The Musician Journal of the Musicians’ Union Spring 2020 theMU.org
Orchestra Conference Constructive debate on a range of topics at the fifth MU event Musicians’ Passport The MU’s campaign to protect musicians working in Europe Fergus McCreadie The bright star of Scottish jazz talks of his style and influences Health And Wellbeing Advice and support to help musicians stay healthy at work contacts Union HQ Regional Offices
General Secretary Head of Communications London Horace Trubridge & Government Relations Regional Organiser: Jamie Pullman Isabelle Gutierrez 33 Palfrey Place, London SW8 1PE Deputy General Secretary t 020 7840 5504 Naomi Pohl In-House Solicitor e [email protected] Dawn Rodger Assistant General Secretary East & South East England Phil Kear PR & Marketing Official Regional Organiser: Paul Burrows Keith Ames 1a Fentiman Road, National Organiser London SW8 1LD Jo Laverty (Orchestras) Recording & Broadcasting Official t 020 7840 5537 Michael Sweeney e [email protected] National Organiser Diane Widdison (Education & Training) Licensing & Distribution Official Midlands Annie Turner Regional Organiser: Stephen Brown National Organiser 2 Sovereign Court, Geoff Ellerby (Recording & Broadcasting) Sessions Official Graham Street, Sam Jordan Birmingham B1 3JR National Organiser t 0121 236 4028 Dave Webster (Live Performance) Live & Music Writers’ Official e [email protected] Kelly Wood Wales & South West England Equality, Diversity & Inclusion Official Regional Organiser: Andy Warnock John Shortell Transport House, 1 Cathedral Rd, Cardiff CF11 9SD Orchestras Official t 029 2045 6585 Morris Stemp e [email protected]
Campaigns & Social Media Official North of England Maddy Radcliff Regional Organiser: Matt Wanstall 61 Bloom Street, Manchester M1 3LY Union HQ t 0161 236 1764 60–62 Clapham Road e [email protected] London sw9 0jj Scotland & Northern Ireland t 020 7582 5566 Regional Organiser: Caroline Sewell f 020 7582 9805 2 Woodside Place, e [email protected] Glasgow G3 7QF t 0141 341 2960 w theMU.org e [email protected] @WeAreTheMU REPORT The Challenges Ahead How your Union is working for you to address the problems and challenges of the new post-Brexit landscape that lies ahead…
What we are proposing is a ‘Musicians’ useful elements of the Directive was the Passport’ that would last for a minimum proposal that a performer should receive of two years and allow the freedom of remuneration which is proportionate to movement of services and goods for UK the success of the recording that they musicians working in EU member states. contributed to. This, for us, opened the During a debate on the matter in parliament door for subsequent and further payments in January, the DCMS minister, Nigel Adams, to session musicians who performed on spoke in support of this proposal, but to recordings that have gone on to be very date we have not had any indication from successful. As you know, at present session the Home Office that they will accede to musicians receive no further payments from our request. record companies regardless of the success of the recording that they played on. With the Making new provisions record labels coining it in from the massive I don’t need to remind you what a nightmare success of streaming, this situation has to touring in Europe will become if we cannot change and the MU is already engaged in secure a Musicians’ Passport or something talks with the rights owners and other stake- very similar. We are already hearing about cancelled tours due to the uncertainty 3 of the situation once we have formally “I don’t need to © Joanna Dudderidge Joanna © left the EU at the end of the year. The Horace Trubridge, cancellations are not only in respect remind you what a General Secretary of UK bands looking to perform in EU countries, but also in respect of artists nightmare touring in from EU countries who were hoping to Welcome to the first edition of The Musician tour in the UK – in many of these cases Europe will become.” magazine for 2020. Is it too late to wish you with the support of UK musicians. Rest all a Happy New Year? Probably, not just assured, your Union will do everything in holders to establish a mechanism for non- because New Years Eve feels like aeons its power to persuade this government featured performers to be better rewarded ago, but also, our concerted efforts to try that there has to be a ‘carve out’ for UK when the recording they contributed to enjoys and retain the UK’s membership of the EU performers. significant success. have failed. As soon as we heard the results of the General Election we started the Following on from the devastating results Looking forward essential work of persuading MPs and civil of the General Election was more bad news So, we didn’t have to look very far to find servants that musicians need to be able in the form of the Conservative government the issues that should top this year’s work to move themselves, their road crew and formally announcing that it would not be agenda. We have had some successes their equipment around Europe without the implementing the EU Copyright Directive already this year with the reduction in burdensome administration and expense for a Digital Single Market (DSM). Though business rates for small venues, but there is of unnecessary bureaucracy. far from perfect, the Copyright Directive lots more work to be done, particularly in the contains a number of articles that would area of music education. Please support us in have been beneficial to performers and any way you can so that we can end the year songwriters alike. Not least amongst the with the profession in a better place than it was at the end of 2019.
My very best wishes to you all. Horace Trubridge
TO HEAR MORE FROM HORACE, VISIT THEMU.ORG
The Musician • Spring 2020 Contents Spring 2020
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16
Exclusive interview with the Manchester-based Levaré Quartet.
The Musician • Spring 2020
Frontline Features 6 Grassroots venues benefit 26 The Glad Cafe, Glasgow Find out more from cut in business rates 39 Why I Joined The MU: Three about the MU’s 7 MU members successful at members share their stories Musicians’ the UK Americana Awards Passport 8 New charter launched for Advice campaign on visiting music teachers 40 Music industry acronyms page 20 42 Advice and support to help Reports musicians stay healthy 3 MU General Secretary 10 Deputy General Secretary Your Voice 12 Report from the MU’s fifth 9 Interacting with MU members Reviews Orchestra Section Conference and supporters on Twitter 47 Albums, EPs and downloads
20 Campaigning for the post- Photo: Jonathan Stewart. © MU Brexit Musicians’ Passport Profile Union Notices 24 Assistant General Secretary 16 Manchester-based string 2 Key MU contacts 32 Spotlight on MCPS ensemble, the Levaré Quartet 7 MU Election results 34 Focusing on Opera North’s 28 The rising Scottish jazz 25 Vital information for members outreach and education work musician Fergus McCreadie 46 Ask Us First 38 Maintaining your instrument 50 Singer-songwriter Eleanor VS. 51 Member benefits
5 MU Contributors
Clive Katie Henry Neil Somerville Nicholls Yates Crossley A journalist, Katie is a Henry is a A journalist and broadcaster and freelance journalist freelance writer from editor who has written editor, Clive has and editor whose Gloucestershire who for The Independent, written for HMV, features and reviews has written for titles The Daily Telegraph, The Sunday Times have appeared in as diverse as Classic The Guardian and and BBC Radio, and titles such as Mojo, Rock, Total Guitar, The Financial Times. presented an Arts The Guardian NME and Record Neil also fronts the review radio show. p47 and Kerrang! p38 Collector. p20 band Furlined. p26
Roy Nick George Neil Delaney Hasted Hall Churchman Roy has Nick has George has Neil is an written for Metal covered music and film written widely on experienced journalist Hammer, Classic Rock for The Independent, opera and classical in broadcasting and and Melody Maker, and Uncut, Classic Rock music for such print. A former BBC is the lead singer and and Jazzwise. He has publications as BBC national newsroom drummer with the written biographies Music Magazine, The assistant editor, he two-piece punk rock of Eminem, The Kinks Guardian, The Stage now writes on music band Hacksaw. p40 and Jack White. p28 and Opera Now. p16 and the media. p32
Cover: Eleanor VS. Photographed at St George’s Bristol Photo: Joseph Branston. © MU Photo: Joseph Branston. © MU
The Musician • Spring 2020 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 2020.#WorkingInTheEU bit.ly/2AzdUAV
Spring 2020
frontlineThe MU in action, working on behalf of professional musicians.
Adia Victoria playing at a well- Grassroots Venues loved grassroots venue – the Benefit From Cut Brudenell Social Club in Leeds. In Business Rates
Hundreds of grassroots music venues across England and Wales received a significant boost to their fortunes on 26 January when the government announced it 6 would be slashing business rates for small and medium-sized music venues by 50% in England and Wales. The announcement follows four years of intense campaigning by the Music Venues Trust (MVT), as well as organisations such as the Musicians’ Union and UK Music, which along with MVT make up the Music Venues Alliance.
The MVT estimates that 230 small and
medium-sized music venues across England Shutterstock / Nicholson Richard © and Wales will benefit from the move, releasing £1.7m back into the grassroots live music sector and saving each site £7,500 venue owners expressing their delight over a year. In a sector that has seen the closure the government’s announcement. “We are “We are overjoyed to of 35% of its venues in the last decade, this overjoyed to hear this much-overdue news is hugely encouraging news. of support to music venues. This reduction of hear this much overdue business rates supports an ability to reinvest, “This is a much-needed and long overdue helping new and emerging artists, creating news of support to boost for grassroots music venues,” said accessible events, and further supporting a music venues.” Music Venue Trust strategic director vibrant, but financially-strained environment Beverley Whitrick. “Music Venue Trust has for the wider community.” Nathan Clark, been working hard with government on this issue for the last four years and it is a huge Going forward, the Music Venue Trust will Brudenell Social Club, Leeds breakthrough for us and the members of be writing to all local authorities in the UK the Music Venues Alliance. We’d like to thank with a list of Music Venues Alliance members our partners at UK Music and Musicians’ in their area, to ensure that Grassroots Union for their support and help in getting Music Venues access this relief. The MVT this over the line.” will also be contacting government in Scotland and Northern Ireland to ensure that Nathan Clark of the Brudenell Social Club in a matching relief is offered to that available Leeds was among the numerous grassroots in England and Wales.
The Musician • Spring 2020 FRONTLINE
Billy Bragg and Peter Donegan EC Casual Vacancy played some skilful skiffle at Election Result the UK Americana Awards.
Independent Scrutineer’s Report
This report is issued in accordance with the Trades Union and Labour Relations (Consolidation) Act 1992 as amended.
Executive Committee, Midlands Region 1 to be elected
Millicent Stephenson Elected unopposed
In accordance with Section 53 and MU Rules, ‘Nothing in this Chapter shall be
taken to require a ballot to be held at an Photo: Jonathan Stewart. © MU uncontested election’. The number of members nominated in the by election for the Midlands Region does not exceed Members Success At UK Americana Awards the number to be elected, and a ballot is therefore not required. I am satisfied Yola Carter, Jade Bird, Joan Armatrading and music in the UK, with a membership 7 that there are no reasonable grounds for Siân Monaghan were among the winners that encompasses musicians and other believing that there was any contravention at the fifth UK Americana Awards, the professionals such as promoters, labels of a requirement imposed by or under any culmination of a three-day conference and venues and festivals. This year’s event enactment in relation to the election. festival organised by the Americana Music was co-sponsored by the MU and featured UK (AMA-UK), which took place at various an array of impressive live performances. I am satisfied that the arrangements made venues in Hackney, east London. Highlights included Billy Bragg performing with respect to the production, storage, alongside Peter Donegan, son of skiffle distribution, return or other handling of the Armatrading was honoured with a Lifetime innovator Lonnie Donegan, who was voting papers used in the election, and the Achievement Award, while Carter won both honoured with the Legend award. arrangements for the counting of the votes, UK Artist Of The Year and UK Album Of The included all such security arrangements as Year for the Dan Auerbach-produced Walk The awards ceremony was hosted by were reasonably practicable for the purpose Through Fire album. Jade Bird won Best broadcasting legend Bob Harris, who of minimising the risk that any unfairness Selling Americana Album for her self-titled received the Outstanding Achievement or malpractice might occur. I have been 2019 debut, while drummer Siân Monaghan award. In his acceptance speech, Harris able to carry out my functions without such won Instrumentalist Of The Year. – a proactive and hugely influential advocate interference as would make it reasonable of Americana in the UK – referred to the for any person to call my independence in The AMA-UK is a professional trade “very beautiful world” of the genre and relation to the union into question. association representing American roots the “warmth” of its community.
I have inspected the register of members and no matters were revealed which should be Industry Stats 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 candidate to inspect or 78,000 £86.7m £1 examine a copy of the membership register. People who have signed The figure that licensing The cost of the first six The MU did not appoint an Independent the Musicians’ Passport company PPL announced months of Musicians’ Union Person under Section 51A of the Act. petition to date – and it’s that it collected in subscriptions for first-time rising fast. international monies in 2019. members joining now. Anne Hock, Managing Director, Popularis 27 November 2019 For the latest news on how the Musicians’ Union is helping you visit theMU.org
The Musician • Spring 2020 8 On The Blog The On musiciansunion.org.uk/Learn/Blog to avisit pay more, and this all For done to attain Musicians’ Passports. being work the of details and work; at you are the victim of sexual harassment if do to what on advice is there musician; apro as acareer forging about talks Officials. Session pianist Henry Newbury help and advice from members and for website MU’s the of section Learn the in blog the visit to forget Don’t The Musician • Spring 2020 Music TeachersMusic ForCharter Visiting Launch NEU And MU Visiting Music Teachers visit bit.ly/381vnlH for Charter the of copy afree To download well as information on employment issues. information to pupils’ additional needs, as access building from VMTs need, what on advice practical includes It share. and use to schools all for resource afree is Charter The efficiently. jobs their do to music teachers (VMTs) need from schools Music Teachers, which sets out what visiting Visiting for aCharter created have (NEU) Union Education National the and MU The Dates ForTheDiary 8 Apr 8 Info: Info: Dance, London SE8 & Music of Conservatoire Where: Workshops Of Day What: theMU.org/events Get Business Ready: Trinity Laban
22-25 Apr Apr 22-25 Info: Info: around the town Where: music & networking event) Conference (electronic What:
tinyurl.com/qu3ypkd Brighton Music Various venues
colleagues in Zimbabwe in the future. our to valuable prove will hopes he which is out carrying in this very area, important Union Musicians’ the that work extensive the on Edith update to able was Horace serious issue of sexual harassment. very the is moment the at problems pressing most their of one that Horace Zimbabwe Musicians’ Union and informed the of work the outlined study, to London in staying currently is who Edith, headquarters in London in February. Union Musicians’ the at Katiji, Edith Union, President of the Zimbabwe Musicians’ the with meeting useful extremely an had MU General Secretary Horace Trubridge Zimbabwean MU Collaboration with and Edith Katiji. Horace Trubridge
23-25 Apr 23-25 Info: Info: Edinburgh EH8 9AJ House, 13 Bristo Place, Where: Music Convention What: widedays.com
The Wide Days Teviot Row Row Teviot
! 1-3 May 1-3 Info: Info: Liverpool L3 1DS Cunard Building Where: Music Business Event What:
to sign up as MU Supporters at theMU.org/supportthemu at Supporters MU as up sign to Encourage MU your THE friends and family SUPPORT plus.soundcity.uk.com Sound City+
© Jane Austin (or any other) benefit ofUnion membership. this enjoy to subscriptions MU your with date to up are you essential is it that note Please visiting [email protected] bycontacting Fisher, HW from help get can you advice, financial some need just Contributions, VAT, your band finances, or experiencing difficulties withHMRC, NI obtaining professional advice. If you are action, or refrain from taking action, without information only and no-one should take general for is it that note please but useful, information the find you We hope website. MU the from available now is Guide, Tax Savings The annual edition of the Musicians’ Union Union TributesUnion Stan Harding Steve Donnelly (guitar) Benham Pat of the following Musicians’ Union members: passing the sadness great with We note Tax Savings Guide Musicians’ Union Full tributes can be found at theMU.org at found be can tributes Full Jim Wollen Nick Singer Douglas Milburn (trumpet Howell & flugelhorn)Kenneth
hwfisher.co.uk
(drums) (banjo) (drums/vocals) (guitar) (saxophone) 7-9 May 7-9 Info: Info: WalesNorth Clywd, Wrexham, across Where: New Music Conference What:
focuswales.com Focus Wales 2020
Various venues
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FRONTLINE
Your Voice THE TEAM Editor Keith Ames (MU) Consultant editor Neil Crossley Art editor Chris Stenner This selection of tweets, emails and letters reflects the Writers Keith Ames, Neil Churchman, Neil Crossley, Roy Delaney, George Hall, diverse range of dialogue between the MU and its members. Nick Hasted, Katie Nicholls, Duncan Seaman, Will Simpson, Andrew Stewart, Clive Somerville, Henry Yates Fight For Your Rights Production editor Roy Delaney How sad to fight for rights that Director of content marketing we have enjoyed for many Clare Jonik Head of Fusion procurement and decades. 90% of my music production Matt Eglinton income is from live concerts in Account executive Fred Parker the EU. European promoters Editorial director Mark Donald and music managers always Art director Stuart Hobbs Repro Gary Stuckey pay. No euro gigs = more Printed at Precision Colour Printing poverty for British artists. See p2 for the contact details of Darren Sangita Musicians’ Union offices. @darrensangita
We’ll Be Back Sharing music tonight with MPs and MU officials discuss the Musicians’ our fellow Europeans in Passport in Westminster.
