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The Musician Journal of the Musicians’ Union Spring 2019 theMU.org

Orchestra Conference Constructive debate on a range of topics at the fourth MU event Maxine Kwok-Adams How the LSO’s first violinist has tapped into the Twitter zeitgeist Classical Streaming The benefits and challenges of streaming classical music Focus On Bristol The ever-innovative music city with a rich and diverse heritage 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 (Music Industry) In-House Solicitor e [email protected] Dawn Rodger Assistant General Secretary East & South East England David Ashley (Finance & Administration) 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, Phil Kear (Recording & Broadcasting) Sessions Official Graham Street, Geoff Ellerby Birmingham B1 3JR National Organiser t 0121 236 4028 Dave Webster (Live Performance) Live Performance Official e [email protected] Kelly Wood Wales & South West England Equality, Diversity & Inclusion Official Regional Organiser: Andy Warnock John Shortell Transport House, 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 Suite 6A, 1st floor, e [email protected] 1/2 Woodside Place, Glasgow G3 7QF w theMU.org t 0141 341 2960 @WeAreTheMU e [email protected] report Copyright Directive News A change of heart by rights owners on the European Copyright Directive threatens hard-fought for provisions that benefit performers, songwriters and producers.

taking polar opposite positions on issues us have ventured that it’s possible that the that arise and that’s what our industry has rights owners decided that they potentially done for many years. had more to lose through Articles 14-16 (the clauses that benefit the performers and I should pause here to praise the hard creators) than they stood to gain through work and tenacity of Michael Dugher and the current wording of Article 13. In any his colleagues at UK Music who have toiled case, it has badly damaged the relationship tirelessly to bring the disparate factions between the two groups. of the music industry together to form a consensus and, until recently, with some National implementation notable successes. As I write this the trilogue negotiations have agreed an informal compromise text on the In respect of the European Copyright Directive which will be put to the European Directive, it was always going to be an Council and then the European Parliament awkward marriage between the rights in March or April. This will be followed by owners (record companies and publishers) publication in the Official Journal, which will and the performer/creator community trigger the 2-year period for implementation (songwriters, producers and musicians). at national level. How the UK implements the 3 But the rights owners were so keen to Directive post the 29 March Brexit deadline © Joanna Dudderidge Joanna © close what they call the ‘value gap’ and will remain to be seen but to date we have Horace Trubridge, achieve a fair and proper licensing regime received assurances that the Directive in General Secretary with the likes of YouTube that it seemed for some form will be implemented in the UK. a while that they were prepared to concede the benefits to performer/creators that First of all I apologise for the liberal use are also contained in the Directive and “They claimed that their of acronyms a little later in this piece. The which would potentially cost them money. music industry is littered with organisations apparent volte-face was that are referred to only by their capital So tangible was the apparent entente letters and if I’m going to tell this story cordiale between the rights owners and a negotiating tactic.” properly I will have to refer to them, so sorry. the performer/creator community that, through the good offices of UK Music, Finally, by the time you read this the UK may The first acronym I’m going to use is a rather money and effort was put into a campaign be hurtling towards a no-deal Brexit. As you indelicate one, first used by the American to promote the Directive under the banner will have read before in this magazine the military. It perfectly sums up the UK music #Lovemusic. MU believes that Brexit will be bad for our industry right now and it is of course SNAFU. profession. However, a no-deal Brexit will Successive UK governments have accused Negotiating tactic be catastrophic not just for musicians but the UK music industry of not having a united So, imagine our surprise when we for the country as a whole. My sincere hope front. It’s easy for politicians to avoid making found out that the international trade remains that politicians from all parties will decisions when they have stakeholders bodies representing the record finally wake up and act now to prevent this companies, IFPI and IMPALA, and the potential disaster. publishing companies, ICMP plus their UK counterparts, BPI, AIM and the MPA Enjoy the Spring! had changed their minds and were now Horace Trubridge actively and publicly lobbying against the Directive. They claimed that their apparent volte-face was simply a negotiating tactic and all they were trying to do was secure To hear more from Horace, last-minute improvements to Article 13, visit theMU.org the value gap clause. The cynics amongst

The Musician • Spring 2019 Contents Spring 2019

“We’re in a creative profession – I won’t hide away my own creativity.” Maxine Kwok-Adams

The Musician • Spring 2019 32

Frontline Features 6 Latest update on Brexit 30 Fair Play Focus for MU members 32 Regional Focus on Bristol 7 MU and ABO launch 36 Advice on hiring a PR new manifesto 40 Pencilling in: what to do when Celebrating the career you are being kept ‘on hold’ 8 Focus on Bristol, of Bill Kerr 48 Why I Joined the MU an ever-innovative music city with a Reports Your Voice rich heritage. 3 MU General Secretary 09 Interacting with MU members © Matt Eachus 10 The fourth MU Orchestra and supporters on Twitter Section Conference 18 The Americana Music Profile Association UK Conference 14 Maxine Kwok-Adams 22 Benefits and challenges of 50 Catrin Finch and Union Notices streaming classical music Seckou Keita 02 Key MU contacts 26 Preview of the inaugural 46 Tributes MU Members’ Conference Reviews 42 Ask Us First 28 The British Association For 43 Albums, EPs and downloads 49 MU News Performing Arts Medicine released by MU members 51 Benefits Directory

5 MU Contributors

Lee Katie Henry Neil Henry Nicholls Yates Crossley Lee lives Katie is a Henry is a A journalist and in Derry, Northern freelance journalist freelance writer from editor who has written Ireland. He began and editor whose Gloucestershire for The Independent, his career with BBC features and reviews who has written for The Daily Telegraph, Northern Ireland and have appeared in publications as diverse The Guardian and The currently writes for titles such as Mojo, as Classic Rock, Financial Times. Neil The Sunday Times and The Guardian Total Guitar, NME and also fronts the band Belfast Telegraph. p30 and Kerrang! p28 Record Collector. p36 Furlined. p18 & 32

Andrew Tracey Ben Ariane Stewart Kelly Jones Todes Andrew writes A singer- An ex-MU Ariane for The Times, The songwriter, one half Official and long- Todes is a journalist Guardian, Classical of pop-jazz duo time member, Ben specialising in string Music and BBC Music Tracey & Jason, and is now a freelance music and was editor Magazine, among an MU member. Tracey music business of The Strad magazine. others. He is also has also written for consultant and project She plays violin in the Director of books on pop, jazz manager for British various amateur Southwark Voices. p10 and rock. p50 Underground. p22 orchestras. p14

Cover: Catrin Finch and Seckou Keita

Photo: Joseph Branston. © MU 2019 Photographed at rwcmd.ac.uk Photo: Joseph Branston. © MU 2019

The Musician • Spring 2019 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 2019.#WorkingInTheEU bit.ly/2AzdUAV

Spring 2019

frontlineThe MU in action, working on behalf of professional musicians.

Touring overseas Latest Update On is set to become Brexit For Musicians’ harder with Brexit. Union Members

With the Brexit situation still changing on an almost daily basis, publishing any definitive advice is problematic. As the situation stands, even the current leaving 6 date of 29 March 2019 is still in question.

The Union has therefore added a new section to the website with the aim of answering any queries and concerns that musicians may have during the Brexit process. There will be regular updates with further information added throughout the process.

MU General Secretary Horace Trubridge says that the Brexit negotiations remain © daveswallace / Getty Images / daveswallace © complex and have many potential risks for musicians. The Musicians’ Union will continue to argue “The MU will be fighting hard to retain against Brexit, but if it does go ahead our “The MU will be mobility, funding, copyright and workers’ priority will be to convince the government to rights and employment status for EU introduce a touring visa for performers. fighting hard to nationals,” said Horace, “but it’s really important you get involved.” The Union has been lobbying for this for retain mobility, over a year, with many MPs having already funding, copyright The Musicians’ Union continues to lobby the signed our pledge. We also have a petition government and MPs to avoid a Brexit that that members can find on the MU website. and workers’ rights.” would be damaging to musicians. Any members with specific issues or queries should contact their Regional Office. Horace Trubridge Both a No Deal Brexit and a Brexit that is based on the current proposal would Brexit information can be found at see an end to freedom of movement, and theMU.org/Brexit independent research has demonstrated that this could lead to the loss of 3,000 full time equivalent musician jobs over the next 10 years.

The Musician • Spring 2019 frontline The Royal Liverpool Philharmonic has signed up to the new Manifesto.

Pale Waves at the Brudenell Mentoring Scheme Social Club, Leeds, one of For MU Members the IVW venues.

The MU has teamed up with Shesaid.So, a global network of women in the music industry, to deliver a mentoring scheme for

© Mark McNulty female MU members. This scheme supports women by matching musicians together, MU And ABO helping one another to grow. The MU is inviting applications from women Launch Manifesto working across the industry, with the aim of selecting 20 women to create 10 pairs of The MU and the ABO have created a joint mentors and mentees. Each mentor and Manifesto for British Orchestras and are mentee will meet on a regular basis, as part of inviting orchestras to sign up. It was launched a bi-monthly event curated by Shesaid.So. Independent Venue at the ABO’s conference in Belfast and aims to underline a commitment to best practice This project aims to equip members to Week Backed By MU including the recognition of professionalism; address challenges they may face, while ensuring fair compensation, treatment and ensuring that women have the opportunity to The sixth Independent Venue Week (IVW) in wellbeing; opposition to discrimination, meet, learn from and be motivated by positive early 2019 was a major success. The scheme harassment and bullying; and the generation female role models from the same industry. encourages audiences to support live music of a positive working environment. Orchestras with seven days of gigs. MU Live Performance 7 signed up include the City of London Sinfonia, Official Kelly Wood said that IVW celebrates the the BBC Philharmonic, the Royal Liverpool “The new mentoring importance of live music venues. Philharmonic and the Orchestra of the Swan. scheme will empower “For The MU it’s easy to support IVW as it aids Horace Trubridge, MU General Secretary, said, our work in the live sector,” said Kelly. “Our Fair “We are delighted to work in partnership with our female members.” Play Guide forms part of the artists’ booking our friends at the ABO to launch this Manifesto contract, and we build relationships with venue for a Great British Orchestra. With reduced “The mentoring scheme came directly from owners and promoters who are encouraged to funding alongside the effects of austerity MU Delegate Conference 2017,” said MU sign up to our Fair Play Venue Database.” measures on audience numbers, it’s vital that Equality, Diversity and Inclusion Official, we all pull together to support this precious John Shortell. “It’s great to work with an cultural resource. The Manifesto represents amazing organisation like Shesaid.so. Female a commitment from players and managers musicians make up a small percentage of Ivory Ban Petition alike to uphold best principles in the UK’s festival line-ups and representation in other magnificent orchestras.” sectors of the industry isn’t where it should The UK Ivory Bill (gov.uk/government/ be. I hope that that the mentoring scheme will publications/ivory-bill-2018) passed Royal Mark Pemberton, Director of the ABO, said, empower female members by learning from Assent and became law in December 2018. “After years of austerity, and with Brexit role models who have overcome barriers.” It is likely to come info force later in 2019, at looming, it’s more crucial than ever that which point owners of bows with elephant employers and musicians work collaboratively *The MU uses an inclusive definition of ivory tips will have to register them and obtain to forge a pathway to continued success. “woman” and “female”. We welcome trans permits in order that they can be sold outside British orchestras are at the top of their game, women, genderqueer women, and non-binary of the UK (or outside of Europe in the event but are fragile and under scrutiny in relation people who are significantly female-identified that the UK does not leave the EU). to their reach. Combining the strengths of to apply for the mentoring scheme. the ABO and the MU will secure a better The industry supports the principles of the relationship and a better working environment To apply visit theMU.org/SheGrows Ivory Bill. This petition seeks an exemption that for manager and musician alike.’ would protect the trade and value of antique bows without hampering conservation efforts: Orchestras interested in signing up should petition.parliament.uk/petitions/237247 contact Jo Laverty, MU National Organiser, Orchestras, at [email protected]

The Musician • Spring 2019 SP UP Ort THE MU Love Music? Encourage your music-loving ! friends and family to sign up as MU Supporters at theMU.org

