young women will believe a It didn’t make sense to have two bass players perform, write and understand music at a career in drumming is possible. in the family so I picked the drums. I wanted to high level. One of the modules was to form an be a badass like those classic rock drummers! originals band, so we founded Flowerpot. If I What’s the best advice you’ve been given? hadn’t helped to start that band I wouldn’t be Work hard and be nice to everyone you meet; What sort of tuition did you have? in the position that I’m in today. you never know where the next opportunity When I was nine, my parents bought my will come from. first kit, a Yamaha YD series. I had lessons How did you get into session work? with John Lyall, who taught the Drumsense I left Flowerpot in and became a session When did you join the MU and why? programme. I learned the importance of player for electronic artist RXC. I was asked Paul Gray came to ATM and talked about the technique, reading and different genres, as by JOANovARC to dep at one of their shows benefits of joining. I signed up and I’ve been a well as playing with feeling. I always perform and since then I’ve worked with JOA on cruise member for five years. The legal advice alone with passion because music is something ships, festivals and residencies abroad. is worth the fee. The music industry can be a that you feel, not just listen to. Working with an established band means tough place, so it’s a great comfort to know being able to travel the world while getting that the MU is always backing us. Who has been the biggest influence on your drumming style? For more information about Ellie Daymond,
Photo: Joseph Branston. © MU 2019 Keith Moon: The Who were the first band please visit elliedaymonddrums.co.uk
The usician • ummer MEMBER BENEFITS
MU Sections To join, contact the Have you registered relevant MU Official. Live erformance ection Dave Webster National Organiser Live Performance for your MU benefits? – Clapham Road London SW JJ While membership of the MU offers a wide range of free services, T there are a number of benefits that you need to register or apply for. E [email protected]
usic Writers’ ection Phil Kear decide to join, we can offer MU website Music Minds Matter National Organiser To fully access our website – free partnership advice and an A comprehensive mental health Recording & Broadcasting theMU.org – you will need to agreement. Contact your Regional support service providing advice, - Clapham Road register on your first visit using your Office for more information. information, resources, and London SW JJ membership number. professional and clinical services T Motoring service for musicians in need of help. E [email protected] Contract advice – The MU Family Motoring and musicmindsmatter.org.uk before you sign Accident Aftercare Scheme Receive professional advice on provides / cover. Members must Music Support Orchestra ection Jo Laverty the terms and implications of enter discount code MU to obtain A charity for individuals in the UK any complex agreements via free membership of the scheme. music industry suffering from National Organiser our Contract Advisory Service. Register now via telephone or the mental, emotional and behavioural Orchestras – Clapham Road Contact your Regional Office to web. mu.totalmotorassist.co.uk health disorders. musicsupport.org 51 find out more. London SW JJ Help Musicians UK Musician’s Hearing Services T Instrument and Charity offering practical, positive A range of hearing related E [email protected] equipment insurance support to emerging, professional services for MU members. For £, worth of free musical and retired musicians, whatever the For an appointment, call MHS Recording instrument and equipment cover. genre. helpmusicians.org.uk on or visit Broadcasting ection Register by calling Hencilla musicianshearingservices.co.uk Phil Kear Canworth on . Medical assistance National Organiser The British Association for For full details of all the Recording & Broadcasting Partnership advice Performing Arts Medicine delivers – Clapham Road If all the members of your group specialist health support to benefits of membership London SW JJ are already MU members, or musicians. Visit bapam.org.uk see Members’ Handbook. T E [email protected]
Education ection Are you due a royalty payment from the Musicians’ Union for the use of any Diane Widdison of your recordings in television programmes, films or adverts? Are you the National Organiser Education & Training next of kin of a musician who used to receive royalties from us? – Clapham Road London SW JJ The Musicians’ Union pays royalties to a growing number performed on the recording; or we do know the names T 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.org/ Theatre ection contact and payment details, so the royalty income can Home/Advice/Recording-Broadcasting/Royalties Dave Webster be distributed straight away. However, there is a certain Here, you will be able to find 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. – Clapham Road London SW JJ theMU.org/Home/Advice/Recording-Broadcasting/Royalties T E [email protected]
The usician • ummer 9000 #BehindEveryMusician