Rouen. Friends across Europe: Photo: Jonathan Stewart. © MU All information contained in this journal is for informational purposes only and is, to the best this is not the end. We’ll keep of our knowledge, correct at the time of going the flag flying, and one day to press. This journal is published by Future Publishing Limited on behalf of Musicians’ Union. 9 we’ll be back. Rates Relief Neither Future Publishing Limited nor Musicians’ Union accept any responsibility for errors or Ralph Wyld @RalphWyld Congratulations to the Tell Us About inaccuracies that occur in such information. Readers are advised to contact manufacturers The MU, the Music Venue Your Worst Gig and retailers direct with regard to the price of Sign The Petition Trust, UKHospitality, UK Music Share your best stories products/services in the journal. Publication of an advertisement does not imply any form This is vitally important, and all who have campaigned about your nightmare of recommendation. Organisations offering financial services or insurance are governed by knowing first hand the tirelessly for a reduction in engagements… their relevant regulatory bodies and problems importance free movement business rates for grassroots with such services should be taken up with those bodies. Neither Future Publishing Limited nor had on my professional live music venues and pubs. We’ve all heard stories Musicians’ Union accept any liability for the quality of goods and services offered in advertisements. music career. Sign and share. This is game-changing about other people’s terrible We do our best to avoid inaccuracies, but if you Let touring musicians travel. support for towns and gig experiences, and have believe that an error has been made, please contact the editor straight away before taking any Support musicians working cities at night! probably got plenty of live other action and the Union will take appropriate steps. If you submit material to this journal, you in the EU post-Brexit. Amy Lamé @amylame performance nightmares automatically grant Future Publishing Limited Sign the MU’s Petition! to tell ourselves. So if and Musicians’ Union a licence to publish your submissions in whole or in part in any edition of DAVIESKREYE @XgeekedgeX Funding Tips you’ve got a tale that you this journal that is published worldwide in any format or media throughout the world, and you Just been to an excellent think would make our grant Musicians’ Union a licence to publish your Peace Of Mind MU workshop, hearing collective hair curl, we’d submissions in whole or in part in any format or media for the purpose of promoting any products Well done MU – Their guide to Remi Harris’s experiences love to hear it. And it might or services referred to in your submissions. Any material you submit is sent at your risk and mental health is superb – and and advice on music just be used in a future story neither Future Publishing Limited nor Musicians’ not only for young freelancers. funding. Thanks! in The Musician. Send in Union nor their respective employees, agents or subcontractors shall be liable for any loss Katherine Wren Richard Ward your stories to: or damage. © Future Publishing Limited and Musicians’ Union 2020. All rights reserved. No part @kathviolaplayer @richwardmuso [email protected] of this journal may be used or reproduced without the written permission of Future Publishing Limited and Musicians’ Union.
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The Musician • Spring 2020 Working To Protect The Rights Of Composers MU Deputy General Secretary Naomi Pohl reflects on deals for media composers, an attempted rights grab by the Discovery Network, and how the Union and its members can fight back.
MU members who compose music for TV, Graham Davies, CEO of the Ivors Academy, film, videogames and other media may be explained the impact on composers aware of the threat of a rights-grab by the worldwide: “This has created such a strong Discovery Network, which hit the press reaction and fear because these back-end internationally at the end of last year. The royalties sustain the composer. While there is network, parent platform of channels such some protection in the UK industry from PRS as Animal Planet and TLC, planned to require having an exclusive performing right composers to agree to a total buy-out of assignment, composers are being pressured their rights, meaning that they would not to sign contracts that undermine this. We receive any royalties via PRS or equivalent must reverse this situation by educating and 10 performing rights societies internationally empowering composers to say no to these when their works were broadcast. deals and stand up for their rights.”
Composer Michael Giacchino likened Know your rights Discovery’s plan to that of a gig economy We understand that PRS for Music has company such as Uber, where workers are written to Discovery and some other offered paltry per-job fees on zero hours broadcasters to remind them that any contracts. He said the plan would have attempts to obtain performing rights meant a 90% drop in income for composers from its members would be unenforceable. and commented that Discovery’s plans Composers on the MU’s Music Writers’ would “not only affect composers. It Committee have told us over the past would dramatically affect the income of decade that their income from media musicians, recording engineers, studios work has decreased significantly. and affect the purchase of music gear, music and sample software”. Until the Discovery bombshell, the primary issue in the UK has been the increasing Essentially, the Discovery Network was prevalence of package deals where the threatening to engage composers on a US composer is given a lump sum budget to ‘work for hire’ arrangement, which means the create the music. The budget is for the copyright in commissioned works belongs to creation of the recording, so the composer the commissioner rather than the writer. This is required to deliver more than the score for is a major threat to composers’ livelihoods the soundtrack. They also have to use their and the fundamentals of copyright, which pot of money to pay for studio time and should enable authors to benefit financially engage session musicians. from the use of their works. The budgets have been more and more squeezed and this leads to less work for “The budgets have been more and more session musicians, and smaller fees for composers. In extreme cases, composers squeezed and this leads to less work for session musicians, and smaller fees for composers.”
The Musician • Spring 2020 PROFILEREPORT
Michael Giacchino, composer on films such as Rogue One: A Star Wars Story (pictured), fears new plans could lead to a drop in income.
11 © Jonathan Olley / Lucasfilm Ltd / Kobal / Shutterstock
face the choice of electronically producing Those minimum terms agreements with the Ivors Academy on. Watch this the music to ensure they receive a fee, or negotiated with the BBC, ITV and other space. As our founder Joseph Williams surrendering their fee in favour of recording broadcasters guarantee a significant said “The union we require is a protecting with musicians. As with any deal, the fact that upfront commissioning fee, as well as union, and one that will protect us from composers will accept bad deals or low repeat and reuse fees, plus royalties via amateurs, protect us from unscrupulous budgets perpetuates the issue. But the collective licensing. employers and protect us from ourselves.” bargaining power lies with the commissioner. Composers are authors and should be This is a good opportunity to inform our Diminishing returns getting similarly favourable deals. The composer and songwriter members that Discovery backed down on its proposal upfront commissioning fee should cover experienced MU Official Kelly Wood is now following global pressure from composers a the time spent working on the music as well looking after our Music Writers’ Section. If nd representative bodies, and is still paying as the grant of rights for an initial broadcast. you need advice or want to get involved in for its collective licences. However, its attempt At present, the fees paid to composers are our work in this area, you can reach Kelly at to buy-out rights signals that deals for in many cases insufficient to cover the [email protected] composers are at risk of diminishing further labour, let alone the creative input and unless we draw a line in the sand. Prior to any rights package. starting at the MU, I worked for the Writers’ Union negotiating deals for TV script writers. Working in partnership The only way to address this issue is through collective action. As a Union with real clout and good industrial relations with UK broadcasters, we can lead the way and represent composers in negotiation. This is something we will be working in partnership
The Musician • Spring 2020 The MU Orchestra Section Conference Despite the shadow of Brexit, a spirit of quiet optimism pervaded the fifth Musicians’ Union Orchestra Section Conference. Report by Glyn Mon Hughes
Serendipity or coincidence? Staging a XFAP scheme aimed at those who ceased conference contemplating the future and membership up to five years ago. In the same considering prospects for individual way as the GFAP scheme, those rejoining can musicians, orchestras and ensembles just enjoy six months’ membership for £1. hours before the UK departed the European Union helped focus minds. However, Brexit soon surfaced. “It’s bad news,” said Horace. “Nigel Adams (minister of The conclusion of the fifth Musicians’ Union state at DCMS) quoted us heavily, saying it 12 Orchestra Section Conference, held in was essential for musicians to have freedom Manchester, was that change is inevitable. to travel. Our profession will suffer if we do not Maybe more difficult to ascertain is whether have freedom of movement so we must work
change is always good. to ensure there is some kind of Musicians’ Dudderidge Joanna © noted: where from apart photos All Passport in place.” MU General Secretary Horace Trubridge addressed delegates, saying his optimism Horace also drew attention to the Articles New and updated directives affecting was buoyed up by the expanding Union in Copyright Amendment saying that “your musicians were noted. Changes to CITES – membership, with some 2,000 new members remuneration should be proportionate to the the Convention on International Trade in on the books compared to last year. “Join for a success of that particular recording” while Endangered Species of Flora and Fauna – pound was a gamble but it paid off,” he noted. acknowledging that achieving that goal might means moving or selling some instruments “We now have 32,000 members and we’re on be difficult since recording companies are could be hampered and a ‘passport’ will need our way to reaching the ‘golden plateau’ of “difficult, even impossible, to negotiate with”. to be issued. While obtaining the passport is 36,000 members. In addition, only 6% who straightforward for an employee there could joined for £1 cancelled their membership.” Airline instrument policy be difficulties for freelancers. A new exception The perennial problem of taking musical has been granted for the movement of New schemes to boost membership include instruments on flights remains a thorn in the dalbergia rosewood, though new, tougher, GFAP – Graduates for a Pound – which has side of performers. According to Kelly Wood, rules on the export of ivory could affect grown out of the MU’s student membership MU Live and Music Writers’ Official, musicians musicians. Kelly noted that there has been scheme that will offer new graduates six are still forced to put instruments in the hold, a call for the Union to support a blanket months’ membership for £1. There’s also the despite paying for a seat to accommodate the exception for instruments. instrument. There are frequent reports of damage, despite being in hard cases. “It can Classical tariffs “We’re on our way be expensive for musicians to pay for priority Changes to the classical tariff imposed by boarding, so it is worth checking airline PRS, following on from similar moves in the to reaching the policies and fees regarding instruments,” popular music sector, could have a she advised, adding that “airline policies are detrimental effect, warned Kelly, adding ‘golden plateau’ of erratically applied”. One delegate suggested a call for a clear definition of which items of that members boycott those airlines that classical music are deemed out of copyright. 36,000 members.” force musicians to put instruments in the hold. The delegate asked if it would be possible to Horace Trubridge get orchestral management backing for this.
The Musician • Spring 2020 REPORT
Panellist Cynthia Fleming (far left). Liz Sharp asks a question (left) while other Conference attendees add to a debate (top).
13
“We also need a definition of what they regard as ‘classical’,” she added.
The main business of the first day related to sustaining a healthy performing career from conservatoire to retirement. The first panel looked at issues around conservatoires Performing Arts Medicine (BAPAM), trained transition points’. “We have to consider the and graduates, looking towards launching as an Alexander Technique teacher. “I am impact on people’s mental and physical health musicians onto a healthy career, while constantly looking at how mental and physical at that stage,” he said. “There’s also the the second considered issues affecting issues react,” she revealed. “These can be age question of access to pensions and other current professionals and the move or gender based, the instrument played, financial considerations.” towards retirement. physique and so on.” Educating the educators Cynthia Fleming, former leader of the BBC Looking at musicians’ needs from 18 to the The feeling that educators need educating Concert Orchestra, thought it “fascinating end of life is central to Joe Hastings’ work. “We was forcefully expressed. “As soon as to see people in the formative years of their are seeing the needs of older musicians come someone hears Alexander Technique they careers,” she said, “but stresses and strains to the fore,” he said. Joe is head of health and switch off,” said Alison. “Teachers don’t think can begin when they are about 12.” Alison welfare at Help Musicians UK. The Musicians’ they need it, but I know that all of us are not Loram, violinist and research scientist and Hearing Health Scheme has helped 13,000 doing things in the right, or best, way. So far, a practitioner at the British Association for musicians pass through the programme in the no member of a conservatoire staff has come last three years, with 15,000 waiting access. to me. For a lot of musicians, performance The organisation also operates Music Minds anxiety does not help the situation. Pressures Matter, combatting mental health challenges, are learnt at an early age yet we do not and is undertaking research with the British Tinnitus Association. For people facing retirement, Hastings talked about ‘key
The Musician • Spring 2020 Vasily Petrenko conducting Royal Liverpool Philharmonic Orchestra in Elgar’s Serenade For Strings. © Mark McNulty
Elitist Issue
Michael Eakin, chief executive of the Royal Liverpool Philharmonic 14 Orchestra (RLPO), talked about “Even for literate spectacular concerts as well as outreach work. “We are not good and curious people, at conveying the idea we are a fundamental part of the city. classical music is still We have to ask what funders expect in return for their input. considered elitist.” Yet it is pretty transparent if an organisation is doing something Michael Eakin just for cash.”
Eakin emphasised that the always equip teachers to cope with what it either mentally or physically.” Possible organisation delivers to the is to be a musician. A child can be in a brass solutions included teaching students about community beyond the audience, band competition aged eight – and the failure and the shock that might follow. but warned “we cannot take damage can be huge, so we really need to public funding for granted”. That treat players as if they are elite athletes.” Effective training said, the ‘arm’s length principle’ Some delegates suggested that there can attached to funding is still there, There was divergence, however. “Many be poor management at conductor level “but the arm has become a lot section principals are teaching and they while many musicians feel it is not their place shorter”. Eakin added that many understand the pressures of being to become involved in management. Panel orchestral musicians are keen a musician,” said Fleming. “But we are moderator Alex Gascoine from the BBC to apply their skills in a range of working with 12 to 18-year-olds who are Scottish Symphony Orchestra and vice chair settings. “For many, orchestral worried about stress, often because parents of the MU Executive Committee wondered music and classical music are are so competitive. As a result many children how to train managers to schedule effectively not part of their hinterland. Even cannot consolidate their technique and, with and train conductors to make those for literate and curious people, so few places in conservatoires and then in schedules work. classical music is still considered orchestras, they simply cannot compete elitist, hoovering up a lot of money. Understandably, wellbeing was at the That’s a problem.” forefront of many discussions. Cassie Raine, co-founder of Parents and Carers in Performing Arts, talked about issues
The Musician • Spring 2020 FEATUREREPORT
likes of tango and salsa. That probably shows Joe Hastings, head of health and welfare at Help there is a lack of diversity in the sector. But, Musicians UK, addresses the when we evaluate all we do, from rural MU Orchestral Conference. community events to next generation projects in conservatories, we have a complete smorgasbord of activity.”