Celebrating The D ominic Kelly v MU Mr Kelly was expelled from membership of the Career Of Bill Kerr Union and had his approved contractor status revoked in May 2018. Mr Kelly challenged Colleagues and friends from across the his expulsion from the Union by bringing a profession praised the achievements of MU claim to the Certification Officer. Following National Organiser, Orchestras, Bill Kerr, a preliminary hearing on 8 January 2019 the who retired in February this year: Certification Officer issued a decision on 1 February 2019. She found against the Union Dave Lee and issued an enforcement order requiring Chair, MU Executive Committee us to both restore Mr Kelly to membership “Thank you, Bill, for everything you’ve done and as an Approved Contractor. This we Bill Kerr and colleagues over the years. It goes back to the mid-70s, at the ABO Conference. have done. We are naturally disappointed when you started as a fiddle player in the by the decision and are preparing an appeal Hallé Orchestra. You’ve been a long-serving to the Employment Appeal Tribunal. We are member of the Union. In fact, you made this Daniel Meyer troubled at the wider implications of the job yours. You created it and leave quite a MU Steward BBC Symphony Orchestra decision, which effectively means that any legacy. Now we have to propel it forward into Bill has been an indefatigable champion for member who commits an act of misconduct a new age, while you enjoy your retirement.” all our orchestras. His enthusiasm for getting (however serious) is completely immune stuck in on behalf of orchestras has been from disciplinary action where the conduct is Nickie Dixon admirable and his innovation, the annual MU reported to the General Secretary more than MU Steward, BSO Orchestra Section Conference, has become 28 days after the offence occurs. The decision Bill has seen many changes in employment a really useful forum for Orchestra Stewards is available on the Certification Officer’s trends as well as contractual changes and I and Chairs to debate issues and compare website: gov.uk/government/publications/ 8 have always appreciated being able to tap into best (and worst) practices. He will be missed! breach-of-union-rules-decision-kelly-v- this vast knowledge and experience, whatever musicians-union the query I have had as an MU Steward. Diane Merson-Jones FOC Member & Roving Steward Bill Paterson, To me, Bill is the Musicians’ Union. He has MU Steward, RSNO been the driving force in so many ways. He MU Journal In Digital I am grateful and privileged to have worked was the biggest support to me when going with Bill in a variety of talks with RSNO through a bad bully/harassment situation. I Musicians’ Union members can now choose management over many years and also happy don’t know how I would have coped without to receive The Musician in digital format only, that he has helped boost the profits of the him. Also, his wit is second to none. by selecting the appropriate option under brewery of which I am a director. Have a happy ‘Communication Preferences’ when they log and long retirement Bill! into the MU website at theMU.org

Dates For The Diary 05 Mar 28 Mar 01-03 Apr 24-27 Apr 03-05 May

What: City Music Forum What: Musicians’ Union What: AIM Connected What: Brighton Music What: Sound City+ Where: Leeds Town Women In Music Conference Where: The Association of Conference Music Business Hall, The Headrow, Where: Home Manchester, Independent Music, Where: Lower Kings Road, Event Leeds, LS1 3AD 2 Tony Wilson Place, Lamb House, Church Street, Brighton, BN1 2LN Where: Cunard Building, Info: musicleeds.com/ Manchester, M15 4FN Chiswick, London, W4 2PD Info: brightonmusic Liverpool, L3 1JR citymusicforum2019 Info: theMU.org Info: musicindie.com conference.co.uk Info: plus.soundcity.uk.com

The Musician • Spring 2019 f rontline

Your Voice

This selection of tweets, emails and letters reflects the THE TEAM Editor Keith Ames (MU) diverse range of dialogue between the MU and its members. Consultant editor Neil Crossley Art editor Chris Stenner Writers Keith Ames, Joint Venture Neil Crossley, Roy Delaney, Cardiff live music venue AB Orchestras and The MU Lee Henry, Ben Jones, Tracey Kelly, Café Gwdihŵ Bar was Katie Nicholls, Tom Short, Will launch their joint Manifesto forced to close in January. for British Orchestras at Simpson, Andrew Stewart, Ariane Todes, Henry Yates this year’s ABO Conference Production editor Will Salmon in Belfast, including a Director of content marketing commitment “to make our Clare Jonik workforce more reflective Head of Fusion procurement and production Matt Eglinton of the communities we serve”. Account manager Classical Music Rebecca Nannery @ClassicalMusic_ Editorial director Mark Donald Art director Stuart Hobbs Repro Gary Stuckey Sound People Printed at Precision Colour Printing A big thank you to Musician See p2 for the contact details of Hearing and The MU for Musicians’ Union offices.

my custom mould hearing Clive Thompson Wales / Alamy Stock Photo protection. I recommend all MU members to find out 9 more about this valuable What About Us? V ital Venue membership benefit. This morning we hear there Astounding to see so many John Park @johnparkdrums are negotiations on allowing turn out to @SaveGwdihw All information contained in this journal is for lorries and planes to move – salutations to Mintys Gig informational purposes only and is, to the best cross-border post-Brexit. Guide and The MU. Let’s of our knowledge, correct at the time of going All Abroad to press. This journal is published by Future Returning to Paris for the Why not cross-border service #keepmusiclive! Publishing Limited on behalf of Musicians’ Union. Neither Future Publishing Limited nor next few weeks. Hope it providers? Musicians, but also Isembard’s Wheel Musicians’ Union accept any responsibility will still be as simple as just others from many professions @IsembardsWheel for errors or inaccuracies that occur in such information. Readers are advised to contact hopping on a train post- whose work takes them across manufacturers and retailers direct with regard Brexit. #workingintheEU borders within the EU. C olombian Justice to the price of products/services in the journal. Publication of an advertisement does not imply #freedomofmovement Thangam Debbonaire Musicians’ Union sends any form of recommendation. Organisations #traviata #paris @ThangamMP letter to @ColombianEmbUK offering financial services or insurance are governed by their relevant regulatory bodies Aliye Cornish over murder of social leaders in and problems with such services should be @AliyeCornish Colombia, with at least taken up with those bodies. Neither Future Artist Masterclass Publishing Limited nor Musicians’ Union Brilliant day at @liverpoolphil two musicians among the accept any liability for the quality of goods and services offered in advertisements. We do our C over Stars for our artist masterclass 20 people already killed in 2019. best to avoid inaccuracies, but if you believe Just read a great The Musician w Becky @stealingsheep Other victims include land that an error has been made, please contact the editor straight away before taking any article about the amazing all- + seminars from @ activists, trade unionists and other action and the Union will take appropriate female Heathers Musical band . PRSforMusic @SentricMusic community leaders. steps. If you submit material to this journal, you automatically grant Future Publishing Limited Jude Taylor @WeAreTheMU Sound Station Justice For Colombia and Musicians’ Union a licence to publish your @heyjudetaylor @MRSoundStation @JFColombia submissions in whole or in part in any edition of this journal that is published worldwide in any format or media throughout the world, and you grant Musicians’ Union a licence to publish your submissions in whole or in part in any format or media for the purpose of promoting facebook.com/musicians.union soundcloud.com/musicians-union any products or services referred to in your submissions. Any material you submit is sent at your risk and neither Future Publishing Limited Follow us on Twitter @WeAreTheMU Find us at theMU.org nor Musicians’ Union nor their respective employees, agents or subcontractors shall be liable for any loss or damage. © Future Follow us on Instagram @WeAreTheMU Email us [email protected] Publishing Limited and Musicians’ Union 2019. All rights reserved. No part of this journal may be used or reproduced without the written permission of Future Publishing Limited and Musicians’ Union.

The Musician • Spring 2019 The MU Orchestra Section Conference Constructive debate on a wide range of topics characterised the fourth Musicians’ Union Orchestra Section Conference. Report by Andrew Stewart

Financial realities were offset by guarded for MU General Secretary Horace Trubridge. optimism at the fourth Musicians’ Union Birmingham, he said, had changed beyond Orchestra Section Conference. Delegates recognition since his time in the CBSO gathered at The Studio in central Birmingham in the early 1970s. The city’s ceaseless on 8 January to hear about the orchestral transformation offered a metaphor for sector’s present state and future prospects. Britain’s changing orchestral scene. Bill Kerr They called for visionary thinking, voiced and MU Live Performance Official Kelly Wood support for the City of Birmingham Symphony outlined the latest developments. Their 10 Orchestra’s heroic battle against deep comprehensive Industry Update explored funding cuts and delivered messages of everything from visa applications for travel thanks to Bill Kerr on the eve of his retirement to the US to progress on pay rate parity for

as MU National Organiser Orchestras. freelancers and full-time orchestral players. Ealovega Benjamin ©

Conference Chair Dave Lee, MU Executive Wake-up call Committee Chair, deputised at short notice Kelly outlined the MU’s responses to five Goldscheider versus the Royal Opera House, topics: noise and hearing, freedom of she noted, had sounded a wake-up call movement, instruments on planes, new EU for the industry. Last year’s landmark legal lighting regulations and CITES certificates in ruling found that the viola player had suffered a post-Brexit world. The case of Christopher irreparable hearing damage at work. The MU immediately wrote to employers, engagers and trade bodies to remind them of their responsibilities under hearing protection law. Jo Laverty, MU National Organiser, Orchestras and Mark Pemberton, ABO Director (left). EC Chair Dave Lee (below). The Association of British Orchestra’s director, Mark Pemberton, said the Goldscheider case held profound implications for orchestral players and managements. The music and entertainment sector, he explained, had followed the Health and Safety Executive’s Sound Advice guidance for a decade. But the judge in Goldscheider v Royal Opera House took an absolutist view of the Control of Noise at Work regulations, making no distinction between opera house and the factory floor.

Brexit, in whatever form it takes, will restrict the present benefits to UK-based musicians of free movement within the EU. Any return to work permits, visas and carnets, noted

The Musician • Spring 2019 report The City of Birmingham Symphony Orchestra (CBSO) has fought a heroic battle against deep funding cuts. “Only 2% of musicians believe that Brexit will be positive for their chances of work.” Kelly Wood

of financing for orchestras, was covered by two seasoned orchestra managers and Arts Council England’s Director of Music. The session was moderated by Alex Gascoine, EC Vice-Chair and BBC Scottish Symphony Orchestra Steward. He introduced his old BBC SSO boss Gavin Reid, now Chief Executive of the Scottish Chamber Orchestra (SCO) and Chair of the Association of British Orchestras. Reid, a glass-half-full optimist, drew from the ABO’s most recent State of Britain’s Orchestras survey to reveal a mixed picture of increased activity and reduced public subsidy. Concert numbers and audience attendances grew between 2013 and 2016. Total income, meanwhile, including all public funding, had dropped by 5%, with government funding 11 falling by 7% and local authority money contracting by 11% over the same period.

“There’s steady growth in audiences and activity, innovation and the way we’re musicians believe that Brexit will be positive source of conflict in some orchestras, setting engaging with more communities and for their chances of work,” she said. There employed members against their freelance constituencies. That’s against an ever more was concern, too, around the difficulties colleagues, which was regrettable. This challenging funding backdrop. The national and costs to musicians of securing US work led some to threaten to resign their Union picture [in 2016] was of 34% public funding; visas. Travelling with instruments on planes membership.” collectively we earned 47% of our income also continued to cause problems, especially through ticket sales, hires and commercial within the EU. The MU was taking a softly-softly approach activities; and 17% from fundraising.” to pay parity negotiations. “I can assure British orchestras, Reid added, are more Softly-softly you it’s not easy,” said Bill, before listing the reliant on earned income than their global Pay parity between contracted musicians and complications of calculating fair parity rates. counterparts: many European orchestras, extras & deps, observed Bill Kerr, surfaced The CBSO has determined a daily freelance for example, receive up to 80% of total at the 2017 Orchestra Section Conference. rate, on par with the daily earnings of full-time income from the public purse. He welcomed “When it was raised,” he recalled, “many players, opening the way for the MU to broker Orchestra Tax Relief, a measure introduced who espoused it – a bit like those who a provisional three-year parity agreement by the UK government in 2016 to offset the voted for Brexit – believed it was a simple with the orchestra. The MU has also lodged rehearsal and concert preparation costs. “It is matter of informing the other side of our parity claims with the BBC and eight contract important to realise that it isn’t new money.” aspiration and reaching an agreement on its orchestras. But British orchestras, said Bill, implementation.” Like Brexit, it has been much were in a delicate financial position. “Progress No increase in funding harder to deliver. The MU has encountered will always have to be balanced against Stephen Maddock, the CBSO’s Chief resistance from certain managements to the stability. There’s no point in achieving the Executive, surveyed a bleak funding idea of parity. Parity was opposed elsewhere perfect parity agreement just as an orchestra by contracted musicians. “Parity became a sinks beneath the waves.”

Financing in the future Staying afloat occupied minds throughout the first panel session. Its subject, the future

The Musician • Spring 2019 © Marco Borggreve

Unauthorised Recording

Peter Helps, Chief Executive, Sinfonia Viva, argued that 12 unauthorised recording is a complex matter, with abundant scene. His orchestra’s £2.1 million annual areas of grey separating black from Arts Council funding has remained flat since “How do we do this white, good from bad. He stressed 2010, with total public funding now resting at the need to protect content £3.9 million, a shortfall of around £2.1 million with a workforce that’s creators, including musicians against RPI inflation. Without cuts the band being paid less than it and composers, from commercial would have received an additional £9.9 million. exploitation and recognised the was ten years ago?” challenge posed by third-party “We think that’s probably the biggest cut postings of copyright recordings to in public funding of any major European Alex Gascoine such ad-rich platforms as YouTube. orchestra,” noted Maddock. The CBSO has fallen from being the best to the worst Orchestral concerts, however, funded among English regional orchestras. of [ACE’s total] music spend at the moment,” inhabit a world of entertainment Birmingham City Council has slashed its Mera-Nelson noted. The Arts Council’s list of in which young audiences expect annual arts subvention from around £10 million national portfolio organisations for 2018-22 to record events on smartphones, in 2010 to a proposed £2 million in 2019-20, includes 16 orchestras, which receive over he said, and orchestras must leaving the orchestra facing a potential 50% £18 million a year. “Other parts of the sector accommodate audience cut to its current council grant of £672,000. are asking why the Arts Council focuses so expectations. The process requires much on the classical sector.” The response sensitivity, he said, not over- The CBSO, Maddock observed, has survived of orchestras, she suggested, would require zealous policing of smartphone use on resilience and ingenuity. Tax relief and imagination, flair and ambition. There was little by front-of-house staff. The digital fundraising efforts had lifted the orchestra’s prospect of more public money; at best, arts tide was advancing and emulating top-line revenues, while bottom-line losses funding would continue at present levels. King Canute is not an option. had been limited. He thanked Bill Kerr and “However powerful we think we BECTU for their part in negotiating the latter. Artistic risks are, there are certain forces over Taking artistic risks while weathering funding which we have no control, and Claire Mera-Nelson, who joined ACE last cuts, said Alex Gascoine, could not last [audience recordings] may be one March, posed hard questions about public forever. “We’ve got to play to more people; of them. Being defensive and falling arts funding. “Classical is between 80-85% we’re trying to be more diverse. How do we back on a rose-tinted past is do this with a workforce that’s being paid not the answer.” less than it was ten years ago? The orchestral profession is subsidised by the musicians.”

The Musician • Spring 2019 report

$2.65 billion a year,” noted Jagla. “The only answer at present is to rely on a business’s sense of corporate responsibility.”

The Scottish Chamber Orchestra then he has dealt with people who infringe (far left); MU Executive Committee copyright every day. Although it was member Alex Gascoine of the becoming harder to separate licensed from BBCSSO (left); MU Steward Daniel unlicensed recordings, his checklist of the Meyer of the BBCSO (below left); Nickie Dixon of the BSO (below). latter included smartphone recordings taken without the performers’ consent; recordings made by promoters, again without consent; exploitation of commercial recordings for advertising without permission or payment; and illicit file-sharing and streaming. “Using a smartphone – does it matter? Yes, but what aspect of it matters? Ban smartphones? Well, concert promoters have geared ticket systems to eTickets, so it would be difficult.” The biggest source of illicit recording flows from illegal file-sharing and streaming.

Session moderator Dave Lee looked forward to a day when musicians receive a percentage of advertising money from audio streaming sites. “It would make a huge difference,” 13 he said. The Union also calls on record companies to deliver income collected from streaming services to so-called non-featured musicians, orchestra players among them.

Flautist Jo Shaw, Steward at the Scottish Ballet Orchestra, recalled orchestra managers Bournemouth Symphony Orchestra Steward, Substandard recordings at last year’s conference praising the Nickie Dixon, called for industry-wide support Unlicensed recording of live performances virtues of short videoclips posted to social for the MU’s Musician Behind The Moment in venues dominated the second panel media sites. “I’m concerned that this has campaign. “This has got to be our driver,” she session. Debbie Jagla, Managing Director now snowballed to [orchestras posting] noted. “If we can’t take this message to our of the Orchestra of the Swan, challenged whole performances on Facebook Live and funders, to the people who don’t believe in the received wisdom that recording is becoming elsewhere,” she said. “Would there be scope value of the arts, then I feel quite pessimistic.” ever cheaper. “Yes, it is with mobile phones,” for looking at a new PACT MU or IPA MU she noted. “But doing recordings on the agreement to cover this?” Karen Anstee, freelance violinist and Roving cheap is, in our experience, a waste of time.” Steward, warned against the danger of Substandard recordings deterred listeners Stephen Maddock raised the irony of diluting performance standards in the rush and harmed performers’ reputations. It was orchestras toiling to attract young audiences to broaden the orchestral player’s portfolio. vital, she added, to rule clear boundaries only to confiscate their smartphones. “It’s Education work was valuable, but should not around recording. “We will do anything in our about finding the right response for the right be delivered at the expense of rehearsal time. power to stop unlicensed recording.” occasion. If someone is recording a Bruckner “This is not what the Arts Council should be symphony on an iPad at Symphony Hall, I promoting. The music is the most important Online postings of illicit smartphone would want them stopped. But if someone thing.” Sacrificing quality was not an option recordings were, she suggested, insignificant is taking a 30-second clip at a Star Wars for Dave Lee. “If there was ever a need for the compared to the legal commercial offerings of concert, we should be relaxed.” The sight of a ABO, the MU and the Arts Council to come streaming sites, available to subscribers for mobile phone, he concluded, was not cause to together, it’s now. This is about our lives, our £15 or less per month. A recent Nielsen study start an intergenerational war. livelihoods and our children’s future.” showed that 83% of retail businesses in the US and 20 million businesses worldwide used online music services to stream music to their customers. “This is costing the music industry

The Musician • Spring 2019 Theory Maxine Kwok-Adams, first violin with the LSO, tells us about work, her online profile and the changes in orchestras that have helped her career flourish. Profile by Ariane Todes

“I was not confident when I was young.” excited about it. It’s been a great start. You might be surprised to hear this statement He is such a huge figure throughout the from Maxine Kwok-Adams, the blue-haired, world, but especially in this country.” tap-dancing, outgoing London Symphony Orchestra first violinist with one of the most Work and play fun Twitter feeds in classical music and more The lighthearted view of orchestral 14 than 5,000 followers. She’s surprised herself: life Kwok-Adams presents doesn’t “I was quite shy, which seems strange when detract from the hard work involved people see me now. This job and music mean in getting into one of the world’s so much to me and I want to express that.” leading orchestras – and staying there. As a child, growing up in Bromley, she Kwok-Adams is blessed with a natural already had her sights set: “I’d wanted to generosity and warmth of character. Her be in a symphony orchestra since I was in online presence is full of this passion, with the National Children’s Orchestra and then photos from rehearsals, backstage and the National Youth Orchestra. I would always touring life. She joined in 2010 and explains, choose to put on symphonic repertoire rather “I started to research what it meant and what than violin repertoire. I was driven and knew people do on it and it went from there. It all what I wanted.” started in a personal way. Now I focus more on what we’re doing in a rehearsal. People seem As a student at the Royal Academy of Music, to enjoy being a fly on the wall for that. I post a she took part in the LSO’s String Experience picture of a rehearsal and they say things like, training scheme, and after graduating she ‘it’s so interesting to see classical musicians in spent a couple of years freelancing in London jeans and casual clothes’.” orchestras until winning the LSO appointment. The LSO had always been a dream job for Her feed has also been increasingly dotted her: “My dad was huge fan and was always with pictures of Sir Simon Rattle conducting going on about the LSO soundtrack, so the or chatting among the orchestra, as he has orchestra was always in the back of my mind.” finally taken over the helm as Music Director. Unsurprisingly, she says her career highlights

Photo: Joseph Branston. © MU 2019 How does she feel about his arrival? “I’m really include working on new Star Wars music

The Musician • Spring 2019 p rofile

On Auditioning “It isn’t easy to get a job these days – it’s very competitive. I’m one of the mentors for the LSO string scheme, so I’ve heard auditions for 10 years now. There are very good players who play fantastic concertos and then they come to the prepared orchestral excerpts and it is a disaster.

“It is tragic that you have to say no, because this is what orchestras are about. You’re not going to be playing concertos: you’re going to be playing symphonies and Strauss tone poems. We’ve made an effort to go into colleges to emphasise how important it is not to leave learning orchestral excerpts to the week before “This job and music the audition. If someone doesn’t play their concerto fantastically but their mean so much to excerpts are polished and well thought- out I will give that person a chance, me and I really want because they have given some thought to what we actually do.” to express that.”

The Musician • Spring 2019 “While we work under this umbrella, we’re individuals. An orchestra can include diverse personalities.”

with John Williams (as she explains in her orchestral boards. She says: “People ask how MU Musician Behind the Moment video). I am allowed to be in an orchestra with hair “I thought he looked very forbidding, but he like this. I don’t see why I shouldn’t be – it’s was absolutely charming.” my hair. We’re supposed to look similar on stage, but we don’t anyway. We’re all different She joined the Musicians’ Union as soon as – blonde hair, black hair, brown hair. We’re in a she graduated and, as a member since then, creative profession and I won’t hide away my is a strong advocate of the organisation. “I’m own creativity.” very lucky – I’ve never had any issues but as an orchestral musician you know that for any Individuals working together problems or injuries, the MU is there to give This is the paradox of being in an orchestra, you a helping hand or advice. It’s one of those as she explains. “The idea is that 80 people silent things in the background that you know are like one body. As a young musician you colleagues do, she has taken to tap dance. will catch you if you fall. Nobody wants to feel grow up thinking that you’re special – you “I always wanted to do it as a kid, before I they’re being taken advantage of, and that’s come from a small hometown, you win local got into the violin. I love it. It’s such a good what the Union is for.” competitions, you’re creative, but people workout – for the brain and physically. My think if you’re in an orchestra you’ve got to toe colleagues and friends laugh about it and ask Kwok-Adams also values the LSO’s self- the line, that the baton is like a whip and that when they can see it, but it’s just for me.” governing status: “We all own shares in the you must quash your own musicality. I like to orchestra and are led from within rather show that while we work under this umbrella, There is an added advantage for musicians. than an outside management. We don’t have we’re all individuals. An orchestra can include “You pick it up fast, because it’s all about some faceless board that tells us what to do.” diverse personalities.” the rhythms. When you’re a musician you’re Indeed, she must be one of the only orchestral used to repetition as that’s how you learn.” players in the world with blue and purple In the last three years, Kwok-Adams has hair, which might push buttons with some found a new way to express herself. Realising she needed to do some exercise, but hating gyms and the running that many of her LSO

The Musician • Spring 2019 profile

don’t play for a few days and, when they come back to it, they feel like their hands have , except left: © Doug Peters Peters Doug © left: except , turned into bananas and jelly.”

Changing attitudes Kwok-Adams is coming up for 20 years in the orchestra, and she says that the changes over that time are noticeable. “When I first joined there were only a few women or young people – just a handful of us in our 20s. Now it’s much more diverse. It’s an ever-evolving organism – old people retire, young people come in. People come and go all the time with the circle of life of an orchestra. It has changed in some ways, but the essence of the orchestra remains the same.”

The music world has also changed, with the

All photos: Joseph Branston. © MU 2019. at Taken LSO St Luke’s. lso.co.uk cult of the conductor on the wane, though not entirely banished. She says, “The great conductors of the past had an otherworldly aura about them. It was like you had a god on the podium, who was untouchable and whom you would only ever call Maestro. That seems to have changed. With young people, it’s more of a collaboration.”

The musical benefits to this are clear: “The 17 orchestra works better if we’re comfortable Maxine joined the Musicians’ Union when and respect whoever’s on the podium. It’s not she graduated and is a easy if someone is aggressive or negative. It strong advocate of the doesn’t make for good music making if you’re organisation. (Top) On scared because you know the conductor will stage with the London Symphony Orchestra. tell you off.”

What hasn’t changed is her excitement about the job. “I find the idea of making music, creating something with so many people, very special. It’s never lonely – there are always Her love of tap dance and the old Fred Astaire retire. You have to retain an extremely high people around and that is a huge aspect for movies she used to watch as a child might level of skill, because you’re being assessed me. Each week can be so different, playing also explain her fondness for glamour. She on it every day, in a pressured situation on with Bernard Haitink and then recording with admits, “I like anything shiny, and bright stage or in the recording studio.” Jamie Cullum or Emily Sandé or putting a colours. As a child, watching Hollywood films soundtrack on to a film. That’s what keeps the with glamorous ladies tap dancing downstairs How does she cope with this level of job extremely interesting.” in sequins and feathers must have had some pressure? “It is difficult because the last kind of influence. My only chance to dress up thing you want to do when you’ve had a full This love of her work shines through in both in a glamorous fashion is on stage.” day or you’ve been recording is to get your her performance and her online persona. instrument out at home, but it is important. She says the best way for a musician to Practice makes perfect However much you’re working the same use Twitter is to be “honest” and true to She also finds ways to keep her playing in muscles, playing the violin in an orchestra is themselves. “People can see if you Tweet shape – something that isn’t always easy with not the same as listening to yourself clearly things that are you pretending to have a life. a full-time role and a busy touring schedule, and working on intonation and sound. I try to It doesn’t ring true.” It’s very clear that Maxine but remains vital for professionals. As she look ahead to see what’s coming up. I might is not pretending. says, “It’s not like you get the job and then you nip into work a little early or practise in the sit and do it and it’s fine until the moment you break. I’m quite lucky, though: the most I ever stopped playing my instrument was going on a holiday for about two and a half weeks and when I came back it was okay. Some people

The Musician • Spring 2019 The AMA-UK Conference The Americana Music Association UK Conference 2019 revealed a healthy, burgeoning genre and an organisation committed to the development and welfare of its artists... Report by Neil Crossley