The search for creativity and artistic freedom was a topic discussed by Carys Williams, the relationship manager, music including Education Hubs, for Arts Council England. “We seek creative people, creative communities, and a creative culture and country.”
Encouraging diversity Diversity also appears to be key to a more secure future. “We have to move with this as a sector,” said Eakin. “The Arts Council publishes data of all organisations with 100-plus employees relating to gender, ethnicity, sexuality and so on. We are nothing like as bad as we are perceived to be.”
That said, there were impassioned messages to talk to local authorities who had halted funding, and exhortations to look at what had been done in the past to build a better future. “Concerts are the shop window,” said Debbie, 15 often forgotten. “There was the orchestral BBC Philharmonic steward Paul Turner “there is a lot behind that window.” player who was the carer for their partner highlighted that while people can work until and had to wait until that partner died to they are 70, that should not be a given. “I am Other questions included why head teachers be able to go back to work. Someone lucky I am in a pension scheme. But it’s in the did not think music was a part of our social coming back to audition after maternity management mindset that we work until 50, fabric; the position of music in the English leave is well supported, but a carer is often then move on.” Baccalaureate; plus why musicians cannot get forgotten. That’s why job-sharing is such involved in social work and what stops them a valuable development.” Fleming talked about the need to teach young being involved in community work. people that they will need to retire at some It was a view echoed by BBC Symphony point. “It’s not just playing an instrument: “We are scraping the surface,” said Adrian Orchestra steward Daniel Meyer. “It has been there are other things ahead,” she noted. Lee. “Impact can be very profound. We cannot a massive success because it has led to an David Rimbault highlighted the need to do this work just by saying ‘go in there and increase in the number of women staying on.” schedule a proper preparation time for do it’. We have to think about content, pricing retirement. “We cannot rely on charities and and transport. We must make it easy for Breaking the silence outside organisations,” he said. “If we do not people to get to events.” There were numerous calls to work in flexible join the dots, players will get older, injuries ways and a great deal of talk around ‘breaking will get more and our problems will increase. Dumbing down? Orchestras plugging the the silence’, to combat the physical and British orchestras are at the top of the gap because there is little music provision in mental stresses of being an orchestral pyramid, but we must ensure these issues are schools? Working to ensure music is part musician. “Do we have the confidence to be addressed and don’t become taboo subjects.” of the curriculum? The debate could have who we are?” asked David Rimbault, RLPO raged on. Surely a question for many violinist and MU steward. “There’s a feeling Social fabric other pages. the show must go on, despite mental health The second day’s debate considered whether or anxiety issues and the stigma attached.” orchestras are deemed a fundamental part of the social fabric, or whether the concert is the bolt-on to education activities. According to Debbie Jagla, MD of the Orchestra of the Swan, “our vision is entirely driven by survival. Year by year we lurch from funder to funder. We need to partner with others. Classical itself will not wash. We need to introduce the
The Musician • Spring 2020 Northern
A strong rapport and a willingness to “dive into different genres’’ are notable features of Manchester-based string ensemble, the Levaré Quartet. Profile by George Hall
Back in 2017 four students at the Royal Northern His fellow violinist Mateus Dandalo comes from College of Music in Manchester came together to Brazil. ‘‘My dad is a non-professional musician. form a string quartet, which is now starting to make He had a rock ’n’ roll band when he was younger waves on the national scene. and always encouraged me to learn an instrument. I began lessons when I was 10 because my parents 16 Its four members come from different backgrounds had heard of a local music school run as a social and different countries – England, Wales, Brazil project for the community.’’ Also a musician, and Lithuania – but a strong feeling of rapport Mateus’s brother had already come to the UK to has seen the members of the Levaré Quartet study. Mateus joined him when he was 18 years old. develop their artistry and begin to command attention in what is one of the most demanding The quartet’s viola player is Emily Davies, originally of all musical endeavours. from Aberystwyth, but brought up in Welshpool. She began violin lessons when she was seven but Musical youth switched to the viola four years ago. Like most of Like his three colleagues, violinist Didier Osindero the others, she doesn’t come from a particularly is a now a third-year student at the RNCM but still musical family. only just 20 years old. He grew up in Hertfordshire, although his parents are from Nigeria. “They’re not Finally, the group’s cellist is Julius Jonusas, who hails musical, but my sister began playing the piano when from the Lithuanian capital, Vilnius. He began to she was six. I wanted to learn an instrument too, so study his chosen instrument at the local arts school a year later, when I was four, I started on the violin.’’ at the age of six. “Then when I was 15, I moved to Manchester to study at Chetham’s School of Music. After that he had regular weekly violin lessons and After that I went on to the RNCM, and there I met the eventually got involved with the musical community other players.’’ in Hertfordshire. Choosing conservatoires ‘‘I began at the Junior Guildhall when I was nine Manchester has achieved worldwide fame as a years old, then I went on to the Purcell School of musical centre in many different genres, and can Music, and finally I moved to Manchester to study boast three major orchestras – the Hallé, the BBC at the RNCM.’’ Philharmonic, and the Manchester Camerata – while the city has been home to a conservatoire since 1893. “My dad always encouraged In fact, all of the UK’s major conservatoires – me to learn an instrument.” in London, Manchester, Glasgow, Cardiff, Birmingham and so on – have international Mateus Dandalo reputations, drawing students from all over. PROFILE
17
The Musician • Spring 2020 “You can play it as you like, how you feel it. That’s very inspiring.” Emily Davies
For Emily, ‘‘it was all the opportunities that are here in Manchester – it’s such a big city”. Didier sensed that in terms of the music colleges he visited, “the atmosphere seemed the most friendly, while the teaching has been really good – I think all of us study with excellent teachers. It is also a place where you can go down a variety of artistic routes, allowing you to explore different options and different styles of music. You get to do a lot of
projects with amazing musicians coming in All photos: Joseph Branston. © MU from all genres of music. That was a big selling-point for us.’’
In Mateus’ case, ‘‘My brother had told me how Getting Along many internationals were studying at the The Levaré Quartet initially came RNCM, from more than 60 countries, and how together in October 2017, as cellist welcome they were’’. Julius Jonusas explains. ‘‘In our 18 first year we each had an audition Julius also believes that Manchester in with Donald Grant, deputy head of particular and the north-west in general is a chamber music at the college, and growing community with a rising professional he put all the students into groups standard of music. ‘‘It’s a perfect time to be a accordingly. From that point we part of that. Some of the colleges in London, just stuck. We liked playing with Berlin or America, for instance, are perhaps each other, and that’s why we’re more traditional in their approach. Maybe still together.’’ there is more freedom and diversity here.’’ Violinist Didier Osindero echoes Winning the Weil prize this feeling of instant rapport. Following their first rehearsals, the quartet ‘‘We clicked as soon as we started we also did a jazz performance with Gwilym gave their first informal concert in December playing together. Because there Simcock a couple of months ago, and we’ve 2017. Their first official concert took place at are so few of you and you are performed our own arrangements of folk the college’s annual and intensive Chamber working so intently together, with music. If a promoter requests a particular Music Festival four months later, and they chamber music it’s particularly piece, or extends an opportunity to try went on to win the prestigious Weil Prize for important that you get along.’’ something different, we’re keen to do that’’. chamber music performance. ‘‘We rehearse for maybe four days How does Julius see things going forwards? At this early stage the group still had no name, a week or more, for two hours ‘‘At this stage, whenever we are offered a but it soon became necessary to find one. So each day or more, so we really do performance we dive into different genres they had a meeting to come up with some spend a lot of time with each other of music, so we are exploring a wide range ideas and to see what worked. ‘‘I thought of – and outside of rehearsals as of repertoire that we are interested in.’’ Levaré,’’ explains Mateus, ‘‘which means well. So it’s more than just a upbeat in Italian’’. vehicle for playing music.’’ Learning from the greats Their studies, of course, continue. Julius says In terms of repertoire, is the Levaré Quartet the quartet is still learning from “great tutors, currently specialising in any particular area? such as Donald Grant” – a former RNCM ‘‘Not at the moment,’’ says Didier. ‘‘We try to student violinist and now a member of the play as much as we can, ranging from Haydn well-established Elias Quartet, formed at the to Bartók and Webern. At the moment we’re RNCM back in 1998, and a member of the BBC working on a Schoenberg string quartet, but Radio 3 New Generation Artists scheme. The
The Musician • Spring 2020 PROFILE
Clockwise from left: Didier Osindero, Mateus Dandalo, Emily Davies and Julius Jonasus. Gorton Monastery and Manchester Cathedral. Thus far the quartet’s dates have all been in the UK, but this will surely change, and inevitably like many musicians the Levaré are worried about the impact of Brexit on such crucial matters as foreign bookings, visas and travel. ‘‘That’s definitely one of our big concerns,’’ Emily confirms.
One of the intriguing characteristics of the group is its blend of nationalities. Does that bring something special to their music- making, or to their discussions, or even to their way of relating to one other?
Didier believes that with colleagues from different cultures and different backgrounds, no two people will come up with the same ideas, even within rehearsals. ‘‘It does make for an interesting blend. It also allows for spontaneity. For example, when we did the folk-tune arrangements, we selected folk-tunes from each of the countries we represent. We decided to try to make each of the arrangements as traditional to the culture from which they came as possible, using rhythms from Brazil, Lithuania, and so on.’’ 19 Looking to the future As young musicians, the Levaré Quartet are naturally interested in the support and benefits offered by the Musicians’ Union, and recently took out student memberships.
While none of the four knows what the future has in store for them, they are all hoping that they will have a future as the Levaré Quartet. As Mateus notes, ‘‘I obviously do solo stuff Elias Quartet’s recordings on the Wigmore Hall As part of their development and training, the in my individual lessons, but I want to Live label including a complete cycle of the ensemble have been coached, as Emily concentrate more on chamber music and Beethoven quartets. ‘‘Czech chamber music recalls, by several distinguished chamber to have this group, and maybe orchestral player Petr Prause, a former member of the groups, including not only the Talich and the playing as well’’. Talich Quartet, has also been a great Elias, but also the Michelangelo Quartet, the inspiration to us,’’ confirms Julius. Sitkovetsky Trio and Trio Gaspard. Like the other members of the quartet, Julius hopes that the group can stay together after ‘‘When you get a piece together you can take Selecting the repertoire they graduate. ‘‘Perhaps with the help of our it to the tutor,’’ says Emily, ‘‘and they show you For Emily, one highlight for the quartet was tutors and their connections, we can establish some of their ideas and help you shape it. But providing music for the Player of the Year a residency somewhere,” he says. “As long then you can go to another teacher, and they award at Old Trafford, home to Manchester as we are able to live comfortably and afford might say completely different things. At the United. ‘‘That was pretty cool.’’ But she also our lifestyles, all of us would ideally prefer to end of the day, as they say, it’s what you feel, singles out a recital at Wigton in Cumbria in pursue the quartet career, because it’s a it’s your interpretation – so you can play it as October 2019 ‘’because it gave us a chance to pleasure to work as a group and we get along you like, how you feel it. That’s very inspiring.’’ choose our own repertoire, which is a really well. You never know what career choices good thing to do”. They picked Haydn, we might have to make, but at the moment Beethoven, Bartók and Webern. our goal is to focus on that.’’
Other memorable appearances have included the Malvern and Solway Arts festivals and, in and around the city itself, at the Midland Hotel,
The Musician • Spring 2020 Across The Border Touring Europe could soon be a logistical nightmare. Henry Yates investigates the MU’s Working In The EU campaign…
Report by Henry Yates
From the minstrels of medieval Europe to the provincial runaways of rock ‘n’ roll, musicians have always been hardwired with a desire to roam. But international touring is far more than a romantic notion: it’s also a vital income The MU attended the stream that keeps modern musicians afloat. Performers Alliance All Party As such, the implications of Brexit are deeply Parliamentary Group drop 20 troubling for anyone who plays live in the EU, in, to alert new MPs to the and have sparked one of the MU’s most Musicians’ Passport issue. pressing campaigns to date. “When we started out, everyone was dismissing it,” notes Campaigns & Social Media Official Maddy Radcliff. “Now they’re saying, ‘Wait, this is really worthwhile’.” in its post-Brexit negotiations. This move Ask a veteran musician, however, and they’ll The UK music industry will spend 2020 could shut the UK’s touring musicians out of darkly recall the barriers to international anxiously eyeing the calendar. January’s the lucrative EU market unless they bear the touring before the UK joined the European so-called ‘Brexit Day’ – when the UK officially time and expense of myriad travel documents. Community in 1973. Chief amongst these was left the EU after 47 years – was the symbolic At a time when live work and merch sales can the ATA Carnet: a paid-for legal document line in the sand. But for the rest of the year, it represent a make-or-break slice of a band’s introduced in 1963 that allows temporary will be largely business as usual for touring profits, it’s a prospect that has sparked the movement of goods outside the UK (in the musicians. Free movement across the MU’s Working In The EU campaign, calling for case of musicians, that meant instruments continent. No checks or charges. UK a dedicated Musicians’ Passport that enables and merchandise). Even now, the ATA Carnet passports and drivers licences still valid. players to work and travel freely across the is required for around 70 countries worldwide, Supposedly seamless passage through the EU. If that call is unanswered, then as Isle Of and still lingers in pockets of Europe. “If you’re EU channel at airport control. Wight festival boss John Giddings recently a DJ in Gibraltar and you want to take your told NME: “Brexit is going to do serious harm equipment over the border to Spain, you have The true impact of the 2016 referendum to touring in Europe”. to fill in a carnet,” explains Maddy. “Or, if result will not be felt until the transition period you’ve got a truckful of instruments, ends on 31 December 2020. Every last shred Uncertain future equipment and staging, and you’re going to of legislation is on the table and up for debate, It’s easy to take for granted the freedoms that Switzerland, you need to get one. We know but following a UK Home Office policy modern touring musicians enjoy. “It’s pretty anecdotally from a lot of artists that if they’re statement that suggests musicians coming simple to go out and play in Europe at the planning an EU tour, they just don’t bother from the EU should fall under similar moment,” says Henrik Steenholdt of playing those countries, because it’s not requirements as non-EU musicians, the MU Northampton rockers Empyre. “Our last trip worth the extra cost.” has stepped up its demands for the abroad ran smoothly, paperwork was minimal government to account for musicians’ needs and costs were relatively low. It wasn’t much different, process-wise, to flying to Scotland to play some gigs.”
The Musician • Spring 2020 REPORT All photos apart from where stated: Jonathan Stewart. © MU Westminster Drop-In Event
On 4 February, MPs were invited to a drop-in event 21 at Westminster, where MU representatives stressed the urgent need for a Musicians’ Passport. “The aim of the event was to continue the conversations with MPs we At present, it’s feasible to route a tour itinerary the tip of an administrative iceberg. Musicians already know are onside,” to bypass the negligible Swiss market. But may also require working visas for each explains Maddy Radcliff, without action being taken at the highest country visited, arrange multiple insurances, “while informing new MPs level, it’s likely the ATA Carnet will be apply for an international driving permit and a elected in December of the reintroduced across all EU member states green card covering touring vehicles, while problems facing musicians – from January 2021. “The carnet existed before paying import/export tax on merchandise and and the solution, which is the the EU,” says Maddy, “and the expectation is perhaps even social security in EU member Musicians’ Passport.” that it will exist afterwards. Certainly, we know states. “Asking musicians to pay all that, every that in the Brexit no-deal advice, the single year, is problematic,” says Maddy. “I am proud to support the government were advising people to get one.” “Then you’ve got orchestras with coachloads MU’s campaign for musicians of gear, and everyone has multiple working in the EU,” said High cost instruments. So those costs can add up really Labour’s Thangam Debbonaire, Costing £325.96, the online application quickly. Plus, people forget that musicians’ Shadow Minister for Exiting process for the ATA Carnet is laborious work is often speculative. You might be going The European Union. “Now, enough, requiring the document-holder to list to Europe to write songs with someone, or to for the last three-and-a-half every item they are carrying. But this is just play unpaid showcases. years, and for as long as it takes to get the government “People see Ed Sheeran earning millions,” to agree – which needs to “Brexit is going to Maddy continues. “But the truth is that most be in the next few months. musicians earn below the average income, A previous culture minister do serious harm to and anything that eats into that means taking agreed with us when we away money from food, rent and paying the discussed the Musicians’ touring in Europe.” bills. Technically, yes, they still have the ability Passport with her. This to go on tour, but in the real world, only the government must honour that.” John Giddings people who are already very successful
The Musician • Spring 2020 British blues star Jack J Hutchinson claims that touring Europe could soon become © Lili Da Rocha prohibitively expensive for smaller touring bands.
A Musician Writes…
As a rising star of British blues-rock, Jack J Hutchinson is wary of how post-Brexit legislation might affect his career. “Gigging internationally is a key part of how my band operates,” he says. “We’ve visited various places across the EU, including Spain, France, 22 Germany, The Netherlands and the Czech Republic, and part of what makes it so appealing is the flexibility to move from place-to-place at no cost to the band, except for fuel and a ferry ticket. Having to apply for individual visas, at great cost, will be able to do it. Anyone who’s not already For the performers who can afford to tour will seriously affect our future successful won’t be able to compete and their beyond the domestic circuit, the frustrations tour plans. Essentially, it might jobs will stop being financially viable. Voices will continue every time they hit an make touring the EU unviable, will be lost. The people whose stories we hear international border. With merchandise falling because the profit lines are so through music are going to only be the people under the bracket of exported goods, tour fine. It might also deter who can afford to do it. And that immediately parties would potentially be subject to the promoters who cover travel excludes minority voices of every kind.” same time-consuming checks as, for as part of the package from instance, a juggernaut loaded with booking UK bands, simply One rule for the rich dishwashers. Individual flight cases might because it’ll be cheaper to This was a view echoed by Mark Davyd, have to be opened, boxes of t-shirts turned book local acts. Bizarrely, CEO of the UK Music Venue Trust, in an NME out and inspected. it might be cheaper in the interview, while criticising established future to tour South America musicians for not doing enough to flag up the This would put enormous pressure on a than France! How can that issues. “You get Roger Daltrey going on TV musician’s touring itinerary, says Maddy. possibly be right? The saying, ‘Everything will be fine after Brexit’, “Right now, if you get in a car, you can government needs to put in because he used to play in Europe in the drive almost overnight to the next venue. place a Musicians’ Passport 1960s. Then you’ve got James Blunt saying it There’s a very quick turnaround. But as soon as possible.” doesn’t matter and won’t affect him – and you musicians could lose the ability to do know what? He’s right. With the amount of that, because you’re dependent on waiting Jack J Hutchinson’s latest money he makes from touring, he won’t even times at the border and whether or not they album Who Feeds The Wolf? notice. This is basically a tax on new and decide to search you. You don’t necessarily is out now. Sign the petition emerging musicians.” know how long it’s going to take. It adds for a Musicians’ Passport logistical issues. It could potentially add time, at Change.org and time adds other expenses – food, hotels, that kind of thing.”
The Musician • Spring 2020 REPORT
“It’s really important that our members actually take action.” Maddy Radcliff
“Those kind of figures,” says Maddy, “show how financially important the industry is.” At the time of going to press, almost 80,000 supporters had signed the petition for a Musicians’ Passport – with a surge of 10,000 signatures after the Conservatives’ election win in December and the realisation that Brexit is now unavoidable. There is a sense, too, that some of those in power are paying attention, with the MU’s proposals welcomed at several party conferences, MPs debating the issue in parliament last month, and ministers meeting with Union representatives
The MU’s Maddy Radcliff and Bambos at a Westminster drop-in session on 4 Charalambos MP hold promotional February. “It’s absolutely essential,” said the Musicians’ Passports (above). Bristol former Culture Minister Nigel Adams, “that MP Kerry McCarthy talks to the MU’s free movement for artists is protected Isabelle Gutierrez (left). post-2020.” 23 Make yourself heard dedicated Musicians’ Passport. The document The key to pushing on to a positive result, envisaged by the Union would be free, last for stresses Maddy, is for grassroots working a minimum of two years, replace visas and musicians to make their collective opinion carnets, be valid in all EU member states, and heard. “It’s really important that our members allow musicians, road crew and management actually take action. They can sign the petition to pass quickly through border control. on Change.org, and every person that does that is another person who is saying, ‘Actually, Critically, the system would be reciprocal, I really care about this’ to government. And with EU musicians able to play in the UK that’s really important, to show the strength without obstacles. “I think all of that is really of feeling and the weight of support. Faced with these profit-sapping hurdles, it’s important,” says Radcliff, “because it been estimated by outgoing UK Music CEO enables musicians to do their jobs.” “Make sure you’re opted in to receive news Michael Dugher that a musician would need emails from the MU,” she advises, “so when to play at least ten shows at 800-capacity Damaging growth we have actions, you get it and can act venues for a European tour to stack up If this all sounds obvious, the challenge is quickly. Plus, write to your MP. They’ll do financially. “The ending of free movement to get the proposal onto ministers’ desks something when their constituents put with no waiver for musicians will put our at a time when they’re already fielding the pressure on them. They’re ultimately fast-growing live music sector at serious risk,” concerns of countless other UK industries. accountable to their constituents, and it will he wrote in a 2018 open letter to Theresa May. Perhaps the best leverage to get MPs’ push them into supporting this campaign if “The costly bureaucracy will make touring attention is the hit to the UK economy, hundreds of people write and say, ‘I’m a simply unviable for many artists who need to with UK Music’s recent Music By Numbers musician, the Brexit negotiations will put my earn a living, and it delivers a hammer blow report calculating that the domestic music future and my job at risk – this is why. Please to the development of future, world-leading industry contributed £5.2 billion in 2018, support the Musicians’ Passport, here’s all the British talent.” while the live sector contributed £1.1 billion information’. And when you do tell them the – up 10% on the previous year. In the same story, make sure you tell it from your own The problem is glaring, but what’s the period, industry employment hit an all-time- personal point of view – because that’s what solution? Unlike the labyrinthine machinations high of 190,935, while export revenue was will stick with them.” of Brexit, the MU’s proposal is simple: a £2.7 billion. Music tourism contributed £4.5 billion, while overseas visitors to UK live events hit 888,000.
The Musician • Spring 2020 Ways To Stay Well Assistant General Secretary, Phil Kear on the MU and Getty Images / Images Hybrid © Dudderidge; Joanne © BAPAM’s vital occupational health education.
It’s fantastic to see a number of pages of this edition dedicated to the health and well-being work overseen by our Education and Training team. Their work in this area It’s easy to forget both the physical and mental strains appears much needed, too... that playing an instrument can have on the human body. I recently had the pleasure of chairing the fifth annual MU Orchestras Section Conference, where half a day was set aside for discussion on maintaining a healthy direct provision of information, clinical to the MU for the work we do for musicians’ 24 career from conservatoire through to assessment and referral, and through health, and our ongoing support for BAPAM. retirement. I was shocked by the sheer broader education, training and research. It He also impressed upon me BAPAM’s need variety and frequency of both physical and was founded in 1984, and is funded by Help for publicity to ensure continued funding. psychological issues reported by members Musicians UK, PPL, PRS, Equity and the MU, and panellists alike. To the uninitiated, alongside donations from members of the In all I spent 90 minutes with Nikos. An orchestral musicians would not usually public. This funding allows them to provide appointment of this length with a highly appear near the top of a list of dangerous free clinic appointments at their sites in experienced healthcare professional would careers, but I think I’d now have to disagree! Belfast, London, Liverpool, Manchester, be impossible under the NHS, and unfeasibly Glasgow, Cardiff, Birmingham or Leeds. costly through private healthcare. I was Long term partnership diagnosed with early signs of osteoarthritis Our National Organiser, Education and Knowing that I had been suffering with pain in my hip and advised to begin swimming Training, Diane Widdison, has been patiently and stiffness in my hip for a number of regularly in order to keep the condition walking me through all the partnerships she years, Diane very kindly offered to speak to under control. After two years of pain and has painstakingly brokered, over a long BAPAM Director, Claire Cordeaux, to see if uncertainty it was amazing to finally have a period of time, with organisations offering an appointment could be arranged. Just a definitive diagnosis. I have been swimming support to musicians in times of medical or few days later I attended their London clinic for a couple of weeks now and am starting financial need. One such organisation is the to see orthopaedic surgeon, Nikos Reissis. to see real signs of improvement. I am British Association of Performing Arts extremely grateful to Diane, to Claire and Medicine (BAPAM). Best possible care especially to Nikos for their help. Whilst awaiting my appointment, BAPAM is a healthcare charity giving I witnessed BAPAM’s administration team If you are one of the many members medical advice to people working and at work. Their dedication to providing the currently suffering health issues, please studying in the performing arts, through best possible care to patients was tangible. don’t just put up with it. BAPAM are ready to I was even more impressed upon meeting help, providing a free, unparalleled service, Nikos. He was friendly and engaging and delivered by a dedicated and talented team. “Their dedication to showed utter conviction in BAPAM’s The MU is rightly proud to support and mission as specialists in healthcare promote such an incredible organisation. providing the best dedicated to performers. We spoke for almost half an hour about my general health Phil Kear possible care to and the background to my condition followed by a physical examination. Nikos See p42-45 for advice on how musicians patients was tangible.” took the opportunity to convey his gratitude can stay healthy throughout their careers.
The Musician • Spring 2020 NOTICES
MU Notices Vital information on MU business for all our members…
Statutory MU Notices Important news for members…
Members are advised that with effect from • Regional Committees June 2020, the following statutory notices Calls for nominations and election results. will no longer be sent to members by post, See MU Rule III. and will now be available from the MU website at theMU.org • Section Committees Calls for nominations and election results. • S ummary financial statements Available in June each year (the latest full Those members who wish to receive paper Accounts remain available upon request). copies of these communications should contact their Regional Office. • E xecutive Committee election results Available in November each year, except in The publication of the above notices will also the case of a casual vacancy. See MU Rule IV. be brought to members’ attention by email.
Photo: Joanne Dudderidge. © MU © Dudderidge. Joanne Photo: It is therefore important that members ensure 25 The above notices are required under the Union has their latest email address on file. the Trade Union and Labour Relations (Consolidation) Act 1992 (Amended). The Please visit and log into our site at following will also be published on the website. theMU.org to check your details.
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Photo: Dan Pearce. © MU edition of The Musician.
The Musician • Spring 2020 “If we like it and we think our audiences Fair Play Focus will like it, we’ll book it,” says Kim Blyth of The Glad Cafe, a buzzing eatery, venue and cultural hub established in 2016 in the Shawlands area of southside Glasgow. The venue was set up as a social enterprise in 2016, with any profits made going into The The Glad Foundation, a charity that provides local people with affordable music tuition. It hosts gigs six nights a week, with Mondays being reserved for community- based music making.
Glad Cafe The venue attracts national and international touring acts, and is a committed champion of local artists, many of whom secure support slots to the bigger name bands that grace its Glasgow’s popular cultural hub stage. Their booking policy is pretty eclectic. and non-profit social enterprise “The shows we programme are often indie/ alternative, experimental, electronic and folk, fully endorses the MU’s Fair plus some jazz and classical, also,” says Kim Blyth, venue manager at The Glad Cafe. Play Venue scheme… “However, the programme is really varied and we’re not tied down to specific genres.”
Fair treatment Like most venues on the MU’s Fair Play Venue 26 database, The Glad Cafe signed up to the scheme in a bid to help combat the practice of
The Glad Cafe 1006A Pollokshaws Road, Glasgow, G41 2HG
CAPACITY: 120 standing ABOUT: This cafe/venue/cultural hub in the southside of Glasgow specialises Lavinia Blackwall, front in indie/electronic/acoustic and woman of Trembling Bells, experimental music is a regular at The Glad Cafe.
CONTACT: Kim Blyth © Harrison Reid; © Iona Smillie; © Audrey Bizouerne
GETTING A GIG: Artists can email Kim at [email protected] providing a bio and online links to their music © Brothers Good / Shutterstock / Good Brothers ©
The Musician • Spring 2020 FEATURE
Scottish indiepop last on a tour and we love it. It’s relaxed and “If everyone is excited to legends BMX Bandits low-key, and the cafe and green room are have graced the stage make the show happen, easy places to hang if you’re waiting on a at The Glad Cafe. sound-check. There’s a real ethos of it shows on the night.” listening in the venue,” she adds, “and I’ve always found the audiences so warm and Kym Blyth, The Glad Cafe respectful. The sound is great, the food is fantastic, but the people are the best.” pay-to-play. Blyth says she has heard some Working together “worrying stories” from artists of their Like many in the industry, Kim Blyth pay-to-play experiences, particularly from highlights the importance of artists, venues artists who are “quite young and just starting and promoters working together for the out”, and believes the fair treatment of greater good. “Good organisation and clear musicians is paramount to a healthy and communication between venue and artist/ vibrant live music scene. agent/promoter and plenty of promotion,” she says when asked how best to ensure Glasgow has a rich music heritage and its a successful show where band, fans, venue distinctly adventurous and innovative spirit is and promoter all benefit. “Ideally, it’s best if reflected in the booking policy. Blyth says she shows are booked well in advance, leaving is interested in hearing from anyone who is a good amount of time to get the word out interested in playing the venue, and adds that there. If everyone involved is enthusiastic they are particularly keen to hear from artists and excited to make the show happen, it who are pushing boundaries and whose work shows on the night!” is “not necessarily defined by one genre”. To access the Fair Play Venues database, Local knowledge visit bit.ly/2jM4cUq To nominate a venue, Musician Emily Scott of the Glasgow band email [email protected] 27
Modern Studies is a big fan of the venue. “The Reid Harrison © Glad Cafe is a venue close to my heart as well as my home. It’s a bit like base camp for Modern Studies. We often play there first or
The Musician MU Regional Organiser The Venue Manager
ALEX NEILSON, CAROLINE SEWELL, MU KYM BLYTH, GLASGOW-BASED REGIONAL ORGANISER, THE GLAD CAFE, DRUMMER SCOTLAND & GLASGOW “The Glad Cafe has made NORTHERN IRELAND “A comment we regularly inestimable contributions to ”We are delighted to count get from artists is that the cultural life of Glasgow. The Glad Cafe as one of they love how warm As a music venue, its mission our Fair Play Venues. It’s one and friendly the space is. statement was to combine high quality of the City’s favourite small venues That’s something we really pride artists of international renown with and is consistent in its quality and ourselves on. Myself and Joe, our the best local talent. But it’s done so diverse programming. They are not creative director, really try to make much more than that. It provides a afraid to challenge important issues sure that everyone coming into the platform for people of all backgrounds and promote diversity through their space feels at home and our team and abilities to engage with their creative events programming, which of sound engineers work really hard creativity. It’s ceaselessly enterprising showcases emerging local musical to provide the best possible sound, in the ways it does this, providing talent as well as internationally known while making the artists feel looked employment, entertainment and acts, and spans genres and musical after. We’re also really fortunate solidarity for so many, and it is helping styles incorporating indie, electronic, to have lovely audiences, who are raise the self-esteem of the area and world and folk music. This small venue always so attentive at shows and the cultural profile of the country.” packs a serious punch.” create a welcoming atmosphere.”