Inclusivity, diversity and equality were the board of the American Music core themes of this year’s Americana Music Association UK. “That goes Association UK Conference – a three-day right back to very beginning of event held in Hackney, London for musicians, American history when managers, labels, promoters, agents and immigrants from all over the others working in the Americana sector in the world played music together 18 UK. Co-sponsored by the MU, the event is in bringing their own strands of its sixth year and encompasses panels, traditional folk music to the presentations, networking opportunities, table. We have artists who are live showcases and awards. influenced by the traditions of country, bluegrass, gospel, The Americana Music Association UK was soul and rock. It’s a genre founded in 2012 by Bob Butler and Bob where people have found a Patterson. After seeing how much the home. Before they were Americana Association in Nashville had floundering outside country, boosted the genre in terms of sales, streams outside blues, rock and outside pop.” “When I started back at music I wanted to find and getting people along to live gigs, they a community that was less patriarchal, less decided to create the same initiative in the UK. One such artist who has found a home within autocratic, more creative with its thinking and Americana is Yola Carter, a singer-songwriter actually embraced an essential part of the For some, even the artists themselves, the from Portishead, Somerset who made a huge music industry: development,” she says. term ‘Americana’ can seem vague. It first impression when she first performed at the emerged in the US in the mid-90s as an AMA-UK Awards in 2017, after winning Artist Of “The AMA-UK has been so supportive of my all-encompassing description for numerous The Year. Two years on, she has released her development as a solo artist, right up to forms of music. Now, the term is firmly rooted debut solo album Walk Through Fire, produced getting signed and beyond. In fact, I don’t in the industry’s consciousness. in Nashville by Dan Auerbach of The Black know if I would have crossed paths with my Keys. Carter was back at the AMA-UK event in now manager Charlie [Pierce, Neverno Melting pot January and performed at the awards show. Management] without AMA-UK.” “Americana is a melting pot of so many She says that AMA-UK has played a pivotal influences,” says Stevie Freeman, chair of the role in developing her career. Setting the tone The conference’s key themes of inclusivity, diversity and equality were the focus of “The AMA-UK has been so supportive of events on the second day of the conference. In the packed theatre at Hackney House, my development as a solo artist, right up revered US banjo and fiddle player Rhiannon Giddens delivered a keynote speech that was to getting signed and beyond.” as moving as it was inspirational, and which set the tone for the panels to come. Giddens’ Yola Carter speech focused on the migration of musical

The Musician • Spring 2019 placed to build bridges. “Music and culture MusicAmericana Association UK is well the that stressed both”. She or nationalism reasons,” she said, “like capitalism or they are imposed for some non-musical the biggest divisions happen in music when that me to seems “It world. acapitalist within of retaining artistic integrity while existing Giddens went on to focus on the challenge mid-1800s. the in Appalachians the as such regions in players ‘hillbilly’ bywhite appropriated being before US, the in musician enslaved instrument and “absolute emblem” of the exploring how the banjo was originally the styles and instruments across the centuries,

of running a successful business, he said. part avital now are Both essential. not but do to thing anice as past the in viewed been have He highlighted how diversity and inclusion diverse the audiences will become, he said. the and performers artists are, the more foropportunity the industry. The more diverse huge is a inclusion that byconfirming began Inclusion Official,moderated the panel and John Shortell, MU Equality, Diversity and Americana music world. the barriers for a more diverse and inclusive down break to how assessed Barriers, Down that followed, Diversity In Americana: Breaking behind the scenes. With this in mind, the panel and stage on both stories, success male white Americana has historically been dominated by Huge opportunity it.” around way a find will music is, it whatever that is know Ido thing “One Brexit. to alluding are more than important ever now,” she said, Conquerer played the AMA- Cornish trio William The UK ahead of a full tour. afull of ahead UK Shortell of The MU. The of Shortell talks with John Beer Sam and (top) Russell in discussion Kater and Allison Keith Harris, Kaia a two-way conversation.” be to needs it way. And that in book people who are seeing it organisers being willing to asking these questions and I think the change starts in folk music, rap is folk music’. is ‘hip-hop like, is He camps. He found that equally in both and they’d be like ‘what?’. hip-hop’ Ido Irap, ‘Yeah, say and festival, folk the to go he’d you talking about?’. And then are ‘what go they’d and banjo’ ‘Yo, Iplay go and community “He would go to his hip-hop delineated genres. spans two often strictly communities because he in both the hip-hop and folk has struggled to be accepted banjo-playing nephew, who her by shared aview is it such concerns, adding that Americana. Giddens endorsed not included as a genre within questioned why hip-hop is was applauded when he keynote, one delegate followed Rhiannon Giddens’ that session Q&A the In Communities Dual The2019•SpringMusician o reportr ep r

© Jonathan Stewart t 19 Ethan Johns (left) and Seth Lakeman wowed audiences at AMA-UK. “The challenge for the industry is to reach a point in five years time where there is no need for a panel such as this.” Keith Harris

“To just talk about diverse performers misses the point. It’s important that we broaden the focus of the issue. We can’t just concentrate on booking a few more female acts or some artists of colour and then consider it a job done. We need to think about the diversity of the people at the top who are making the decisions if we want to create a long lasting, sustainable culture change in the industry.” ultimately worked to his benefit. “I have Barriers to diversity realised that I have to go out and be me and The panel began by looking at the barriers to people can take it or leave it,” he said. diversity, with some outlining their own experiences of discrimination. Montreal Unconscious bias 20 musician Allison Russell recounted being told The panel examined what steps can be taken at a restaurant in the US recently that there to improve diversity in the industry and in were no bathroom facilities for her to use, Americana in particular. Alison Russell cited despite the fact that the white musicians in the importance of inspirational role models, her touring party were clearly using them. such as Rhiannon Giddens and Yola Carter, but said such successes need to happen She also cited a strict upbringing, which more organically. induced a shyness and reluctance to bring forward her own songs. “Having an outlet in Kaia Kater, another Montreal-born musician, music really saved my life,” she said. highlighted the importance of “being open to failing and open to trying again”. Sam Beer, a UK musician and producer who is visually impaired, spoke of imposing barriers All the musicians on the panel acknowledged Chris Turpin of on himself, by sometimes “pretending to be that unconscious bias is something that we all rootsy Americana half-cut rather than being blind”. Beer said he experience. “Be forgiving of ourselves. We all duo Ida Mae, at The reluctantly sought assistance, from the Royal have unconscious bias,” said Kater. Moth Club, Hackney. National Institute for the Blind (RNIB). “Help is out there,” he said, “there is money out there Keith Harris said that unconscious bias is the and people want to change.” biggest problem. “Once we start to call that out we will see changes. It’s about stopping point in five years time where there is no need Keith Harris, who began working in the music and being mindful. One of the most important for a diversity panel such as this,” he said. industry in 1974 and has worked with such things is to recognise your allies. Don’t build artists as Stevie Wonder, Marvin Gaye, The up an us and them, because there are a lot of Women in Americana Supremes and Smokey Robinson, said he has people out there who want to help.” Gender diversity was the focus of the encountered a wide range of race-related afternoon session Oh Sister Where Art Thou: issues throughout his life, but these have Shortell concluded by asking the panel what Women In Americana Music. Moderator Jess they feel is the main challenge to improving Partridge of PRS Foundation highlighted how diversity. “Be open to change,” said Kater. the music industry will miss out on talent if it is “A change of heart, a change of attitude.”

Keith Harris was equally succinct: “I would say the challenge for the industry is to reach a

The Musician • Spring 2019 Featureportre

not an inclusive space. It was a point echoed often not taken at face value and you have to Changing The by Yola Carter. “You do miss out on talent,” she prove yourself before you are accepted as a said emphatically, adding that it took her until part of that world.” Language the age of 30 to first pick up a guitar and consider a solo career. “It would have been a The power of mentoring John Shortell of the MU hair’s breadth for me going solo,” she said. When asked how things could be improved, acknowledges that the drive Stokes said: “Don’t treat female engineers to recruit more diverse people The panel agreed that there are numerous like unicorns”. She is passionate about into the music industry is barriers to entry for women in the music encouraging more women to work in audio encouraging. However, he says industry and that women frequently have to and engineering roles and is a strong this should not be an end goal in prove themselves before being accepted. advocate for mentoring. itself, but the beginning. “Once you have this diverse group of This was a point highlighted by Manchester- “I had a fantastic mentor who was a sound people, what are organisations born sound engineer Natalie Stokes, who engineer at the BBC when it was much harder, doing to keep them there and started out as live sound engineer working in in the 80s. She was excellent. She told me, make sure they aren’t faced and around the north-west before moving to and I think this could apply to any role, ‘Always with barriers when trying to London to work for BBC News and on have excellent evidence and information of progress their careers?” numerous outside broadcast events. what you’re trying to put across’. And yeah, just be confident in yourself.” “Focus on building a more “When you’re an engineer and you’re female, inclusive culture is just as it’s like, ‘Oh my God where did you come from? Confidence, or lack of it, was a factor important as getting a diverse How did this happen?’. It freaks people out a highlighted by most of the women on the range of applicants through the bit and you’re always being asked, ‘Where’s panel. “If you’re an introvert, it’s a big hill to door. We, as an industry need the sound guy?’ It’s like, ‘I am the sound guy’. climb,” observed Yola Carter. Gill Tee, to play the long game on that I’m sure there are male engineers who’ve had organiser of new Americana and country one… Sometimes it’s as simple that struggle as well. But I just think as a festival, Black Deer, urged women in as changing the language an woman, in an engineering capacity, that you’re Americana to dig deep and have faith in organisation uses, to be more their talent and abilities. 21 inclusive. More space is being made for diverse narratives in “You know, you’ve just got to find that moment Americana but it’s a slow and to be brave,” she said. “Because that’s what long process. There is still much it’s about really. It’s about reaching and asking further to go and much more we people to help you with something. And I think can do to be more inclusive.” too many people talk themselves out of it. I talked myself out of being on panels for years. © James McCauley / REX / Shutterstock, ©Jonathan Stewart Because, although I’m confident in what I do and I run a festival and do all of that, I thought, ‘Oh no, I can’t do that’. I even feel nervous coming here and sitting on this panel. I really do. But I kind of realise I’ve got something to say now.”

Tee concluded by highlighting the strength of the UK Americana sector. “I’ve been in the industry a long, long time and this is special,” she said. “That is why you’re going to get great talent.” Like Stokes, Tee believes that mentoring is vital in encouraging the next generation of women to come through.

“Everybody needs somebody that they can talk to, somebody that they find to work for that will help them open the door. If they haven’t got the confidence, there will be somebody that’s around them that hasn’t got a big ego, that’s not threatened by somebody Yola Carter (left) at the AMA-UK awards. Vocalist, banjo and fiddle- learning from them, and it is just that little bit player Rhiannon Giddens (above). of courage you’ve got to find to take that step. Once you do it, you won’t look back.”

The Musician • Spring 2019 22 Challenge Classical in the same way. It’s worth noting, for for noting, worth way. It’s same the in may not necessarily serve all fans and genres in the decline in digital sales in recent years, it music consumption for most people, reflected that streaming is now the source primary of question no is there Whilst operation. in years 10 first its –celebrated streaming in name biggest the still –arguably Spotify 2018 In Cut through the noise century world. 21st adigital in music classical out seek and listeners looking to respectively sell and presents significant challenges for labels digital streaming of classical music also in uptake the But Spotify. as such platforms under-served by the large, global streaming woefully as viewed been has jazz, like that, agenre for news encouraging is This a quarter of classical music consumption. for accounts now streaming that is result The market. overall the in rise a33% to compared year-on-year, 42% up 2018, in growth Streams of classical music showed significant The2019•SpringMusician Till Janczukowicz, CEO of Idagio the digital spaceproblem.” a is musicians“For not to retrievable be in Report by BenJones range ofchallengesandopportunities. soared andwithitcomesawholenew The streaming ofclassicalmusichas The retail classical sector was in buoyant downloaded or streamed during this period. albums or their equivalent were purchased, that sales and streams of classical music months. An estimated 2.23 million classical mood in January when BPI figures revealed had increased by 10.2% on the previous 12

hard to cut through the noise (no pun (nopun noise the through cut to hard be can it means uploaded music of amount and other streaming The services. sheer Spotify, Apple Music, Deezer, Google Music to day each uploaded were tracks 24,000 Last year Hypebot.com reported that around UK. the in consumption for nearly 60% of all classical music market,CD-dominated accounting last year aphysical still is classical that example,

© Guy Levy / BAFTA / REX / Shutterstock streaming services: “It’s about the to ability when accessing classical music via digital concern of issues key four outlines Steffens 1%.” only it’s but music, streamed 5% of be to it expect You would physical. worldwide, including radio, live ticketing and consumption music all 5% of around is music because it does not work as well. Classical and classical music is under-represented, streaming is becoming the dominant channel that know we because music, classical of about. “We were concerned about the future Primephonic, explains how the company came of CEO Steffens, Thomas genre. the for cater sufficiently not do giants existing the focus solely on classical music, believing that that providers bespoke several are There and back catalogue exploration. curation music new of terms in both intended), right) in February 2018. Academy Film Awards (above CEO of Idagio. The 71st British Till Janczukowicz (left), the report

Ginny Cooper, co-chair of the BPI’s Classical Council.

Physical And Digital 23 Ginny Cooper, co-chair of BPI’s Classical Committee champions the coexistence of physical and digital formats. “It is encouraging to see CDs find what you are looking for, it’s about sound “For musicians not to be retrievable in the and streams thrive alongside quality, it’s about the relevance of digital space is a problem,” says Till each other, showing that recommendations you get and it’s about the Janczukowicz, founder and CEO of classical collectability and discovery are absence of background information.” streaming music service Idagio, which utilises simply different sides of the bespoke classically-focused metadata and same coin,” she says. Quality issues databases. “If people don’t find the recording, Quality is also a significant factor. Classical they don’t find the performer, so it means that Despite continuing strong music listeners are traditionally discerning musicians lose visibility. And that, at the very sales of CDs, Steve Long when it comes to sound quality, often beginning, was the driver.” believes that streaming investing thousands or tens of thousands of could actually democratise pounds on high-end audio systems. The audio The composer’s view the process of buying quality of CD is usually superior to that offered From a composer’s perspective, there are classical music. “Classical by a streamed MP3. similar concerns. The Emmy Award-winning CD departments or dedicated composer and pianist Michael Price notes the shops can, where they still Finding a specific recording on streaming issues involved when dealing with multiple exist, be intimidating places services can also be problematic, as Steffens recordings of the same works. “Streaming for to the uninitiated,” he told points out. The vast majority of streaming classical music feels like it has a way to go The Guardian in January. services were set up for rock, pop and dance before it can realise the considerable potential “Streaming means that new, music, so classical consumers looking for of the technology. The largest sites have potential and future audiences composer-led works can become frustrated clumsy navigation and curation for classical can dabble with classical by search facilities that were created for music, with track and artist search struggling music, and with classical artist-led works. to show the breadth of performances of core music playlists.” classical works.”