The Musician • Spring 2020 Free
Since his first lesson at the age of 12, jazz has possessed the young Scottish pianist Fergus McCreadie. But now aged 21 he is broadening his horizons in some style… Profile by Nick Hasted
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The Musician • Spring 2020 PROFILE
Three years after he realised he liked jazz, and they were loving it. I wanted to have that Fergus McCreadie was named BBC Young feeling on stage. Because I was quite a shy Scottish Jazz Musician of the Year. The child. So the idea that I could get behind a pianist was 15 then, and would win the piano and have fun without having to talk to award a second time, as he applied anyone really appealed to me.” monastic devotion to a music that had become an obsession. Now also a 2019 “It took me out of the world a bit,” McCreadie BBC Young Jazz Musician finalist, with a adds. “I was into this very romantic notion of folk-jazz album of limpid beauty and jazz as something that happens in a smoky rhythmic thrust called Turas to his name, club. I was listening to it, and pretending I was at 21 McCreadie is already a significantly in a club in the 1950s in New York. I really liked promising musician, whose open-minded the older jazz stuff then, and I would listen to it evolution as a player paints a healthy and wish I’d been there the first time that this picture of jazz education’s effects, coupled amazing music was created.” with his own gently expressed inner drive. Pianist giants of the past became staging Growing up in a small town called Dollar, posts to his development. “Listening to Fergus absorbed his mother’s love of Oscar Peterson was just like listening to classical and world folk music. “She also put pure happiness,” he explains. “And Bill Evans all this jazz on my iPod, saying ‘You need to expressed melancholy and romanticism. Then listen to this,’ and I thought, ‘Why would I?’ I started listening to Keith Jarrett, and that’s Unfortunately jazz has that vibe in our the piano-player I like the most, and I always 29 Western culture that it’s this complicated will. Because he’ll walk out on stage and he’ll art music. Whereas in reality it can be very have prepared nothing, and go on to make an simple and joyous,” he notes. hour-and-a-half of the most amazing music. He’s a special musician because he lives his Jazz epiphany musical life so intensely. He’s released about McCreadie was 12 when his piano teacher 70 albums and every one’s been really honest. encouraged him to try a summer jazz He’s never bowed to commercialism, and he’s course, and he had his epiphany. “It was the always trying to channel his inner self. That’s first time I ever saw a jazz piano player,” he something I really aspire to, that idea that he’s remembers. “I saw two of them playing a never bowed away from who he is.” piano at the same time, and I knew that was what I wanted to do. From then on my Single minded choice was easy. It was because of their The short period between beginning to play freedom. I just remember looking at them jazz and becoming an award-winner was productively intense, as McCreadie’s Damascene conversion to the music allowed “Jazz has this vibe in little distraction. “On that summer course,” he recalls, “I learned that if I wanted to be able to Western culture that be free, I needed to practise a lot, so I became a complete practice-head. Instead of playing it’s this complicated sports, I’d sit at home and play piano, and practise as much as was possible. Because I art music.” really wanted it, you know? I had a great, Glasgow-based piano teacher called Fergus McCreadie Ewan Stephens, who told me how to play © Morgan Shaw Morgan ©
The Musician • Spring 2020 Live images: Joseph Branston. © MU; Main image: © Morgan Shaw Morgan © image: Main MU; © Branston. Joseph images: Live
Fergus McCreadie: The MU And Me 30 “I’ve been a member of the MU for the last two years. You maybe forget that it’s there, but then when you need it, it’s absolutely there for you in the best way possible. There have been a Regular college collaborators David Bowden and Stephen Henderson couple of times when I’ve been joined with Fergus to create the Fergus sent a funny contract, and I can McReadie Trio (above). have a browse through the MU website and check it. And I can check pay rates. a melody, simple stuff that really helps. And I important for a musician to be informed by “Just the fact that there this is was part of the Fife Youth Jazz Orchestra, and other music, and other creative fields – all a union that has established every Thursday night I got to jam and talk with art should inform the thing you do.” firm amounts that artists should musicians of my own age. It’s a community be paid for the rate of work that thing, jazz. And being in a community that Deep learning goes into recording or playing young was really important.” Leaving his musically sparse small town for a show is great. Glasgow’s Royal Conservatoire of Scotland But jazz soon became a solitary passion. blew McCreadie’s mind open a second time. “I’ve never had to go to the MU “It was just jazz and nothing else,” he says. “It Though studying jazz at first, he couldn’t for direct help, but being part of was almost unhealthy. All I listened to, all I ignore the city’s wider riches. “There was a big this whole British music played, and all I thought about was jazz. It was traditional music scene,” he recalls, “and if I community through it, and just my life. There was stuff at school where I went for a beer with other jazz musicians after having it there as a resource to thought, ‘Okay, this is good. But jazz is better’. college, if there wasn’t a jazz jam on, we’d go go to are incredibly helpful things. It wouldn’t be unfair to say that I was narrow- to a trad session.” A second musical romance I feel that if the worst happens, I minded. I’ve come to believe it’s really now seized him. “If jazz music is the smoky know the MU are going to be club,” he considers, “folk music is the there. Musicians’ careers are highlands pub up in the middle of nowhere, unpredictable, so it’s really where locals play these tunes that are helpful to have.” hundreds, if not thousands of years old. You can hear history in it. I used to jam with
The Musician • Spring 2020 PROFILE
“All I listened to, all I thought about, all I played was jazz.” Fergus McCreadie
that strong, was the point where I thought, this is it. We felt connected to each other, and also to the setting. And that’s something I’ve really strived for since. I want to be connected to not just the music, but where you are and what’s happening that day, in the world and in the audience. When you’re playing and improvising in the right mindset, everything’s connected, and the good stuff happens.”
Memories of teenage walking in the countryside around his hometown were stirred as McCreadie wrote Turas, which means ‘journey’ in Gaelic. “I write music, then wait and meditate on it till a title really makes me nostalgic about that tune,” he explains. “As a family we went to Mull all the time when I was younger, and with the flow of that tune and the idea of waves crashing on beaches 31 and high mountains, and it being peaceful but also tempestuous, that piece became Mull.”
Keeping busy Since graduating in July 2018, being a professional musician has agreed with a folk fiddle player at RCS, Charlie Stewart, comparing poorly to the unschooled originality McCreadie. “I was quite lucky, because who went on to win the BBC Young Trad of the freewheeling, romantic sounds the I was plunged straight into it. At that year’s award. And when he plays, you can hear all teenage McCreadie loved. But his experience Edinburgh Jazz Festival, I had eight different the musicians who came before him.” doesn’t sound so unlike the lessons gigs. I was playing loads.” His trio gig exchanged after hours by the likes of Charlie internationally, and he also plays frequently McCreadie the adolescent jazz absolutist Parker at Minton’s – Harlem’s bebop hothouse with drummer Graham Costello’s band Strata, was history by his second year of college. in the ‘40s. “In its own weird way, it was the and saxophonist Matthew Carmichael. “I started taking classical lessons, practising same,” he agrees. “We had to write essays, folk tunes, and playing covers at functions. and do exams. But that wasn’t our main “It’s become more of an expression of While not the most glamorous gigs, playing focus. The scene itself became the focus.” myself,” he believes. “I wouldn’t say I’m the that very simple chart music of the last 20 Bassist David Bowden and drummer Stephen best at talking. But I feel like myself behind the years was really helpful. Gradually Glasgow’s Henderson were regular collaborators at RCS, piano. That’s it, really. Even sitting playing strong, wider music community made me and obvious choices when McCreadie needed scales is like pouring a bit of myself out. It’s branch out. The big thing was that it was a a band to play at the 2015 Edinburgh Jazz a nice feeling when you give something to community. People were writing music all the Festival. “I write the music, and I suppose I am the rest of the world, and the more you give time, doing gigs, hanging out and talking the leader on paper. But when we play we’re away the more people are going to respond to about music. A lot of my biggest composing all in charge. The music and the common it. I’m always trying to give more of myself and playing influences have been my peers. improvisational thread leads us.” away when I play.” We all lived and breathed the scene.” New direction The academic training that has become The Islay Jazz Festival in 2016 was the catalyst routine for jazz musicians is sometimes for the trio’s future direction. “Something just blamed for highly-skilled uniformity, clicked. That was the first night I did quite a lot that was folk and jazz influenced. Being in such a rural Scottish place where the vibe was
The Musician • Spring 2020 If you’re creating any kind of music for release, sign up to MCPS to ensure you get all you’re owed. Understanding The Work Of The MCPS What does the Mechanical Copyright Protection Society do to ensure that we receive our royalty payments? Report by Neil Churchman
It all began with the arrival of the player- Apple and Deezer the mechanicals generate piano at the start of the 20th century. With as much as the PRS rights. It’s a 50-50 split. songwriters’ income from traditional sheet Miss out on the mechanicals, and you can music facing a threat from a new and miss out on a hefty proportion of your disruptive technology, law-makers in the US potential royalty income. For permanent ruled that piano-roll producers would have to downloads, the weighting is even more in pay composers for the use of their works on favour of mechanicals, with three quarters the upstart medium. Mechanical copyright – going that way and a quarter channelled so-called ‘mechanicals’ – was born. through PRS. For physical sales, the current 32 rate is 8.5% of the price paid per unit by a Fast-forward more than a century, and the retailer to a record label. Other routes to recorded music ecosystem has evolved earning mechanicals include ringtones, almost beyond recognition, from wax covers, soundtracks and karaoke tracks.
cylinders, through vinyl, tape, CD, download © SunnyGraph / Getty Images and now streaming. But mechanicals, and the It’s no accident that many musicians are more principle they represent – that composers familiar with the performing aspect of must be properly remunerated for the sales of royalties, says MU Live and Music Writers living from gigs and DIY CD sales, it may seem their intellectual property – have survived and Official, Kelly Wood. “A lot of people start off in an expense too far. However, if a track thrived. Mechanical royalties are due to the the live arena, doing small gigs and that’s how suddenly takes off it will be money well spent, copyright holder every time a piece of they come across PRS, and they understand because mechanical royalties can be hard to recorded music is reproduced and sold, via the royalties generated in that context. But claim retrospectively. The MCPS has produced any technology. Crucially, mechanical royalties mechanical royalties are often introduced a helpful guide to show how relatively few are payable on streamed music. when you get a publisher or a team around plays can reap the cost of a lifetime you, so it’s not as common as understanding membership. For instance a single play on a Don’t miss out that you need to sign up for PRS,” she says. BBC1 show, six on Sky 1, or five on Radio 1, will In the UK, mechanical royalties are collected all bring in more than £100. and distributed by the Mechanical Copyright Value for money Protection Society, or MCPS. It is part of PRS Paul Clements is chief executive officer of the Fine detail for Music, which, as the name suggests, is an Music Publishers’ Association group, which With more than 27,000 members on its books, umbrella group incorporating the better- runs MCPS. He agrees that mechanicals the society aims to cater for the full range of known performing rights collecting agency, haven’t enjoyed the same recognition as the composers and writers in a fast-changing PRS. On streaming services such as Spotify, more high-profile performance-linked industry. “The vast majority of writers still sign royalties. “Because PRS as an acronym is the up to publishing deals,” explains Paul only word you hear, you associate all royalty Clements. “But we have a growing subset in “Mechanical rights flow with performing rights,” he says. “But the UK who are signing up to us directly for mechanical rights are extremely important administration services.” deliver significant and deliver significant revenues to creators of music, and that’s something we take both revenues to creators.” pride in, and lobby hard for with government.” It costs £100 to sign up for MCPS as a writer. Paul Clements For a budding singer-songwriter scratching a
The Musician • Spring 2020 REPORT
Mechanical Royalties And You
Here are six important factors to consider when you’re signing up for the Mechanical Copyright Protection Society…
• Never underestimate the importance of mechanical copyright. Not bothering about it can halve the royalties you could potentially receive.
• Educate yourself. PRS for Music has an extensive website, full of relevant information for composers and songwriters, and there are many excellent online workshops 33 about copyright.
• Think seriously about joining MCPS as early as possible. An unexpected overnight hit is fine, but not if you are unable to get all the royalties One of them is Anna Neale, a singer and that generates more money than anything you are entitled to. songwriter who also lectures about the music else at the moment. They are where the business at the University of Kent and money is. And they can make the difference • Don’t forget that, despite the Brighton’s BIMM Institute. She says that, for between a sustainable career and an surge in streaming, physical sales DIY-ers like herself, some of the eligibility unsustainable one.” of CDs, vinyl and even tape criteria for MCPS membership can be cassette, still reap impressive obstacles to joining. Those rules require Collect what’s owed mechanical royalties. would-be members to be commercially The MU’s Kelly Wood has another take on the released by a record company that doesn’t importance of mechanicals to the industry as • Make sure that you make use of t belong to them. And those whose music is a whole. She says the cultural significance of he MU’s resources. The Union has reproduced online or on film and television, musicians having access to the full range of experts and lawyers on hand to must provide cue sheets confirming that their royalties cannot be underestimated. “Missing guide you through the complexities music has been used in a production. out on mechanicals income makes it harder of royalties. for people to sustain a career. We don’t want Anna, who has been campaigning for a to end up with just wealthy people making • Even when signed up with a rights simplification of the process, complains it’s music, people to whom it doesn’t matter collector like MCPS, keep a close a “glass ceiling” that can stop independent whether they pick up their royalties or not. eye on where your music appears. artists and writers who want to remain true to You’d end up with quite a different culture – Breaches of copyright inevitably their grassroots from joining. “For instance, I a completely different scene.” occur, and MCPS and PRS can help did radio jingles, and I do library music, and bring offenders – unwitting or not – they never, ever give you a cue sheet. It’s like Find out how you can join the MCPS at to book. trying to get blood out of a stone. There are prsformusic.com/join/writer/join-mcps all these barriers in place, and I don’t think writers understand how important those mechanical royalties are. They are the thing
The Musician • Spring 2020 Phil Boughton. director of the Orchestra and Chorus at Opera North, wants to break down the barriers to the artform. New Horizons For Opera North The Leeds-based company is using its Arts Council funding to broaden its outreach and education work within the wider community. Report by Duncan Seaman
Phil Boughton is a man well accustomed to Now in its third year, it is overseen by Jo the debates going on within the music world Nockels, head of projects at Opera North. “It about public subsidies and the lack of was aimed at extending the reach of Opera diversity in classical music. As director of North and the sorts of people it works with Orchestra and Chorus at Opera North, the and commissions, and the types of music largest Arts Council-funded organisation makers who are able to engage with the outside London, he recognises the Leeds- resources we’ve got here,” she explains. “It’s based company is “an easy target for people funded by the PRS Foundation in part as well, 34 to take a pot-shot at” for the £10m grant it so we thought it would be really important receives, but points to the vast range of work that it was an open call process to attract all it is currently doing to “break down the sorts of people who are outside our existing
barriers and this mystique that opera seems networks of artists and contacts to get Arber;© Tom © Justin Slee to have still, even within the wider industry”. involved with our work.”
Key to that strategy, Boughton says, is Opera Free rehearsal space and grants to cover Two of the most recent projects have involved North’s outreach and education work, which fees up to £3,500 are offered as part of the rapper Testament’s musical telling of the story is aimed at embedding the company in the residency. Opera North receives between 25 of Shirley Chisholm, the first black woman to community, “be that with schools, be that with and 30 applications per year, with five or six run for the US presidency, and jazz singer community partnerships, because we want residencies on offer. Applications are open to Nishla Smith’s song cycle about her great aunt people to understand the benefit of an opera musicians from the North and Midlands, and in 1930s Malaysia. The Resonance programme, company and what that can do”. judged by a panel from Opera North as well Smith says, “combined extensive support and as artists who have previously undertaken resources with the freedom to push myself Extending the reach residencies. “So it’s a panel which is 50% and explore new ideas”. It also extends to programmes like Resonance, peers and that’s been amazing,” says Nockels, which is specifically aimed at encouraging “because it gives us a different perspective Clear goals BAME artists to engage with the company and real musical expertise from those people.” “When we worked with Testament,” Nockels through residencies. Resonance offers says, “he’s had shows on at Manchester Royal professional musicians and composers the Extensive support Exchange and the Leeds Playhouse. He was opportunity to develop new ideas, collaborate Nockels says that Resonance works with very clear about what he wanted to achieve with performers from other disciplines and to a “really broad” range of musicians. “I guess with the week, and he knew where he was take their work in new directions. it’s for early to mid-career artists. In any given going with the project after that. In a way it year we tend to have a mixture of people who was space and time and the resources to are maybe doing their first project as an really develop the project that he wanted “We want people to independent artist, and people who are to do, but it was the first time he had really established and need the residence for written musicals so we teamed him up with understand the benefit a particular project. It’s quite varied the Jim Holmes, who conducts opera here and amount of experience that the artists have, musicals. They did a session on the structure of an opera company.” and we can do that because it’s so artist-led of musicals.” that we can just respond to the individual Jo Nockels needs of that person.”
The Musician • Spring 2020 REPORT
New Space
Opera North is currently in the midst of an £18m Music Works redevelopment project, which will double the number of performances in the Howard Assembly Room, create a separate entrance to the venue, away from Leeds Grand Theatre, and improve public access. It is due to open in 2021.
Jo Nockels says the changes represent a huge opportunity to open up Opera North to Leeds and to have activity in lots of 35 spaces at the same time. “I can feel it becoming a real hub of lots of exciting activity. Practically speaking, we’ll have more time in the Assembly Room to make Testament, in turn, credits the support he Some of the artists in the Resonance more work and there will be other received to being “key for my development programme have gone on to have a greater spaces in the building where in the world of musical theatre”. involvement with Opera North. Nockels community groups can work says the company is in the final stages of and where we can develop more Nishla Smith’s project “was a different sort producing a concerto for sitar and orchestra, residencies. It feels like a big of thing”, says Nockels. “It was the first time with Jasdeep Singh Degun. The award- change on the horizon.” she had moved across from being a singer winning sitarist participated in one of the first and a writer of music into staged work. So we batch of residencies, and then came up with Charlotte Perkins says: “Our were quite hands-on with that project and an idea that was too large for a residency. pupils will be using that space quite involved in going to our store so she “So it ended up as a commission from the regularly as well. We audition could raid our props, and working with our Orchestra here,” says Nockels. “We want to children from In Harmony every technical manager from the Howard do that, to build people into the work of the year to join the Children’s Chorus, Assembly Room all week on how to do company deeply in the longer term.” or some of them will take part in projection mapping of the visuals that the future orchestral activity. It’s a artist she was working with had made.” The next group of residencies will take place huge strand of work that’s going in March and April 2020. “We’ve got a really to be developed within the new Greater involvement exciting batch of people coming to work here building so we’re hoping that with Opera North went on to support a second this year,” says Nockels, “from all sorts of the appropriate concerts and the residency with Nishla Smith, run jointly with backgrounds and kinds of music, from soul to appropriate programmes that they the Leeds Playhouse. This developed into South African music to Coptic Christian song will be involved there as well.” a full production that was featured in the and Arabic music.” Leeds Playhouse’s Furnace Festival. In harmony Central to the ethos of Opera North is its education outreach work within the local community. The company’s largest
The Musician • Spring 2020 Marie Claire Breen in Opera North’s Big Sing Wonderland Restored. “We’ve got a really exciting batch of people coming to work here this year.” Jo Nockels
programme is In Harmony Opera North, which remove many of the barriers which might aims to deliver an inclusive programme of high put some of our pupils off pursuing their quality music education and performance learning as far as they’d want to.” opportunities to encourage young people from all backgrounds to engage with the arts. Schools project In Harmony is targeted at schools in some of Launched in 2013 with funding from the the most socio-economically disadvantaged Arts Council and the Department of areas of the city, where the community is also Education, In Harmony Opera North has very ethnically diverse. One of the schools has centred on the children and community of over 40 different languages spoken within it. Windmill Primary School in Belle Isle, south Leeds. It is now resident in six schools in Perkins hesitates to say whether Opera North south and east Leeds: four primary schools, is effectively filling a gap in music education an alternative education provision, and a that the schools themselves have been unable secondary school, The Ruth Gorse Academy, to provide due to cutbacks. “I think it’s slightly which many of the pupils from the primary more complicated than that,” she says. “In schools go on to attend. Harmony is so embedded within the schools it works in that our aspirations go beyond Charlotte Perkins, In Harmony Opera excellent music education. It’s about the North manager, says: “Now that pupils at whole of a child’s development, the entire 36 the Ruth Gorse Academy are able to attend school, and its wider community.” the extra-curricular orchestral and choral activity that In Harmony Opera North provides Not every school would want or need a there, we can take them from their first programme such as In Harmony, Perkins on the governing body for the schools it exposure right through to a more advanced acknowledges, but she says they should have works with and contributes to setting the engagement with music, allowing those the facilities to teach music and the arts well. direction of the schools’ vision. who are really enthusiastic and committed The scheme works in schools with high pupil to take their musical journey as far as they premium levels, and they pay for it using some Richness and aspiration can. The fact that it’s easy to access, being of that money from the DfE. Opera North sits Twenty-five music specialists are now based in a secondary school at the end of employed to deliver the In Harmony the school day, and that it’s free, helps to programme in schools, working with children from Nursery and Foundation level upwards. Every pupil at the school takes part, including those with special education needs and Opera North’s In Harmony disabilities that attend resourced provision. initiative is targeted at schools in disadvantaged areas. From the age of seven pupils learn one of nine orchestral instruments, which are provided by the programme. They also sing in a choir weekly. Musicians from the Orchestra of Opera North go into the schools on a regular basis.
Orchestra workshops Perkins says: “When we launch in a new school the Orchestra will come into the school to introduce the art form, and will run a series of workshops for the children, so they are able to be exposed to the different instruments and the different sounds of an orchestra. Regular performance is an important part of the
The Musician • Spring 2020 FEATUREREPORT
Broad Scope Initiatives to broaden diversity in the classical music world are welcomed by the Musicians’ Union, says Matt Wanstall, Regional Organiser for the MU’s North of England Region, especially if they help overcome suspicion about the amount of public funds directed towards companies such as Opera North.
“I think when you look at the range of other projects they do, particularly when you look at Resonance and In Harmony, it’s really important that people understand the relevance of that work and the barriers it’s trying to break down,” he says. “From an MU point of view, I think it’s hugely positive. Within classical music as a whole, diversity is a huge issue. When we look at the new Arts Council ten-year plan, as expected
All photos: Arber © Tom that’s very much a part of that, 37 and I think it’s important not just for opera companies but for music programme. At least once a year they’re doing For Phil Boughton, addressing the issue – across the board, in terms of a high profile concert somewhere like Leeds recently raised by the cellist Sheku Kanneh- representing the changing make- Town Hall, and they’ll also perform more Mason – about encouraging greater diversity up of our communities.” frequently at settings within their local in classical music will take time, but community, often alongside members of programmes such as In Harmony are leading Matt accepts the high cost of the Orchestra or Chorus of Opera North.” the way. “It’s a slow burn,” says Boughton, learning an orchestral instrument who in his younger years was himself a is a barrier for children from Schools that have taken part have witnessed beneficiary of Humberside Council’s “fantastic disadvantaged backgrounds improvements in discipline and behaviours for music support service”, with free peripatetic but adds: “When you look at learning across the board. “It’s so hard to be music lessons that helped him get grade eight diversity within music generally, able to attribute that improvement to any one distinction in trombone. and classical music particularly, thing,” says Perkins, “but we monitor and it’s not just socio-economic, it’s evaluate rigorously and have seen increases “A lot of work has been done. Conservatoires’ also about how you identify with in academic results in the schools that we recruitment and diversity figures are much certain types of culture.” work in. We have a lot of feedback from better than they were ten or 15 years ago, but teachers and from school leaders about the still a lot of students that go through those “I think that’s important change in focus and resilience, particularly places are from a similar background in where you’ve got the current within pupils in the school settings.” socio-economic terms. I think it’s as much practitioners and artists, like a socio-economic issue as it is an ethnicity with the Resonance programme Diverse talent pipeline diversity problem, because if you can’t afford where you’ve got younger Longer term, the company hopes that it you don’t do it, regardless of the colour of artists making a breakthrough, In Harmony will provide a diverse talent your skin or your beliefs or outlooks, and you’ve got programmes that pipeline for Opera North. It recently appointed that’s where In Harmony has the opportunity are specifically connected and Murray Grieg, the orchestra’s previous to level the playing field significantly.” appeal to them. Also you’ve got principal trumpet of 30 years, as head of interesting subject matter; it’s not instrumental learning “to look at how we just run-of-the-mill stuff. That is can support our exceptional team of music part of opera and classical music educators to be able to lift those results even remaining relevant.” higher,” says Perkins.
The Musician • Spring 2020 Mark Lewis with his ingenious Chadwick folding Tools Of double bass. The Trade Double bass player Mark Lewis shares tips on how to work with his instrument… Report by Katie Nicholls
Double and electric bass player, music producer and filmmaker, Mark Lewis, clearly has many strings to his bow, hopping between tours, documentary making and mixing and mastering for a variety of artists. 2020 is looking busy with a tour of Australia with Grammy-nominated soul singer, Yola, a raft of UK shows with Americana artist Danni Nicholls and a stint with rising roots star Elles Bailey. As well as time spent with his own 38 band, the Chorlton Country Club. © Adam Birkett Photography Mark’s duties with Yola are, in the main, on double bass, rather than electric. With an upright standing proud in the region of six feet worry about it in the back of a van… It’s been double bass bridge just sits under tension – tall, touring can pose some interesting issues. a game changer because if you want to fly and the bridge collapsed on the last song of with a double bass you need one of those the set. It went ‘bang!’ like a shotgun and you Size matters giant, seven-foot tall flight cases, or in the could just hear it fold to the floor. The whole “I’ve got a double bass that folds up, which past you used to book seats for them and room was in shock.” means ease of travel.” More commonly seen in put them in upside down.” America and Canada on the Americana scene, A case in point Marks tells us that they’re made “by a guy in Take it to the bridge Mark says that the majority of fix and repair Nashville. It’s called a Chadwick folding bass Considering the size and heft of a double duties are focused on the case, rather than and mine’s serial number 511 so there’s bass, it’s somewhat surprising that Mark the instrument. “Cases are very important. a reasonable amount of them in the world. reveals that the upright requires very little in Get decent quality cases that you can trust. All of the bits of the bass are stored inside. terms of repair. Aside from watching for loose When the case gets a bit bashed about by The finger board comes off and that goes in connections on the pick-up, keeping an eye airlines, or general use, it needs fresh a holder inside the case. The end pin has a for wear and tear on the bridge feet and fibreglass. My dad used to have a boat made specific holder inside, and the neck, when it stashing a spare bit of gaffer tape in the of fibreglass, so he got some rolls of fibreglass folds in, that’s got a spring-loaded clasp that pocket for rattling tuning pegs, it seems to be tape and a resin and we put these layers of goes around it. It’s all designed to be securely a low-maintenance instrument. In fact, Mark tapes on the inside to shore it up. We’ve done held in place so it can take a bit of a beating only has to change the strings every two it a couple of times over the past few years. from the luggage handlers! You don’t have to years: “They get better with age.” I’ve met a bluegrass player who said he was on his third case so I’m going more for an It’s not been an entirely incident free ride: approach of maintaining.” “Cases are very “The one time that I did rent a folding bass it was in Nashville for the last Americana fest. For more information on Mark’s work, and important. Get It was a bit more road worn and there was links to his Chorlton Country Club project, something wrong with the bridge feet, so go to markylewisproducer.com decent quality every time I put this thing together it was like the bridge was toppling over. When it came to cases you can trust.” the actual show, I managed to get it to sit – a
The Musician • Spring 2020 FEATURE Why I Joined The MU We asked three musicians why they joined the Union and why they treasure their membership.
39 KATE THOMAS OSCAR YORK ANNETTE WALKER Why did I join the MU? In all honesty? It was I joined the MU because I chose to pursue “I had known about the MU for some time, for all the insurance! But then I got to know music professionally, starting as a music but only recently contacted them when you a bit better and now I seriously student this year at Southampton I had some queries regarding an unusual wouldn’t be without you! I have really University. I realised the MU would help me dancer-musician recording contract. benefitted from all your networking events, achieve my ambitions faster and better by Their advice really helped me with the workshops and advice from your providing connections, legal support, finer details, and I was able to see the specialists. After attending a workshop access to insurance for my instrument, and benefit of their support. So I decided to join, that you had on sync I got back in touch advice to build my career, which is essential not only for my work as a pianist, but also with the guys from Music Gateway, who for a young musician. I grew up in London, for tap dance projects. There are times ended up taking me to the Midem music and every time we were in the West End we when my tap work is more musician-based conference in Cannes – so I certainly don’t would end up wandering down Archer than dance, and I hope to be able to pave regret joining! I feel supported and strong Street, and I would hear my dad recount the way for others to recognise the which is of paramount importance for an stories of my great grandfather picking up relationship of tap dance as a percussive independent artist. So I say thank you and gigs there, and about the venues in Soho instrument within a band.” bring on the next workshop! where my dad and grandfather played. So I am the fourth generation of members of Annette is a dynamic and multidisciplinary Kate Thomas is a London-based singer-songwriter the MU in my family, and look forward to performer who has been in a variety of shows, who performs regularly at jazz, roots and world receiving the support that is so invaluable from theatre, circus and dance, to television, music venues in and around London playing her to someone like me who is just starting out. film and the concert stage. With a background eclectic blend of jazz, Latin and world music. Kate in classical piano, she completed a Diploma in is currently performing her show A Journey Oscar York is drummer from London. He is Jazz and Popular Music at Goldsmiths, and often Through Bohemia, which is a place where both currently a music scholar at Southampton plays in bands. As a tap dancer specialising in standards and original music meet. She received University. He has played around London with jazz improvisation, Annette featured in the BBC support from PRS for Music to perform at the young, British Indie pop/rap artist Arlo Parks Proms 2019 Duke Ellington’s Sacred Music concert ASCAP Expo in Los Angeles. Most recently Kate and is currently about to start playing with the at the Royal Albert Hall. She regularly hosts the released a nu-jazz single How Did I Get Back Here Southampton-based band, Myriad. In music Renegade Stage workshop at the London Tap Jam Again that is currently piquing the interest of jazz education, he promotes RSL Awards exams and and is passionate about the connection between radio stations and publications. You can find out recently has done workshops in Greece and dance and music. Find out more about Annette’s
more here: katethomasofficial.com Singapore. For further details: oscaryork.com work at: annettewalker.co.uk © Louise Nornes; © Elaine Bancroft; © Irven Lewis Photography
The Musician • Spring 2020 MUSIC INDUSTRY ACRONYMS As musicians, we are bombarded with seemingly endless lists of letters and numbers on a daily basis. But what do they all actually mean?