There is often an assumption that classical music fans are older and, as a result, not

The Musician • Spring 2019 digital-savvy and less likely to use streaming services. Janczukowicz challenges this: “There are two negative working hypotheses; that classical music lovers don’t stream, and that streamers don’t listen to classical. Both are untrue. We see there is huge potential in the long run, to get even more people listening to classical music, because consumption will become easier and easier.”

The concern about streaming royalty rates has been debated far and wide, but there are specific issues that arise about the length of

pieces, or movements, compared to a Kozobolis Alex © traditional pop song. Composer Matthew Whiteside, who at the end of 2018 released his new single …Everyone Is A Child Of The Thomas Steffens is concerned that new Inbetween… across multiple streaming business models may even begin to influence platforms, but not physically, outlines his the act of creation itself, to write shorter concerns: “At the moment remuneration is pieces, or those which draw people in to really unbalanced for long-form music ensure they listen for the first 30 seconds and because the payment is the same, whether trigger a payment. He said: “We see now, the piece is 32 seconds or 15 minutes. I use composers have an incentive to compose long-form specifically because the problem shorter works. We do not want composers isn’t just for classical, though classical music and artists to make decisions on how it is paid is disproportionately affected. Take Pink out, so we pay out based on how long it has Floyd’s Comfortably Numb (9min 29), Ariana been streamed.” Michael Price (left), pianist and 24 Grande’s thank u, next (3min 27) and Simon Rattle conducting Mahler 2’s 1st Movement Idagio works on the same principle and composer Ludovico Einaudi (right), the most streamed (23min 55). In the space of Comfortably Numb addresses the other concern that royalties are classical artist of 2018. Ariana can earn almost three times as much not – for the most part – distributed on a ‘per while in the space of the Mahler she will earn user’ basis, but rather proportioned out almost seven times as much!” across the entire user base. inability to alter the current model, if they have Shorter works Till Janczukowicz explains, “We introduced a agreed to these better deals. Perhaps contrary to the traditional stereotype model where we pay out pro-rata per second of the evil executive exploiting the artist, and per user. So if a user listens, for example, Perhaps unsurprisingly, composers would only to Xenakis, the rights owner would get tend to agree, including Matthew Whiteside. 100% of the payout of that user in that month. “I really think the streamers need to move

Jennifer Pike at the This is as fair as you can get in a streaming over to a user-centric approach rather than BBC Proms in the Park, model, in an access-based business.” the current pro-rata system to try and balance Swansea, 2014. out this unfairness.” This raises interesting questions when comparing the perceived secrecy of the Curated playlists non-disclosure agreements and equity shares With the power and freedom of self-releasing of the major rights holders in the larger your music, there also comes the streaming services, and the supposed responsibility of having to take care of the marketing and promotion. Much has been written about the rise of curated playlists and ‘radio’ stations that make our decisions for

“I really think the streaming sites need to move over to a user-centric approach rather than the current pro-rata system.”

Classical Streaming Trends

Italian pianist and composer Ludovico Einaudi was by far the most-streamed classical artist in 2018, and his recordings accounted for an impressive 8.6% of all classical music streams.

His most popular track, Nuvole Bianche , was streamed over 4.2 million times in 2018 – a remarkable achievement. Trained at Milan’s prestigious Conservatorio Verdi, Einaudi has released numerous solo albums as well as synced compositions for films like This Is England and I’m Still Here.

The strong growth of classical streams as a whole is reflected 25 in the latest set of figures received from PRS For Music. © NurPhoto / Getty Images Online revenue was up by 52.7% in 2017 to £122.9m. This us – or, rather, take the decision out of our The fastest-growing format breaks down into £103.7m hands – but this can also be a tool utilised by There may be potential downsides to this for streaming, £5.4m for artists themselves. though, as Michael Price explains. “The downloads and £13.8m for distorting effect of the biggest Spotify video on demand, although it’s Matthew Whiteside says the main way he playlists has led to a homogenisation of important to note here that PRS uses streaming for promotional purposes is music in certain genres”. do not provide a breakdown of through making playlists: “Every week I make streaming by genres. a playlist of mostly classical music between However, drawing parallels with how music one to two hours long and include a piece of used to be disseminated, he notes that it is This growth is hugely mine in it. This has the dual benefit of putting probably, “no more, really, than mainstream beneficial to musicians, as my music into a context (and to give the pop radio did a generation before”. £605.1m in royalties was paid streamer’s algorithms something to work on), to composers, songwriters and promote other music I like and hopefully make Steve Long, managing director of Signum music publishers in 2017 – a everyone a little bit of money. It is about trying Records, summed up what he considers to be sum that is up 14.7% on 2016. to make it easy for people to find my music in the benefits across both income and the context that makes sense.” marketing reach. “It continues to grow at a This was based on a staggering rapid rate and enables our music to be heard 6.6 trillion performances of Till Janczukowicz agrees: “I think what in countries where we don’t have a physical music that were reported to audiences want, and this is a big opportunity presence. We are just about to deliver our 200 PRS for Music – in total 53% for composers and musicians, is curation. millionth audio stream and I see this as the more than reported in 2016. They want an authority that they trust, that is fastest growing format and the way for us to Clearly there is a growing credible. Overall, the takeaway is to build grow our audience for the future.” appetite for accessing reach but at the same time it’s also a classical music in this way. possibility for musicians to raise their profile and maybe use their channel on Idagio as a digital business card.”

The Musician • Spring 2019 MU Members’ Conference 2019 A proactive event that will give members an even greater input into shaping their Union.

The inaugural MU Members’ Education & Equalities Recording & Broadcasting Conference will be held on Morning session Morning session Wednesday 24 July – the day after Inclusive Music Teaching: discussion of Modernising the collection of performer the biennial Delegate Conference – the issues and challenges for teachers. data from recording sessions: finding at the Hilton Brighton Metropole a solution that works for Musicians’ Hotel, East Sussex. Afternoon session Union members, Approved Contractors Access to Music Education: is music and the wider industry. All members are invited to join the becoming the preserve of those who General Secretary and the Union’s can afford it? Afternoon session Executive Committee at this key How can the MU best improve and event, to have an input into the expand the services it provides to 26 development of policy and strategy, Live Performance music writers? and in order to address current and Morning session forthcoming industrial and political Access All Areas: building a career issues affecting musicians. for life. Exploring the ways in which Communications & performing artists can find additional Government Relations The programme will incorporate revenue streams and develop Morning session breakout sessions and attendees portfolio careers. Shaping how we talk online: digital can choose to attend one morning communications focus group. and one afternoon session. The Afternoon session Conference will begin at 10.30am Touring: it’s no good for my health. A Afternoon session and close at 4pm. look at the mental and physical effects Moving from slacktivist to activist: of life on the road and what the MU can online to offline organising. Please be aware that in order to do to encourage healthier workplaces achieve an even number of members and environments. for all of the break-out sessions, you The number of attendees is limited to may not necessarily be allocated 100 members. Attendees travelling a your first choice. Orchestras long distance can apply for one night’s Morning session bed & breakfast accommodation on the The subjects for the sessions are The decline in music education and its 23 July, while travelling expenses will be as follows: impact on orchestras. How can the MU reimbursed, along with any loss of influence positive change? earnings. Lunch will be provided.

Afternoon session Members attending the preceding day’s Examining the power of the union in biennial MU Delegate Conference will the employed and freelance orchestral automatically be invited to attend this sector. How can the MU empower our inaugural Members’ Conference and do activists in the face of anti-union or not need to register their interest. recalcitrant managements and against apathy from colleagues or non-union members?

The Musician • Spring 2019 report © Jason Row / Getty Images, © Westend61 / Getty Images, Roger Bamber / Alamy

How You Can Get Involved

To register for the Members’ Conference, please visit: 27 Brighton is the setting for the first MU Members’ Conference, which theMU.org/members- will feature sessions on a range of conference topics for working musicians.

This registration facility will be available online from the 21 March. Members are encouraged to express their interest in attending by 5 April.

The Conference organisers will then contact you by email, during April, when you will be able to: • Confirm your willingness and availability to attend • Indicate the breakout sessions you would prefer to join • Pay a £20 deposit (to be refunded upon attending Conference). Register for the event at Should the available places theMU.org/members- be filled, we will maintain a waiting list of registered conference from members in the event of 21 March 2019. cancellations.

The Musician • Spring 2019 Repetitive actions, such as playing an instrument, can quickly lead to injury.

It would be extraordinary to expect that a professional athlete could sustain a career Right On Your Side without a single injury. The act of repetitious behaviour from a young age, using a particular set of muscles to perform to the highest of their ability, brings with it an inherent risk. Similarly, professional Medical Help musicians experience intense levels of strain. In fact, it’s an eye-watering statistic to learn from Claire Cordeaux, director of the British Association for Performing Arts Medicine From BAPAM (BAPAM), that 75% of musicians will suffer from some form of injury during their career as a result of intensively using particular parts of their body every day. If you’ve sustained an injury while Seeking help performing then you need the help and BAPAM is a charity providing a range of health care services for all performers (70% advice of MU partners BAPAM. Here’s of whom are musicians), including training and what they can offer you. research. Its core function is a clinical assessment service and many MU members Report by Katie Nicholls have benefitted from this over the years. The organisation has 160 clinicians who have been approved by the BAPAM committee, because they have experience of treating performing artists and have an understanding of the unique context in which musicians work.

The Musician • Spring 2019 © Nomad_Soul / Shutterstock or phone the charity on 020 7404 020 on 5888. charity the phone or [email protected] email bapam.org.uk, itthe offers,visit services website at the BAPAM and on information more For ability. their of best the to playing to keep musicians fit and healthywhile also is always, aim, The NHS. the within working as University College London or with clinicians such academics with research MU, the within whether this is via their training programmes practice, best achieve to bodies disparate between connections create to Claire, says as Help Musicians the UK, organisation aims, Working alongside the MU and charities such Joining the dots pathway.” care best the what’s and evidence audiologists talking about the most recent and GPs have we and group audiology an up set we’ve example, “For Claire. says practice,” organisations to examine evidence for best health. “We bring together clinicians and other alongside vocal health, followed by hearing next comes PTSD, and stress anxiety, Pyschosocial problems, such as performers’ solution.” right the get to approach a forensic take to have often They clinician. bythe work detective requires it so injury the for reason “Nobody’s been able to find a particular Claire. says service,” health the through MRIs had they’ve “Often, 60%). (around work their skeletal complaints make up the of majority Musco- categories. main four into fall BAPAM to referred been have who members MU Risk of injury we’ve suggested.” what about can we as informed as NHS the in we and try keep the patients’ healthcare team So NHS. the through route that take to them for best it’s why explaining GP their for letter a provide then We can week. the of day every because they’re not dealing with musicians do always can’t GP their that something people, for pathway care best the together put is do and try we What possible. as quickly as performing back them get to order in need they what for advice right the get can they “So free clinical assessment here,” says Claire. a them offer and go to way best the on advice them give will we occupation, their to relates that acomplication has amusician “When

it into your schedule.” to plan for a healthy tour and build how of context the within together touring, bringing all those issues healthy on programme anew doing health for example. We’re also vocal, psycho-social and hearing injury prevention – musco-skeletal, approach best to how and etc are to think about: sleep, nutrition areas top the what on working been health and wellbeing and we’ve we’ve been doing work on general so us… with work who educators have a number of clinicians and We years. the over MU the with lot a done we’ve so training, do and in come to us want who organisations promotion programmes mostly for “ Ar A o D Clai We have a series of health health of aseries We have s i r so t of behaviour or repetition. Awareness is really important.” right but you just dismiss it. Sometimes these things come as a result not was something –Iknew aware body not are musicians “Generally gig coming up, so we didn’t do anything straight away. a Ihad doing. you’re what know to need you detail of level aminute such has that clinical speciality when you’re talking about performance. It’s who someone have to You have wrist. the is specialism His research. in “The doctor at BAPAM is an amateur musician and he works with pianists someone who isn’t a musician but you feel a loss of speed or strength. The doctor explained everything. It wouldn’t have been a big issue for usa MRI. an had and there adoctor by seen was and BAPAM to areferral for GP my asked I playing. my affecting was it and wrist my with problems “I’m a composer, pianist and workshop leader. I started to have some Fili speciality” that has clinical who “You have to have someone e s c r c M t e Co iatio p e r di e

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deaux f E he B he o ( r B P A P r e AM i r tish tish f o ) r m i n

E guidance and treatment.” prevention and providing advice, educating our members on injury both on BAPAM at practitioners calibre high the with work to able after their health. We value being importance of musicians looking research is undertaken about the more as area agrowing is medicine to Performing perform. arts issues that impact on the ability to advise accordingly on health able are and working of way their with practitioners who understand appreciate being able to connect We know that musicians really this. of part avital is BAPAM with members and our association our offer we services the of part important an is MU the at issues wellbeing and health on work “Our Widdiso Na D d ia tio u n c e a n tio al The2019•SpringMusician n Or & g Tr Repo a n n a

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29 Situated in the bustling cultural hub of Fair Play Focus Belfast’s Cathedral Quarter, surrounded by a heady mix of heritage pubs, chic eateries and boutique hotels, the diminutive Black Box – a 19th century listed building renovated for purpose in 2006 – is the artists’ venue of choice in Northern Ireland’s capital city. The The nearby Ulster Hall has the history, the SSE Arena the capacity, but what The Black Box lacks in backstory and big act infrastructure it more than makes up for in ethos and atmosphere. The buzzwords here are “eclectic” and “inclusive”, founding Black Box principles reflected in its diverse calendar of events, affordable ticket prices and early A comparatively small venue with sign up to the Musicians’ Union’s Fair Play Venue scheme. big ambitions, Belfast’s The Black An exploitation-free zone Box is a proud part of the MU’s Fair “We think it’s really important that musicians are paid and not exploited,” says The Black Play Venue scheme... Box’s director Rachael Campbell-Palmer, “and that’s why we signed up to the scheme. Feature by Lee Henry We don’t believe in bands playing for exposure, or pay-to-play, pitching artists against each other to get on line-ups. We 30 believe in working together to agree clear terms and expectations beforehand so that everyone can benefit.”

Rising stars King Kong Company bring their brand of dance punk to The Black Box.

The Black Box, 18-22 Hill St, Belfast BT1 2LA blackboxbelfast.com

T: (028) 90 24 44 00 E: [email protected]

CAPACITY: 240 (main room), 60 (green room) ABOUT: A two-room venue in a 19th century listed building, right in the

heart of Belfast. McAllister Bernie © CONTACT: Holly Foskett GETTING A GIG: Contact the venue on the above phone number or email.

The Musician • Spring 2019 F reATu e

inside, the 50-seater Green Room, which The Black Box is “We think it’s really doubles as a café and performance space, suitable for both visceral gigs and and the 240 standing capacity Black Box itself, important that more intimate ones. where regulars return for the annual Out To musicians are paid Lunch and Cathedral Quarter arts festivals, as well as the Brilliant Corners Festival of Jazz. and not exploited.” Practising what they preach Rachael Campbell-Palmer “It’s an accessible space for emerging musicians and an attractive venue for high profile touring acts who enjoy the intimate It’s rumoured that the idea for The Black Box scale and set-up,” says Campbell-Palmer. “We was, as the cliche goes, sketched on the back have had an amazing line-up of acts through of a cigarette pack one fateful evening by our doors over the years thanks to a locals who envisaged a temporary space for combination of in-house promotions and long struggling artists with few options in the standing relationships with festival and Cathedral Quarter area. It quickly became independent promoters.” established and today thrives. Always quick to put artists first, Campbell- The scars of the Troubles remain, most Palmer directs jobbing musicians to the notably on Belfast’s peace walls, which Fair Play Guide for more information. “It’s continue to separate Catholic and Protestant really useful for bands to ensure they are communities mainly in the north and west getting a good deal. It has great tips about sides, but Belfast has long since been reborn what to look for in contracts with promoters, as a bona fide 21st century European things to avoid and ways to promote your destination. The Black Box provides tourists shows and music. Similarly it is useful to and locals with plenty to see and do. venues so you can make sure everything is in line with good practice.” 31

With its cobbled street exterior and minimal McAllister Bernie © signage, The Black Box provides the perfect low-key antidote to the neon commercialism of the modern city. There are two spaces

The Musician MU Regional Officer The Venue Manager

C oNSTANCE Keane, C aroLINE Sewell, MU Rachael Campbell- musician and Regional Organiser, Palmer, The Black producer Scotland & Box, Belfast Originally from Dublin, Northern Ireland A vocal advocate of the Constance Keane, aka “The Black Box is one of my Fair Play Venue scheme, audio visual artist Fears, favourite venues in Belfast. Campbell-Palmer believes has been living and performing They have a couple of different it protects artists and venues. in Belfast since 2016. “I had my first spaces, the Green Room and the “Venues have a responsibility to headline show in The Black Box, as larger Black Box space, which makes ensure that the people they work with part of their Neo Neo series, which it really versatile, perfect for larger are treating bands fairly. If we hear merges music and visual art. They’ve events or something more intimate. of promoters not treating bands or always been accommodating and The management there have a social musicians fairly, or exploiting them supportive of my live show. Now I DJ conscience and promote that ethos in any way, then we won’t work with there every few weeks. The Black Box throughout their programming, which them again. I think the Musicians’ is welcoming, warm and feels safe, and is a mix of music, art exhibitions, Union have been doing a great job in I appreciate how reliable they are when theatre productions, film screenings changing the landscape and lobbying it comes to paying artists promptly. It’s and outreach work. This helps them to for protecting musicians’ rights and great to have venues committing to remain, in their words, ‘cutting edge, their presence in Northern Ireland is treat artists with respect.” inclusive, accessible and weird’.” growing steadily.”

The Musician • Spring 2019 Regional Focus Bristol Feature by Neil Crossley

Punk yielded The Cortinas, followed swiftly by became one of the most breathtaking debut An ever-innovative The Pop Group with their fusion of jazz and albums of the decade. The media coined the music city with a rich reggae wrapped in a DIY punk aesthetic. Rip, phrase ‘trip-hop’, defining Massive Attack, Rig And Panic emerged in 1981, their avant Tricky and Portishead as the ‘Bristol scene’. and eclectic heritage. garde/jazz blend elevated by the innovative The city’s hip credentials received another pop/soul vocal style of Neneh Cherry. boost in 1995 with Tricky’s debut album Maxinquaye and in 1997 with drum ‘n’ bass Creativity, cultural diversity and a fiercely The Bristol Sound collective Roni Size and Reprazent’s Mercury independent spirit are defining features of An all-night sound system culture grew in the Prize-winning album New Forms. Bristol, a city whose modest size belies its early 80s, becoming more eclectic with the rich heritage. The city that spawned Cary arrival of US electro and hip-hop. The Wild Thriving scene Grant and Banksy has often moved against Bunch soundsystem focused uniquely on Over two decades on, Bristol punk band Idles the trends, carving out a unique sound in the slower rhythms and ambient electronic are creating a deeply passionate, cathartic process. Bristol never had the equivalent of atmospheres. It featured Nellee Hooper, Tricky sound. Their second album Joy As An Act Of The Beatles or The Animals, but it did have and the three members who would form Resistance was hailed as one of the best instrumental combo The Eagles who released Massive Attack: Robert ‘3D’ Del Naja, Grant albums of 2018, and the punk renaissance a string of singles a decade before their ‘Daddy G’ Marshall and Andrew Vowles. continues with the band Lice. Another new arena-filling Californian namesakes. Bristol artist is Yola Carter, whose potent soul/ also had songwriters Roger Greenaway and Their genre defying 1991 album Blue Lines country is earning her a dedicated following. Roger Cook from Fishponds, who penned the fused down-tempo hip-hop with soul, reggae 1972 hit I’d Like To Teach The World To Sing. and other diverse influences. The tape op on Live music is thriving, with over 90 venues the album, Geoff Barrow, would go on to form across the city. Bristol has the highest number Portishead, whose debut album Dummy (1994) of musicians relative to population size of

The Musician • Spring 2019 © Mathew Roberts Photography / Getty Images Brixton Academy. Attack on stage at Bristol legends Massive MU Wales & South West West &South Wales MU Famous Bristol people Population: Regional Organiser: cardiff @theMU.org 1 Cathedral Road, Carol Vorderman Transport House, Cardiff, CF11 9SD CF11 Cardiff, (aka Cary Grant) England Region Robert Del Naja 029 2045 6585 2045 029 Tony Robinson Grant Marshall and residents: Andy Warnock Neneh Cherry GeoffBarrow Archie Leach Paul McGann Jeremy Irons South West JK Rowling PJ Harvey Roni Size Roni Banksy Bristol Tricky 459,300

The 1,800-capacity Hall has hosted live live hosted has Hall 1,800-capacity The Venues THE BRISTOL FOLK HOUSE FOLK BRISTOL THE BAR ATTIC THE ANSON ROOMS acoustic live events and festivals. capacity hall in the University of Bristol and a new name. Until then, BMT and will reopen with new branding Croft. The music spans a diverse (BMT) now runs the venue and has a colstonhall.org through to Latin grooves and hip-hop. hip-hop. and grooves Latin to through COLSTON HALL range of genres, from soul fusion music since 1867. Bristol Music Trust programmes at venues across the city. main venue is closed for rennovation Students’ Union building in Clifton. Its upstairs cafe area and downstairs Popular 240 capacity venue in Stokes Smiths The to Bowie from Everyone fmbristol.co.uk hall stage a host of folk, roots and and roots folk, of ahost stage hall has played this popular venue, a 1,150 a1,150 venue, popular this played has bold and eclectic programme. The bristolfolkhouse.co.uk bristolsu.org.uk

Everynight Images / Alamy Stock Photo This 450-capacity venueThis in 450-capacity Bedminster THE CROFTERS RIGHTS THE CROFTERS THE LOUISIANA FLEECE THE THE EXCHANGE stellar names to have graced its stage. stage. its graced have to names stellar and improved facilities for artists. owned live music venue in Bristol. catch local and international acts. to place Agreat noise. experimental venue hosts everything from punk to venue in the city centre, which opened stgeorgesbristol.co.uk World, folk, roots, jazz and classical Oasis, Muse and Radiohead are among White Stripes. Bands play in the small exchangebristol.com croftersrights.co.uk upstairs live room and the venue offers the bands who played this much-loved former seafarer’s hotel has been a fiddlers.co.uk music are the focus of this Grade II II Grade this of focus the are music must-play venue for up-and-coming community- first the is It punk. to pop programming everything from psych ST GEORGE’S BRISTOL Situated in uber hip Stokes Croft, this this Croft, Stokes hip uber in Situated For three decades, this 140-capacity Popular venue in Old Market Plant and Dinosaur Jnr are among the includes new performance spaces listed venue. A recent £6.3m extension its doors for live music in 1982. 1982. in music live for doors its heaps of opportunities for local acts. bands such as Muse, The National and hosts live bands of all genres. Robert thelouisiana.net thefleece.co.uk FIDDLERS at Motion in November 2019. The Paraorchestra & Friends Re:werk Kraftwerk

featuring featuring

400-capacity downstairs main room. 400-capacity The Trinity has been at the forefront of of forefront the at been has Trinity The This much-welcomed branch of the A matrix of old warehouse spaces by A former cargo ship that hosts an an hosts that ship cargo A former A traditional city centre jazz venue THE TRINITY CENTRE THE TRINITY THE THEKLA DUKE OLD THE 2,000-capacity venue opened in 2001 eclectic range of name bands in its gigs by major artists. and hosts a diverse programme of edge shows, from local legends acts it includes a 150 capacity room room capacity a150 includes it acts as well As 2017. December in opened 3ca.org.uk o2academybristol/ academymusicgroup.com/ urban music events. famed independent record store for live gigs, signings and showcases. which has added blues and modern O2 ACADEMY O2 proactively stocking releases by local Feeder Road, the venue is increasingly Located on a demolished ice rink, this Massive Attack to Public Enemy. Bristol’s music scene since 1976, and Recent highlights have included Idles. motionbristol.com roughtrade.com jazz bands to its programme and now now and programme its to bands jazz is known for producing major cutting being used for a range of innovative innovative of arange for used being has live music every night of the week. week. the of night every music live has theklabristol.co.uk theoldduke.co.uk MOTION ROUGH TRADE ROUGH The2019•SpringMusician ATURE F profile

33 © Paul Blakemore Bristol band Idles “Anything feels possible are blazing a trail with their blistering Festivals and incisive sound. in Bristol... this mecca for free creative spirits.” DOT-TO-DOT An annual music festival organised by promoter DHP and held across ”The Agent of Change goes a long way to numerous “intimate city spaces” such protecting venues from noise complaints as The Thekla. Famed for showcasing specifically,” says Paul Gray, outgoing MU the stars of tomorrow, previous Regional Organiser for Wales and South West participants have included Ed Sheeran, England. “The MU is on the advisory Bristol@ Mumford and Sons and The 1975. Night board and I’m pleased to say that dotodotfestival.co.uk explicit reference to live music venues is being made in order to embed the AOC principle in SIMPLE THINGS Bristol Council’s local planning policy.” Now in its ninth year, this hugely respected city centre festival, held in