The world of industry is awash A&R – Artist and Repertoire with acronyms, some useful, The person whose job it is to find new talent, others verging on pointless, and be the artist’s contact at the company.
and the music profession has © hobo_018 / Getty Images more than its fair share. Here AAC – Advanced Audio Coding are some of the most common An AAC file delivers a better quality sound at acronyms that musicians may a similar file size, but still doesn’t challenge BPI – British Phonographic Industry 40 encounter in the course of their the MP3 as the standard digital music format. The trade association of the UK’s recorded daily working lives… music industry. ABO – Association of British Orchestras CAE – Composer, Author and Publisher AFO – Association of Festival Organisers A nine-digit unique identifier, used to identify rights holders. AIF – Association of Independent Festivals CISAC – International Confederation of AIFF – Audio Interchange File Format Societies of Authors & Composers Apple’s version of a WAV file. CO – Change Over AIM – Association of Independent Music COBO – Care Of Box Office AL – Artist Liaison CRM – Customer Relationship Management ATA Carnet – Admission Temporaire/ Temporary Admission DBS – Disclosure and Barring Service A legal document enabling the temporary importation of equipment to countries without DI – Direct Input/Injection paying customs duty. EAN – European Article Number BACH – British Association of Concert Halls A European barcode that has one extra digit over a UPC (Universal Product Code). BAME – Black, Asian and Minority Ethnic EqA 2010 – Equality Act 2010 BAPAM – British Association of Performing Legislation that protects people from Arts Medicine discrimination in the workplace and in wider society. BOC – Box Office Commission EPK – Electronic Press Kit
Es&Ds – Extras and Deputies
The Musician • Spring 2020 ADVICE
MUPS – MU Pension Scheme
NPO – National Portfolio Organisation Arts Council-funded bodies with a collective responsibility to protect and develop England’s national arts and cultural ecology.
PDs – Per Diems Daily expenses payments.
PLI – Public Liability Insurance
PPL – Phonographic Performance Limited An organisation that collects revenue for those who own the master recordings of a song and the performers on it.
PRS – Performing Rights Society PRS for Music collects songwriters’ and composers’ royalties from radio, TV and online broadcast, as well as live performance. You’ll have to hope that the TM has ensured that FOH have sorted out the IEMs in the S/C. P2P – Peer to Peer Platforms that enable the transfer of data between two computers over the internet.
FLAC – Free Lossless Audio Codec ISWC – International Standard Work Code PRO – Performing Rights Organisation A lesser-used digital media file type. An eleven digit alphanumeric code given to Organisations that look after your performing 41 each song registered to any PRO worldwide. rights and all the information that pertains FEU – Federation of Entertainment Unions your individual songs. KBPS – Kilobits Per Second FIM – The International Federation There is usually a number preceding this RSM – Royal Society of Musicians of Musicians acronym, and the higher the number the The global organisation for musicians’ unions better, or larger, the quality of the file. S/C – Soundcheck and equivalent representative organisations. LC – Label Code SOLT – Society of London Theatre FOH – Front Of House A four or five digit code given to a record label to identify who has released a given record. TM – Tour Manager GBOR – Gross Box Office Receipts LGBT+ – Lesbian, Gay, Bisexual, UPC – Universal Product Code ICE – International Copyright Enterprise Transexual plus A specific type of barcode widely used for An organisation with the collective aim of The + is an inclusive way of representing the tracking products in stores. developing the world’s first integrated music range of sexualities and gender identities copyright, licensing and processing hub. included in the community. VPL – Video Performance Limited Part of the PPL, VPL is the organisation that IEM – In Ear Monitors LX – Lighting collects royalties for artists whose work is broadcast on TV and video channels. IFPI – International Federation of MCPS – Mechanical Copyright the Phonographic Industry Protection Society WAV – Waveform Audio File The organisation that collects and distributes IP – Intellectual Property mechanical royalties on behalf of its members. This is an initial guide to acronyms in the industry. A more comprehensive list will be IPI – Interested Parties Information MHHS – Musicians Hearing Health Scheme available online at theMU.org – if you would Identifiers used to identify rights holders. like to recommend any entries, please email MMF – Music Managers Forum [email protected] ISRC – International Standard Recording Code MPA – Music Publishers Association A twelve digit alphanumeric code given to every registered song internationally. MPG – Music Producers Guild
The Musician • Spring 2020 42
© Furtseff / Getty Images Musicians shouldn’t help if they need it. need they if help be afraid to ask for for ask to afraid be ADVICE
A GUIDE TO: STAYING HEALTHY The life of the musician means that they often put off health and wellbeing issues until it’s too late. Andrew Stewart provides tips on how to stop that happening…
A career in music, viewed from the outside, help musicians find the most appropriate can appear blessed. Yet for many on the support. BAPAM, for instance, offers free “We’re often the first inside its spiritual and occasional material clinics to professionals in the performing arts, rewards can easily be hijacked by workplace- while the RSM can provide financial help in port of call for people induced anxiety and depression, the pain of tough times. “Getting a combination of who are in a bad place.” performing while injured, addiction, concerns funding and support from these organisations about money, or worries about finding the can make a massive difference,” she notes. Diane Widdison next gig. Musicians were once expected to suffer in silence, an odd condition given the Self care very audible nature of their profession. The MU is a founding partner of the Musicians’ Hearing Health Scheme, which offers practical Growing awareness of the burdens affecting The days of telling someone trapped in the assistance to anyone concerned about musicians has inevitably increased demand 43 headlights of stage fright or mired in hearing loss in the workplace. The scheme’s for clinical and other interventions. From depression to ‘stick it on your face and blow’ package of audiological assessment and ear 2018 to 2019, BAPAM saw a 40% increase in may not be completely over. But recent check-up, and set of custom-made, specialist patients, part of a long-term upward trend. campaigns to address mental health problems musicians’ ear plugs, together worth over “We will need to do more in future,” observes and raise awareness of wellbeing at work are £250, is available to Union members for only its director, Claire Cordeaux. “Part of that will beginning to eclipse old prejudices against £30. Those experiencing symptoms of focal be about teaching people techniques to help anyone unwilling to ignore red-flag warnings dystonia or a repetitive strain injury, themselves. Many live with and manage from body or mind. meanwhile, should find relief through BAPAM, chronic conditions once they’ve learned whose clinical pathways exist to treat the how to recognise the warning signs and The MU is alive to the many threats to the health of performing artists. know what to do about them. We want to health and wellbeing of its members, from the help people prevent problems before they strains of working harder well beyond the time BAPAM also has a number of help resources escalate into career-threatening conditions.” when past generations would retire, to the on its website to advise musicians on how pitfalls of the touring lifestyle. The Union has to keep in peak condition even when the Ask for help forged partnerships with four organisations demands of the job make this difficult. For “We’re working with Music Support to provide able to help individuals address problems long example, the charity suggests ways of looking bespoke mental health first-aid training for before they spiral out of control, and provide after yourself on tour and how to maintain musicians,” reports Diane Widdison. The first expert advice or financial support at times a work life balance. BAPAM has also started sessions were held at the end of January and of crisis. The quartet comprises the British producing guidance for organisations and are set to expand as part of Music Support’s Association for Performing Arts Medicine practitioners on a number of issues that affect extensive national programme of workshops (BAPAM), Help Musicians UK, Music Support musicians, such as hearing conservation, and training. “People are more open to and the Royal Society of Musicians (RSM). vocal rehabilitation, and mental health and recognising they need help and sharing their wellbeing services, which again are really concerns. Music Support’s approach means “We want as many people as possible to know useful for ensuring members are signposted there’s always someone ready to listen.” what they offer,” says Diane Widdison, the to the correct services for treatment. MU’s National Organiser – Education & Help Musicians, formerly known as the Training. The Union, she continues, works to “We’re not experts in mental health at the MU,” Musicians Benevolent Fund, has listened to says Diane, “but are often the first port of call and helped thousands of musicians since for people who are in a bad place. That’s why it’s so important that we can refer our members to our partners.”
The Musician • Spring 2020 Musicians can be liable to all manner of work related issues, from hearing trouble to mental health issues to physical strains. © South_agency / Getty Images; © Joanna Dudderidge Joanna © Getty Images; / South_agency ©
ERIC MTUNGWAZI Managing Director, Music Support
“Music Support’s helpline is open to any musician, from any genre, every day during core office hours. We have a 44 pool of a dozen regular helpline its foundation almost a century ago. Its Help Musicians has seen evidence of a shift volunteers and around 20 who promotion of health and welfare has been in culture, with musicians taking greater run our Safe Hubs backstage strengthened in recent years by the launch of responsibility for their wellbeing. “We at music festivals, where the Musicians Hearing Health Scheme and the understand that the challenges musicians artists and crew can speak pioneering Music Minds Matter programme. face in their career and personal lives are confidentially about anything. often interconnected,” Gevaux observes. Our trained volunteers have The latter grew from a 2016 study “We look at what a musician needs as a whole, personal experience of the commissioned by Help Musicians from the through an integrated programme of support music industry and of the issues University of Westminster and MusicTank. incorporating health and welfare and creative that Music Support covers. Anyone reading this article concerned about funding. This person-centred approach There’s real power in peer- their mental health may be surprised, then means we can provide support that’s tailored to-peer support and a story reassured to discover that they are not alone: to suit individual need, spanning creative, of hope that comes from the over 71% of the 2,211 self-selected respondents business, health, and welfare issues. We authenticity of our volunteers’ to the Music Minds Matter survey reported an continue to develop preventative support to experience and ability to listen.” experience of panic attacks or high levels of improve working conditions, sustain careers anxiety. Over two thirds, meanwhile, reported and create positive change for musicians.” “People now wonder why experiencing depression. we didn’t think of a mental Act early health and addiction support Help Musicians collaborates across the BAPAM connects performers with clinicians helpline for musicians before. industry to support musicians and those who from a broad range of backgrounds, whether There’s been an increasingly work with them. “Our partnership with BAPAM surgeons and general practitioners or good dialogue over the past provides a range of health services, including physiotherapists, psychologists and year with different welfare a healthy touring package for wellbeing on psychotherapists. The charity offers free and benevolent organisations tour developed through the Do It Differently clinics in London, Glasgow, Cardiff, around how we can work fund for independent musicians,” notes Claire Birmingham and Leeds to those who make a together and make it easier for Gevaux, director of programme at Help proportion of their living from the performing those who need help to get it.” Musicians. “Most recently we supported an arts, or are studying to become performing initiative that will see mental health first aid arts professionals. Its clinicians are qualified training being delivered across the industry by the charity Music Support, which is a very positive step towards building a safer working environment for musicians.”
The Musician • Spring 2020 ADVICE
“People are more open Essential to recognising they need help and sharing Contacts their concerns” Your first ports of call for health advice Diane Widdison
British Association for unexpected costs in old age and funeral Performing Arts Medicine expenses, and helps ameliorate hardship (BAPAM) arising from being unable to work. Its 7 – 9 Breams Buildings, assistance, delivered in confidence, also runs London WC1B 5HJ to counselling, financial advice, rehabilitation bapam.org.uk or making referrals to specialist practitioners. For health-assessment clinic Diane Widdison, MU appointment bookings, or to register National Organiser, Education Financial help for free with BAPAM: 020 7404 8444 & Training, (above) highlights The RSM’s chief executive Charlotte Penton- the broad range of assistance available to musicians. Smith notes that small grants disbursed at the right time can prove life-changing. “Paying for Help Musicians a few sessions of hand therapy could prevent 7-11 Britannia St, London WC1X 9JS an injury from ending someone’s career. It helpmusicians.org.uk makes good sense to help musicians return to 020 7239 9100 work quickly and efficiently. We will do all we Health & Welfare for working can to get people back to work. If they can’t, and retired musicians to diagnose problems and refer individuals for we can help them change career or, where [email protected] 45 appropriate treatment through the NHS or appropriate, prepare for retirement.” A new other specialist individuals or services. partnership with BAPAM, she continues, is set to examine the Society’s approach to case Help Musicians NI Claire Cordeaux explains that treating work and determine how they can enhance Oh Yeah Music Centre physical, psychological, vocal and hearing each other’s work. 15-21 Gordon Street, Belfast BT1 2LG problems is central to the charity’s work. 028 9023 3162 “We see a group of people that most GPs The vocational nature of being a musician, would never see as a group,” she observes. where an individual’s identity is so “We concentrate on providing the pathways fundamentally defined by their calling, can Help Musicians Scotland they need to reach the right specialists, be both blessing and curse. “People are The Briggait, 141 Bridgegate receive the right diagnostics, and provide their absolutely dedicated to their art,” notes Glasgow G1 5HZ doctors with context for why it’s important Penton-Smith. “It can be devastating to find 0141 404 9502 they should receive specific treatments. Our that they can no longer sing or play. We’re able clinicians report back on many problems that to provide long-term financial assistance to could have been avoided so we can develop those whose health conditions mean they will Music Support our work around health promotion.” never work again.” The RSM, she adds, often 69 Caversham Road, London NW5 2DR directs applicants to Help Musicians for musicsupport.org Founded in 1738, with Handel and Arne among careers advice, a service informed by Helpline number: 0800 030 6789 its early members, the Royal Society of compassion for anyone forced to let go of Head office number:020 39486777 Musicians offers financial assistance and that which has determined their sense of self. advice to British-based musicians. The charity recognises the precarious nature of freelance “Although each of the charities and Royal Society of Musicians life and responds to requests from those in support organisations for musicians has a 26 Fitzroy Square, London W1T 6BT need. It makes grants to professional different focus,” Charlotte Penton-Smith royalsocietyofmusicians.org musicians, whether active or retired, others concludes, “by working together and sharing professionally involved in the world of music, knowledge I believe we can deliver the best or their families and dependents. The help possible and be a great force for the WE ARE HERE TO HELP Society’s investment capital and income music profession.” If you have any issues with health and from annual membership fees, bequests and wellbeing in your work please contact fundraising generates sufficient cash to cover, your MU Regional Office. For contact among other things, healthcare costs, details please see p2 of this issue.