WENN Rights Ltd / Alamy Stock Photo Outside-the-box October, is a collaboration between From folk, jazz and indie to drum ‘n’ bass, some of Bristol’s leading promoters, dubstep and electronica, the Bristol music programming events across a network any UK city and live music generates £123m of scene thrives on experimentation and this is of venues across the city. The festival revenue for the Bristol economy each year. now evident in live orchestral music. Bristol is has become a beacon for innovation home to the British Paraorchestra, the first and risk-taking, and showcases some Venues under threat ever orchestra consisting solely of musicians of the underground’s most innovative The city’s music scene has not been without with disabilities, which was formed by electronica, hip-hop and dance artists. its problems. Numerous inner city apartment conductor Charles Hazlewood in 2011. Recent simplethingsfestival.co.uk blocks built near venues have led to threats of performances have included Kraftwerk: closure due to noise complaints. Six major Rewerk, a reworking of Kraftwerk’s iconic CLIFTON INTERNATIONAL Bristol venues – Fiddlers, The Fleece, Thekla, Trans-Europe Express album using a mix of FESTIVAL OF MUSIC 34 The Louisiana, The Exchange and the O2 symphonic and electronic instruments. Clifton Cathedral, St Pauls Church Academy – all have flats near to them or plans Clifton and the Lansdown and Tyndale for them to be built. Kerry McCarthy MP and “I consider us extremely fortunate to have Baptist Church are the venues hosting Thangam Debbonaire MP have been pro- The Paraorchestra & Friends based in Bristol,” this summer festival of classical active in helping venues to fight off closure. says Hazlewood. “This West Country mecca music, from 1-8 June 2019. The festival for outlaws and outside-the-box thinkers, features concerts, lectures and In January 2018, the government agreed to for free creative spirits, is the perfect crucible workshops. Artists include home- back the Agent of Change (AOC) principle, for us to birth our ideas, and gently shift the grown talent from the south-west which means the responsibility for sound- paradigm... Anything feels possible in Bristol. as well as global artists. The line-up proofing now lies with property developers, A city with a dark past, but an infinitely includes the Ayoub Sisters, Monteverdi not music venues. While the AOC will not cover bright present and future.” Vespers and The Temple Ensemble. noise complaints made retrospectively, it is cliftonfestival.com hoped that it will offer protection. LOVE SAVES THE DAY Annual urban and dance music festival held in Eastville Park, that attracts some of the biggest live acts and DJs around. Now in its ninth year, this The Local View year’s line-up will include Lily Allen, Bonobo and Chase & Status. “Bristol is a forward-thinking, liberal, open minded “In the early days of the Bristol Sound it was very lovesavestheday.org city and has now firmly established itself as a much a DIY scene. They would take over empty must-play city for most tours. Turn-out for gigs warehouses, put on a party with a sound system, RIVERTOWN FESTIVAL has never been better. I like the fact that it is and eventually people started to hear about it… An annual Americana festival eclectic and that there is a strong DIY community very similar to the early days of punk. Sometimes presented by Colston Hall and St within a lot of different underground scenes. So if it’s more about leaving people to get on with Georges, and held at various venues your thing is free jazz or avant garde noise there things – and giving them the freedom to find their across the city. Performers in previous are places where you can play and people who will own way – than about taking proactive steps to years have included Lucinda Williams, support you. We put on a lot of punk bands and nurture talent and provide facilities, which can Mavis Staples, Graham Nash, Steve those shows are going from strength to strength.” end up creating something rather sterile.” Earle & The Dukes, Rosanne Cash Matt Otteridge, Director of The Exchange Kerry McCarthy MP and Elvis Costello. colstonhall.org/shows/river-town

The Musician • Spring 2019 F profileeATURE The much-respected Bristol Jazz & Blues Festival at the Colston Hall. Education

BIMM music production, The British and Irish composition and Modern Music Institute live sound. Courses (BIMM) in Bristol is include BA (Hons) one of eight faculties Music Composition across the UK, Ireland for Film and TV, BA and Europe. Courses (Hons) Electronic Music include degree and Production and BA diploma study in vocals, (Hons) Sound for bass, guitar and drums, Film & TV. as well as songwriting, dbsmusic.co.uk music production and music business. A UNIVERSITY diploma in live sound OF BRISTOL is also available. The Department of bimm.co.uk Music offers a number of undergraduate and DBS MUSIC BRISTOL postgraduate music Situated across three courses, including a sites in the city, dBs BA Music and an MA in Music Bristol offers a Composition for Music broad range of degree for Film and TV. A highly and pre-degree courses respected faculty.

35 BRISTOL JAZZ AND BLUES Studios FESTIVAL Restoration work at the Colston Hall COACH HOUSE STUDIO Massive Attack booked out its room with natural light is a great means that the festival will be held The studio where Massive live room for pre-production space for bands looking for eye to this year at the Anson Rooms, St Attack recorded tracks for Blue rehearsals. From hobbyists to eye contact on sessions. Georges and O2 Academy. The line-up Lines and Portishead recorded semi-pros and beyond, its 11 invadastudios.com includes China Moses, Liane Carroll Dummy. Now run by producer and studios are an attractive and and American sax player Pee Wee Ellis, musician Tom Hackwell, the live competitively priced option. J&J STUDIO a pivotal member of James Brown’s room produces a sound that is factorystudios.co.uk J&J was established in 1997 by Jim band, who now lives in nearby Frome. full of life and character. Barr, bassist for Portishead and bristoljazzandbluesfest.com thisiscoachhouse.com INVADA STUDIOS innovative jazz-punk quartet, Get Created by Geoff Barrow, this 24 The Blessing. A warm-sounding VALLEYFEST FACTORY STUDIOS track recording studio boasts live room with natural light, it has The lush, rolling countryside bordering A consistently professional world class facilities, experienced a welcoming vibe and houses Chew Valley Lake is the setting for rehearsal studio complex in engineers and high end analogue numerous vintage guitars, amps, this family-friendly festival, held this Barton Hill. Not for nothing have and digital gear at good rates. keyboards and sonic oddities. year on 2-4 August. Basement Jaxx are clients such as PJ Harvey and The 42 sq ft wooden-floored live The results are warm, powerful confirmed for 2019 and there are slots and pristine recordings. for local bands and solo artists too. jandjstudio.co.uk valleyfest.co.uk The live room at JIm Barr’s J&J JOE’S GARAGE BRISTOL FOLK FESTIVAL Studio in Easton. Situated beneath The Exchange, St Georges and the Bristol Folk xxxxxxxx © Joe’s specialises in capturing

House are the venues for this annual © Paul Samuel White great live performances. It is the festival, held this year on 3-5 May, brainchild of engineer Joe Garcia, which showcases some of the finest who has stocked the place with artists in the contemporary scene. a Trident bT-24 console and a Comfirmed artists for this year include stunning array of vintage amps, Cara Dillon, Sam Kelly and The Lost mics and all manner of gear for Boys, Grace Petrie and Lady Maisery. those of an analogue bent. bristolfolkfestival.corg joesgaragebristol.com

The Musician • Spring 2019 36

A guide to: Hiring a pr Finding the right press officer could help secure coverage that launches your career. Henry Yates asks the experts for their advice on making the headlines.

It’s a scenario that will be heart-sinkingly financed artists as we do, in purely logistical familiar to any grassroots musician terms it’s often far too time-consuming for “You may find that a operating under their own steam. You mail a DIY artist to cover all of the bases effectively out a tower of promotional CDs to every themselves.” That’s where the PR comes in. smaller agency media outlet on your radar. You wait. Days better suits what become weeks. You follow up with an Price is right email and it goes unanswered. You phone For all the benefits, a common assumption is you are doing.” for feedback and are intercepted at the that a press officer will be beyond the budget switchboard. “Frustrating is one way to put of a working band. Not necessarily, counters Martin Harley it,” reflects Massive Wagons frontman Emily Barker, who in March follows up her Baz Mills, of the years spent before the acclaimed solo album, Sweet Kind Of Blue, Lancaster rockers hired Duff Press to with a release alongside Marry Waterson, based on the coverage they get? No. Because 37 promote their fourth album, Full Nelson. A Window To Other Ways. “I raised money to there are too many unknowns. You’ve just got “It can be almost impossible to get coverage employ somebody I met at a show who was to have faith in your publicist and trust that on your own, especially from the big players doing press for peers of mine. We had a good they’ve been out there fighting for you.” in the industry.” rapport and her prices were great. She also worked with big artists, but she recognised Take your pick Fundamentally, the role of the press officer is that people starting out needed to have much If the costs aren’t prohibitive, then the next to build a musician’s media profile, bypassing smaller budgets and were self-funded. There step is to undertake some deep research the gatekeepers and bringing their clients are still people like that, who are flexible if they into sourcing the right PR. With most bands to the attention of relevant, receptive fall in love with your music.” sharing their publicist’s details on their social broadcasters and journalists for worthwhile media pages, it’s not hard to find agencies, coverage. But as Sue Harris of Republic It’s a view echoed by Harriet Simms at Glass but making a shortlist takes time and care. Media points out, a good PR can do far more. Ceiling PR, who has represented everyone “Recommendations are the top of the list for “It’s not just about acting as a messenger. A from Dolly Parton to upcoming British folk me,” says acclaimed folk-blues slide guitarist, publicist can bring ideas and work with you acts. “Most people I work with don’t have lots Martin Harley. “You may find that a smaller to become the best artist you can be. It’s of money. I’ve always operated a sliding scale agency better suits what you are doing – about experience. It’s knowing what works in terms of my fee, based on what sort of set- and of course going with an agent that has and doesn’t work. It’s about having someone up is involved. If an artist has the backing of a proven success in your particular genre is an with fresh ears who’s subjective and can see record company, distributor and manager, I’ll advantage. The number one goal is reaching what’s special about you that needs to be generally charge more than for someone who people who are going to buy your album and focused on, and the angles that journalists is doing everything themselves. I’m not aware come to a show.” will pick up on. Someone who can connect of an industry standard for charges. I just try you with photographers or people to help with to charge what I think is fair – to the client and Claire Horton, whose independent PR agency videos. Where to spend your budget – and me. Prices start at £1,000.” represents Americana and country stars from where not to spend it.” Willie Nelson to Bonnie Raitt, agrees on the Harris believes that price-point is realistic, importance of hiring a specialist. “Choose “Aside from helping spread the word, whether but also flags up the industry-wide policy of that’s via press or radio,” adds Geraint Jones a pre-agreed fee. “PR for top-flight releases of G Promo PR, “from our own perspective, could cost thousands a month. But there’ll working with a lot of self-released, self- be other people who’ll work a project for a small amount, and that could be £1,000 for the project. Don’t be afraid to ask. Do PRs charge

The Musician • Spring 2019 “We looked for someone who was passionate about our © Fin O’Hara, © Mark Adams music and wanted to meet in person”

Hands Off Gretel Worry Dolls suggest that you thoroughly sound out your PR.

PR DIY

If that £1,000 threshold is too steep, says Sue Harris, there’s nothing to stop proactive artists handling their own PR. “I think it’s really important that any artist does a certain amount on their own. You need Emily Barker (above) met her to know where you should be PR at one of her shows. Hands talked about, written about and Off Gretel (left) emphasise the played. Then the question is, importance of trusting a PR. 38 how do you get the coverage from that media? You could start with bloggers, your local radio, BBC Introducing. Most of a publicist who has knowledge and folk duo Worry Dolls are making waves with the time you can contact them experience in your genre and a good track recent singles like Don’t Waste Your Heart On directly. And then you build it – record. If you hope to target genre-specific Me. “What kind of artists do they represent? y’know, most local newspapers and mainstream media, check that they cover List any specific people at radio, magazines, have music coverage and both. Look at the artists they represent; this print or online blogs and ask if they have support local talent.” will help you see if there’s a fit with the area of connections. How long would the campaign music in which you see yourself.” be? When are they available to start? What “But never spam people. You would be their suggested time frame? How need to look at a blog, for Just as important for Lauren Tate, singer many singles for radio? Obviously, finance is example, and analyse where with garage-rockers Hands Off Gretel, was a part of it and you have to find someone that you fit on their site. Do they entrusting new album I Want The World to a can work within the budget you have.” have a breaking talent or gig publicist with the personal touch. “We looked reviews section? Do they have for someone who was passionate about our Be aware that recruiting a PR is not an EP, single or album reviews? music and wanted to meet in person to chat afterthought. “You’ve got to give PRs time to Then contact the person that’s through our campaign and what we were do a proper job on your behalf,” points out responsible for that section, about. You have to spend a decent amount Simms. “That means a minimum of three including some links to your on PR, so making sure it’s someone you feel months’ notice and that’s assuming you music and images, the salient comfortable with was really important for us. already have product available and ideally a points about who you are and Another factor for us was making sure they tour in place. I still work with actual albums what it is that makes you ‘now’.” have a personal relationship with journalists – and vinyl – but you obviously also need to and reviewers.” provide music via Soundcloud or WAV files, so make sure you’ve got that set up. Do you have Making a polite and professional approach to a website and accounts for Facebook, Twitter a publicist – which should include a summary of your career to date – may lead to an initial meeting. But before making a commitment, there are key questions to be tabled. “You should be asking how long they’ve been working in PR,” says Zoe Nichol, whose indie-