The Musician • Spring 2020 ASK US FIRST It is in the interest of all MU members to read this list carefully. If you are offered any work or agreements by any of the parties listed below, please consult the MU contact shown before you accept. Where no specific MU contact or office is listed, please contact MU In-house Solicitor Official Dawn Rodger on020 7840 5516 or email [email protected]
— Achim Holub — Jan Mulder / Miller Music USA — The Parrot / Nicky Caulfield The latest Jamie Pullman 020 7840 5532 — The Akademia Phil Kear 020 7840 5557 edition of the Jamie Pullman 020 7840 5532 — Jonathan Gilbert — Oren Rosenblum — The Convent / Matt Roberts / aka Jonny Gilbert Barry Dallman 0161 236 1764 Ask Us First Charlotte Roberts / Sam Jordan 020 7840 5553 — P roductions at Southwark list can be August Templar — London Community Gospel Playhouse obtained from Jamie Pullman 020 7840 5532 Choir / MVLS Records — Ross Dorrance — Earcandy Geoff Ellerby 020 7840 5559 t/a Skinny Music the ‘Advice & Natalie Witts 020 7840 5552 — London Music Centre Sam Jordan 020 7840 5553 downloads’ — Fest Camden (teaching agency) — Thomas Simmonds Natalie Witts-Kilshaw section by Ben Benson 0121 236 4028 — Steve Robertson / Good Times 0207 840 5552 — Gatecrasher Classical Limited Roll Ltd / Escape From Reality logging into / Rampant Lion Music Limited / — MB-Xperiential Limited / Ltd / Hi Res Agency Ltd theMU.org Simon Raine Thrall / Scott Bond Guildford Jazz Festival Ben Benson 0121 236 4028 Sam Jordan 020 7840 5553 Ben Benson 0121 236 4028 — Tom McLean / Cherry Pie Music — Geronimo Festival / — N eil Eckersley / Speckulation Chris Walters 020 7840 5554 Geronimo Events Ltd Entertainment Ltd / Ben Benson 0121 236 4028 Wonderland the Musical Ltd 46
MU STANDARD FOREIGN CONTRACT CONTRACTS CLAIMS ADVISORY SERVICE
Members are strongly advised Members are strongly advised Throughout their professional to obtain written confirmation to submit written contracts for life, musicians are often required to of all engagements. professional activities abroad enter into complex and often long- to the Union before they are term agreements. The MU produces Standard entered into. Contracts for engagement and It is vitally important that musicians these are available from your When undertaking professional receive expert advice on the terms Regional Office or attheMU.org activities with a contracting party and implications of such contracts. based abroad, members are This service could be obtained, at Members should always use an also reminded that they ensure a cost, from one of the many MU Standard Contract, wherever fees are paid upfront before the solicitors who specialise in music possible, as these will provide contract is performed and that an business matters. evidence of the conditions of an advance is obtained against any engagement if a dispute arises. future royalty payable. However, MU members may be invited to enter into an agreement The MU cannot always assist if a Members should be aware that while not having the means to pay contract does not cover you. Where requests for legal assistance in for such legal advice. To cater for MU contracts are not used, written relation to claims abroad must such circumstances, the MU offers evidence is essential. A letter or be considered against the MU’s members a Contract Advisory note should specify the date, time criteria for legal assistance. Such Service (CAS), which, in the vast and place of the engagement, the claims are often not cost effective majority of cases, is available at no fee, and that the engagement is to pursue and if no upfront cost and grants up to an hour of our subject to MU rates and conditions. payment is obtained, members specialist solicitor’s time. Please The letter or note should be signed may remain completely unpaid for contact your MU Regional Office for by someone authorised to do so. their services. further information.
The Musician • Spring 2020 REVIEWS To submit an album The Musician, You should also forward We try to help as many or download track for 60-62 Clapham Rd, your cover artwork and/ members as possible, review, send recordings London SW9 0JJ or or photos (minimum and preference is given and PR material to: email TheMusician@ 300dpi resolution) to: to members not theMU.org [email protected] previously reviewed.
Reviewers: Keith Ames, Roy Delaney and reviews Clive Somerville A look at some of the new albums, EPs and downloads released by MU members for 2020, together with links for more information on the featured artists.
47
CHRISTOPHER HOLLAND © Mark Helm
hris is best known as the keyboard player in the Jools Holland’s CHRISTOPHER Rhythm and Blues Orchestra where he can be found skilfully HOLLAND Golden Hour supporting his bandleader brother. Since 1999 he has been releasing a series of delightful albums under his own name and generating Chris’s latest album boasts superb C deserved acknowledgement of his tasteful writing and artistry. songs of English summertime Sunshine, good vibes and an overwhelming feelgood setting. Chris says, “I loved creating delicacy and mature feeling of positivity are delivered with every this album. I wanted to try and capture the reflections on life, track, especially on the stand-outs Beautiful sound and feel of some of those beautifully love and imagination. Fantastic Planet and the co-write with Chris crafted songs from the mid-70s to the early Echoing the classic Difford, On Blackheath. Meanwhile Hotter 80s era. That was the music that I grew up easy listening sounds Than The Sun is surely the missing classic listening to and it has inspired me ever since. of the mid-to-late-70s. from the summer of 1976 with its upbeat But Golden Hour is all about the future as well christopher arrangement, memorable harmonies and as referencing what has gone before.” hollandmusic.com
The Musician • Spring 2020 classical acoustic rock
DARRAGH ROBIN MICHAEL EIRA LYNN JONES MORGAN & DANIEL TONG Forgotten Dreams & JOHN TILBURY Complete Works Morton Feldman For Cello And A truly magical For John Cage Piano collection of harp MATT GUNTRIP solos, in memory of Archaeology Morgan (violin) The duo have created fellow player Helen Of Love and Tilbury (piano) an atmospheric MacLeod, recorded in interpret Morton double CD of Stockport’s St Thomas Guntrip takes a Feldman’s sparse Beethoven’s works Church. As head of harp temporal look at work refreshingly from across his at the Royal Northern love for his latest well. Abstract and lifetime, on period College of Music, Eira accomplished cinematic, this work instruments: Michael chooses pieces that offering, with help creates evolving on a cello and Tong inspire her students, from the fine, textures with a on a fortepiano. alongside paeans to soaring vocals of feeling of stillness. Magnificent. the Scottish Highlands. Cloudy Galvez. diatribe.ie tinyurl.com/robtong eiralynnjones.com mattguntrip.com
BERKELEY ANDREW SCOTT JOHNNY ENSEMBLE Andrew Scott CAMPBELL Septet, Op.20, Plays Laurindo From Hull And Clarinet Trio, Op.11 Almeida Halifax And Hell… DAWN SANDELLS The much-loved Scott’s tribute to the Recorded live on the Mama’s Kitchen 48 ensemble returns revered composer Faroe isle of Nólsoy, with polished pays homage to his Johnny’s traditional The Welsh Wolverine performances of solo arrangements. English folk guitar and debuts a fine case Beethoven’s Op. 11 Intricate, melodic warm anecdotes delight of reggae-tinged, Trio, and the original versions of much- the friendly crowd who smouldering blues scoring of his grand loved standards are clearly loving every here, with her soulful, Septet Op. 20 for wind show that he’s fully last second of it. raw-edged vocals and strings. realised his ambition. johnnycampbell. drawing comparisons berkeleyensemble.co.uk tinyurl.com/scottplays bandcamp.com with Janis Joplin. Along with her finely honed band, Sandells seems STAND OUT born to the blues. dawnsandells.com This month’s international highlights include a dark release from a German multi-instrumentalist, and a collection of jazz from a fine Russian bass player.
PATRICIA DE MAYO YURI GOLOUBEV The Apricot Tree Two Chevrons Apart SOUR KIX Gone The German artist’s The double-bass maestro arabesque tapestry of oud, brings an album of Fresh-faced muscular piano, recorder, bass and adventurous chamber-jazz pop rock from the percussion accompany that simply astonishes. impossibly young her plaintive vocals to His bright, flowing bass Woking band. Amelie’s create tales of love, loss blends seamlessly with budding voice and displacement. The attentive tenor sax, piano strengthens with each track Deep Impressions and drums to create a new release, while the is based on the post- consummate modern dynamic four-piece mortem of Ruth Ellis. jazz quartet. band unleash meaty patriciademayo.com yurigoloubev.com riffs behind her. sourkix.com
The Musician • Spring 2020 REVIEWS folk pop
KATHIE TOUIN WOODLAND COUNTER’S Facing The ROOTS, HENRY CREEK Falling Sky FOSBROOKE The Careful Mighty Tree Placement Orkney-based Of Stones MOODBAY Californian Touin draws A regular Martin Ghost on the inspiration of Stephenson This debut album her remote island home collaborator, Henry of jazz-folk fusion The third single from to create this powerful, breaks out on an marries traditional the Darlington-based, reflective album. album of his own instruments such as moodpop duo is a trippy Birdsong, barking dogs songs, telling tales of whistles, banjos and ride through processed and seals all meet the love and mother Earth jaw harps to proggy hooks and beats. A man-made intrigues of using reggae rhythms, progressions and sleek take on 90s R’n’B, Theramin, Stylophone African percussion meadering melodies the sax of BBC Young and wooden frog. and didgeridoos. with great effect. Musician Award Winner kathietouin.com logtagon.com counterscreekmusic.com Alexander Bone adds a soulful nod to its ancestry. singer/songwriter moodbay.com
IAIN FORBES SERIOUS CHILD SIMON JAMES Rip My Heart Out Time In The Trees Happy Ever After
Scottish singer- With the finely A collection of quietly songwriter and bearded West intense Americana JOHN SPRINGATE 49 virtuoso guitarist Iain Sussex songwriter featuring songs 70 delivers ten songs Alan Young at their of sadness and in his restful and centre, Serious Child loneliness from a The prolific Glitter vulnerable voice, with offer up a delightful British troubadour Band member laid back swingy indie folk sound – the who’s not afraid to releases yet another fringes. The stompy highlight being the share his best songs collection of bright The Happy Boy and collaboration with here with the up-and- and optimistic pop melancholy Absent botanist Dr Mark coming UK country tunes. The glam Friends stand out. Spencer on Brambles. star Sam Coe. tinged Living The iainforbes.com seriouschild.com johnspringate.com Dream and the jangle of Love At First Sight are the highlights. jazz johnspringate.com
THE GAZ ROBIN PHILLIPS MARK CHERRIE HUGHES SEXTET Re–Versed QUARTET Plays Art Blakey Joining The Dots Robin’s intriguing Joyfully celebrating project to rediscover Steel-pan maestro DA the work of the Jazz the lost verses of jazz Cherrie brings a MANAGEMEMT Messenger himself, standards restores Trinidadian lilt to this Still Managing drummer Hughes the full meaning to beautifully-judged plays the pick of the many that had fallen collection, blending This veteran Blakey songbook victim to time. This self-penned tunes rock’n’pop act in laid back style, warm and witty with thoughtful beautifully cover the alongside musicians interpretation shows interpretations of great songs from the the calibre of sax great understanding, Herbie Hancock, 50s, 60s and 70s, player Alan Barnes allowing us to Hendrix and Nirvana. including Blue Bayou, and pianist reconnect to these An adventurous and Rockin’ Robin and Andrjez Baranek. timeless classics. uplifting album. To Love Somebody. gazhughesmusic.com repmusic.co.uk markcherriequartet.com tinyurl.com/damanage
The Musician • Spring 2020 COVER STAR
Songs And Verses 50 Smooth vocals, intricate songcraft and real emotional depth are defining features of Bristol-based singer-songwriter and musician Eleanor VS.
You started playing at the age of nine. At bars we’ve played and I think we should get When did you join the MU and why? what point did you realise you were going back into the song now. But I love playing I joined about seven years ago, because as to make music your life? with other musicians because – with the right I mentioned, my dad is also a professional I always thought I’d at least do music on people and instrumentation – it elevates the musician, so he told me about the MU, all the the side, but I was 18 years old when I really impact of the songs. And I enjoy their company benefits, and suggested that I join since I’d decided to go for it. and contribution. be working in music too.
Which person has influenced you most in Can you please explain what the ‘VS’ initials What inspires you to write, both lyrically your musical career so far? in your name stand for? and musically? My dad. He’s also a musician, so he gets it, They’re the initials of my two middle names. Every single thing I go through – writing and he’s influenced a lot through his support, When I was thinking about a stage name, lyrics helps me to understand myself. advice and belief. I noticed the abbreviation and decided to Nowadays I don’t get inspired so much use them as a play on words of ‘versus’ musically, so I have to be disciplined, sit You often perform with other musicians. and ‘verses’. myself down and make myself build chord Do you prefer that collaboration to progressions and melodies. performing solo? You grew up listening to gospel, R&B, jazz, I like both equally. I’m quite a meticulous alt rock and pop. How would you define What are your plans and hopes over the person, and when I perform alone there are your musical style now? next year for your music? Do you have fewer things out of my control, so I like having I wouldn’t. I’m sure there are hints of genres, anything interesting planned? that freedom. Not having to worry about the but I like to mix things up and I don’t really I’m recording a new album, so I hope that balance that the audience is hearing, whether mind what the result is. that does some good in the world. I’m also I can hear myself, or internally panicking hoping to play more shows. because the violinist is playing an amazing solo, and she’s really into it, and so is the For more information about Eleanor VS.
Photo: Joseph Branston. © MU audience, but I’ve lost count of how many please visit eleanorvs.com
The Musician • Spring 2020 MEMBER BENEFITS
MU Sections To join, contact the Have you registered relevant MU Official. Live Performance Section Dave Webster National Organiser Live Performance for your MU benefits? 60–62 Clapham Road While membership of the MU offers a wide range of free services, London SW9 0JJ T 020 7840 5512 there are a number of benefits that you need to register or apply for. E [email protected]
Music Writers’ Section MU website decide to join, we can offer Music Minds Matter Kelly Wood To fully access our website – free partnership advice and an A comprehensive mental health Live & Music Writers’ Official theMU.org – you will need to agreement. Contact your Regional support service providing advice, 60-62 Clapham Road register on your first visit using Office for more information. information, resources, and London SW9 0JJ your membership number. professional and clinical services T 020 7582 5566 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 Orchestra Section Receive professional advice on provides 24/7 cover. Members must Music Support Jo Laverty the terms and implications of enter discount code MU24 to obtain A charity for individuals in the UK National Organiser any complex agreements via free membership of the scheme. music industry suffering from Orchestras our Contract Advisory Service. Register now via telephone or the mental, emotional and behavioural 60–62 Clapham Road Contact your Regional Office to web. mu.totalmotorassist.co.uk health disorders. musicsupport.org London SW9 0JJ 51 find out more. T 020 7840 5571 Help Musicians UK Musician’s Hearing Services E [email protected] Instrument and Charity offering practical, positive A range of hearing related equipment insurance support to emerging, professional services for MU members. Recording For £2,000 worth of free musical and retired musicians, whatever the For an appointment, call MHS & Broadcasting Section instrument and equipment cover. genre. helpmusicians.org.uk on 020 7486 1053 or visit Geoff Ellerby Register by calling Hencilla musicianshearingservices.co.uk National Organiser Canworth on 020 8686 5050. Medical assistance Recording & Broadcasting The British Association for For full details of all the 60–62 Clapham Road Partnership advice Performing Arts Medicine delivers London SW9 0JJ If all the members of your group specialist health support to benefits of membership T 020 7840 5555 are already MU members, or musicians. Visit bapam.org.uk see Members’ Handbook. E [email protected]
Education Section Diane Widdison Are you due a royalty payment from the Musicians’ Union for the use of any National Organiser of your recordings in television programmes, films or adverts? Are you the Education & Training next of kin of a musician who used to receive royalties from us? 60–62 Clapham Road London SW9 0JJ The Musicians’ Union pays royalties to a growing number performed on the recording; or we do know the names T 020 7840 5558 of musicians for the secondary exploitation of their of the musicians but we have been unable to trace them E [email protected] recordings. In most cases we know which musicians or their next of kin. If you can assist the Musicians’ Union performed on the recording and already have their with line-up information or contact details, visit theMU. Theatre Section contact and payment details, so the royalty income can org/Home/Advice/Recording-Broadcasting/Royalties Dave Webster be distributed straight away. However, there is a certain Here, you will be able to 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. 60–62 Clapham Road London SW9 0JJ theMU.org/Home/Advice/Recording-Broadcasting/Royalties T 020 7840 5512 E [email protected]
The Musician • Spring 2020 #BehindEveryMusician 9000