The Musician • Spring 2019 advice

Top 5 Tips How to hire the right PR for you 1 A ssess your finances D on’t assume you can’t afford a PR Massive Wagons say they campaign. Some publicists will relax struggle to get noticed before hiring a PR. their pricing if they believe in a

coming to see you live, that might be a way of 2 consolidating a write-up or a feature.” Do your research Beyond that, says Harley, it’s a case of being Nothing beats a personal communicative, accessible and ready to recommendation from a band on the amplify the efforts of your publicist. “Repost circuit. Once you’ve shortlisted PRs and Instagram? If you’re interested in getting and share articles of coverage your publicist with a track record in your genre, try your singles playlisted, this needs to be gets,” he advises. “Always reply to emails in speaking with existing clients. factored into the equation – with a video, too. a timely manner, as most announcements 39 You need great photos, preferably colour, hi- are time-sensitive. Make yourself available 3 res, portrait and landscape. You need a biog for opportunities without compromising your or press release that is well-presented and time and efforts for what you are creating. G et face-to-face literate, plus striking album artwork that looks Remain contactable and courteous. You may Your publicist should care enough to good in big or small print. None of this costs a be misquoted and perhaps misrepresented. meet you face-to-face and hear more fortune – but does require planning ahead.” Oftentimes, your story will be cut and pasted about your story. Remember, you’re from your biography so always make sure it’s also sizing them up, so ask relevant Proactive publicity well-written and representative. Be sure to questions about past successes. Once you have engaged a publicist, rather manage the integrity of your story or narrative than sit back and wait for column inches, that you’ve chosen to share – and are paying a 4 artists should actively help their PR in the professional to help you share.” campaign. “The more content – videos, S ort your press kit images and audio – you can supply the better, Finally, as the old media adage has it: don’t Your press releases, photos, bio and as it means there’s more that the PR company read your press, but weigh it. “Neither you videos are vital parts of the PR machine, can be working with to get your release nor your publicist can control the output,” so invest suitable time (and money) into featured,” says Hannah Trigwell, whose debut explains Nicol. “You might get bad reviews or making sure they represent you. album, Red, won acclaim for its sharp blend articles that don’t paint you in the best light. of folk and electronica. “It helps if you have You’re paying to have things written about 5 a ‘story’, too, something about who you are. you – but not necessarily to have nice things There are a lot of artists out there trying to written. Every feature, article or review will Be ready get press coverage, so making yourself stand get forwarded to you, but a PR might choose I t’s no good starting a PR campaign if out is a way to draw the interest of your target to omit the odd bad review – so sometimes it your album isn’t done or you haven’t newspapers and websites.” pays not to go searching!” finalised your tour dates. Contact your PR three months before release. “It makes your PR’s job a lot easier if you have For more information, see martinharley.com, a clear narrative about your album and can handsoffgretel.co.uk, massivewagons.com, tell them about the themes,” agrees Barker. hannahtrigwell.com, emilybarker.com and C REATE A COMPELLING story “Things they can then share and journalists worrydollsmusic.com Complement your PR’s efforts by will go, ‘Oh yeah, I get it’. It also helps to have TOP making yourself saleable. Find a some live dates when they’ll be sharing your TIP compelling angle for your backstory, do link details. So if journalists were interested in interviews and share press coverage.

The Musician • Spring 2019 introduction TO… Pencilling in When is a day’s work not a day’s work? When you’re being kept ‘on hold’. Will Simpson looks at the complicated world of pencil bookings.

Pencil bookings or pencil ‘holds’ It’s a situation they face with varying degrees are for many musicians one of of good humour. “It’s happened to me so many the more annoying aspects of times,” says Billy Fuller, session bassist and their working lives. The idea one third of the experimental Bristol-based is that a contractor or fixer band Beak. “It’s happened where there was calls and asks whether you are work lined up for me and then I got a call available to work on such and the weekend before saying ‘don’t come to 40 such a date/s. You say yes and London. We’re just going with the basslines they ‘pencil’ you in. Of course, that are on the demos’. What can you say to this doesn’t mean that the work that? I understand that they have possibly is confirmed. Indeed, most done that because the budget has run out, but if you demand recompense, it’s not like you’re Rick Finlay has an session players have lost count in-depth understanding of the times they have been going to get a good name for yourself. I see it of the gigging scene.

pencilled in only for the work to as an opportunity to catch up on some DIY.” © Jonathan Stewart slip from their grasp. Things get trickier when a new work opportunity comes through while you’re still those working relationships. I put a value on on hold. Do you take the new job? What if keeping that relationship harmonious because by taking the work you end up annoying the these are people I want to work with.” original fixer? “There’s always that sinking feeling that you Be pragmatic might be cutting off a relationship. My view Rick Finlay is a drummer who has had to make is that you have to be thick skinned about that decision on a number of occasions. “Part that and say ‘c’est la vie’. For me it’s more of the reality of being a freelancer is that you important that people know that I’m honest sometimes might lose out. How do you make and reliable, so if I say that I’m going to do that decision? I think it’s a very complex thing something they know that I will honour that.” to do with the relationship you have with the person who’s booking you. Musicians are very The session world is rife with tales of players often booked by other musicians and I value who made the wrong call. One woodwind player who wishes to remain anonymous tells of when he lost nearly two weeks’ work. “I had “Part of the reality of being two weeks from 10 to 5 on hold. I thought I’d take a gamble on a week’s work. I got moved a freelancer is that you but I ended up with no work in the first week and very little in the second because I was no sometimes might lose out.” longer available. I have some friends who have a rule that they will only do what’s in the book. Rick Finlay They will never jump. Another colleague was

The Musician • Spring 2019 advice Bristol’s Beak perform on stage during Ypsigrock Festival on August 11, 2017 in Palermo, Italy. Going on standby However, there are some sectors of the industry where the holding system seems to cause less stress. Alex Gascoine is a violinist in the BBC Scottish Symphony Orchestra. “With the SSO we say to people ‘if somebody goes sick will you be on standby?’. In other words we’ll pencil you for, say, a week tour of Japan, China or wherever. We get their visa and travel arrangements done and say to them ‘if you get work in before we’ve confirmed, get in touch and we’ll say whether you’re definitely needed or not’. In other words, the freelance player won’t be stuffed.”

Gascoine claims the system largely works because of the orchestra’s location. “There is a smaller pool of freelance players in Glasgow so we have to treat them with a great deal of respect. Plus we pay full expenses; a lot of London orchestras don’t. We need to look after our freelancers because if we book players outside Glasgow we end up paying a P Encil ADVICE small fortune in expenses.”

• Be honest and transparent. If Gascoine doubts whether such a system the opportunity of other work could work in London. Indeed nearly all of

comes up while you’re on hold © Roberto Panucci - Corbis / Getty Images the people The Musician spoke to doubt 41 explain the situation to the whether the industry will ever agree upon person who originally booked best practice. Rick Finlay: “It’s reasonable for quite open that he would never accept a hold. you and come to a definite someone to ask if you’re available.” But he was a very high profile player – a soloist decision as early as you can. – and he got less work because of it.” But what can musicians do to make sure • Try and cultivate relationships they don’t end up missing out on work? Getting the Union involved with fixers and contractors. Finlay suggests that simply being polite Our friend tells some eye-popping stories of Don’t annoy the people who and doing your job well is the best way to pencilling gone crazy – the fixer who covered book you any more than you ensure you don’t lose out. “Trust your talent themselves by putting three tuba players on have to. Ringing up every hour and expertise. Always be professional and hold for the same job and another time when to check if a date is confirmed honourable in your working commitments and the fixer forgot to unconfirm the musician. certainly isn’t going to endear then stuff will come back, like karma.” you to them. Such yarns have meant the practice has “Try and be transparent,” says Alex Gascoine. often been raised on Union committees. “The • Diversify. If you work “My advice for orchestral musicians is say practice of pencilling dates can be a grey area predominantly as a session ‘that’s fine. I’ll pencil it in on the understanding and therefore open to abuse,” says Naomi player don’t always depend that if I get some other work I’ll phone you and Pohl, MU Deputy General Secretary. “It’s one upon that stream of work. Billy you tell me whether you’ll release me’.” thing being pencilled by a fixer who books Fuller: “You’ve got to do a lot of you regularly and who you trust. However you other things, haven’t you? Pub “As with anything in the freelance world it’s might think twice about turning down other gigs, tours with other bands...” not a good idea to upset the people who give work in favour of dates pencilled by a fixer you you work. Sometimes you just need to nod haven’t been booked by before or who’s less • Accept that sometimes missing and smile.” established. The practice of pencilling several out is the price of being a players for the same chair is problematic and freelancer. The time to start causes problems when pencilled dates are worrying is when you’re not cancelled last minute. Any bad practice should being asked to do any work. be reported to the Union.” • Report any flagrant abuses of pencilling in to the Union.

The Musician • Spring 2019 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 reviews & Tom Short A look at some of the new albums, EPs and downloads released by MU members for 2019, together with links for more information on the featured artists.

artyn is a highly-respected singer, writer and guitarist, whose Martyn Joseph blend of folk, protest blues and socially aware 21st century lyrics Here Come The Young has garnered a worldwide following and praise since he burst on the scene in the 1980s. He has worked on behalf of numerous Martyn’s 33rd studio causes including Amnesty International, Christian Aid as well as album, produced by M Gerry Diver. Imbued supporting the crucial War Child initiative. with a never-ending sense of optimism and faith in the In 2014 he launched Let Yourself Trust, year he was a featured guest on Stuart future and the open, a not-for-profit organisation aiming Maconie’s BBC Radio 2 show. His latest exclusiveness to challenge injustice, educating via album adds to the many plaudits, with Bob of youth, Martyn advocacy and raising issues otherwise Harris saying “Here Come The Young is engages with astute often ignored. In 2018 he was a Spirit of superb... It takes Martyn’s songs to a new, reflections upon the Folk Award winner, while in February this exciting and challenging place.” modern world.

The Musician • Spring 2019 jazz classical pop

Julian Marc NICOLA FArnon Dennis, Sounds Stringle Made Up Baroque AND It’s Clazzical: Perkins Volume 1 An accomplished Sweeter Than singer-bassist is a Roses Jo Ash Julian’s clarinet is a rare thing in jazz. Constellations delight, particularly Nicola has achieved Julian Perkins imagines at a time when the this and more on her what Purcell might Singer-songwriter Jo instrument seems latest effort, a superb have learned from his Ash’s debut demands to be less prominent set of songs which contemporaries, by that we take notice. on the contemporary thrives on her vocals recording his songs Jo’s balladry is jazz scene. This and outstanding alongside those of unapologetically album of classic pop musicianship. With Francesco Corbetta dramatic with arrangements and each song here, a and Giovanni Battista swooping vocals fusion rights this well-crafted love Draghi. Astonishing perfectly suited to situation beautifully. letter to the 70s. performances. her gothic tales. julianmarcstringle.com nicolafarnonmusic.com resonusclassics.com joashmusic.com

DOMINIC S cottish Fi delio Trio ASHWORTH National Jazz Faure, Chausson & Psyche Orchestra Satie: Piano Trios Peter And The Wolf On guitarist Dominic’s Here the Fidelio Trio So i bhan latest album he An inspired update have chosen to explore McCrudden 44 explores his musical featuring innovative three 19th-century Icarus Girl influences with a set arrangements French pieces. The that includes some by Tommy Smith, lyrical Andantino of the Siobhan’s ethereal enchanting originals memorable narration Fauré’ Trio in D minor voice prompts Joni and impeccably from actor Tam Dean floats by brilliantly, while Mitchell comparisons, performed standards Burn and a Scots the lesser-known trio plus brings to mind like Sonny Rollins’ vernacular version by Chausson is a folk legends like superb Airegin. of the text. stormy revelation. Shirley Collins. Art- dominicashworth.eu snjo.co.uk fideliotrio.com rocker GRICE lends subtle atmospherics to her dark songs. stan d out siobhanmccrudden. bandcamp.com This issue’s highlights include the return of some riotous festival favourites and the second album from a superb producer.

Jar mila Xymena T he Leylines Gorna Recover Reveal T he Blue Aspaklaria Yellows Long-time favourites Kitchen Sessions Jarmila is a multi-talented on the festival scene, producer and vocalist who The Leylines bring a A fine set from the won rave reviews for the raucous energy to four-piece, with otherworldly songs of her everything they do. Their oddball lyrics belying last album, Hashgachah. sophomore effort is a a knack for hooks. This follow-up is equally great representation of The band really takes adventurous, adding slick their blistering, big- off when locked into electronics and dynamic hearted folk performed a groove, as on grooves to the mix. with reckless abandon. joyous opener Toast jarmilagorna.com theleylinesmusic.co.uk The Night. blueyellows.co.uk

The Musician • Spring 2019 reviews roots rock

T inc y Tannau R oot & Branch S tepling GALW A Breath Against Leap The Calm Sianed Jones and Ailsa An accomplished Mair Hughes formed The name of this exploration of English T he Liam this unusual project five-piece neatly ‘step’ dance that Ward Band after working on an summarises their communicates the Uprising RSC production of captivating sound: boundless energy Cymbeline. Sianed was folky roots, yet still of the group live. A phenomenal asked to perform on radical. Root & Branch Polished production harmonica player, Ward the viol da gamba, and perform music from captures Toby leads his four-piece in the pair quickly fell the British Isles and Bennett’s fancy a superb set of funk- in love with the rare the Appalachian footwork and Deb tinged, bluesy originals. instrument’s distinctive Mountains with lusty, Chalmers is a tour de Stellar solos from Liam fretted sound. infectious vigour. force on the fiddle. and guitarist Matthew tincytannau.co.uk randb.org.uk stepling.org.uk Llewelyn Jones make this an essential listen for blues fans. instrumental liamwardband.com

Sam piha C elloman G ráinne Brady Postcards From Arpezzato Cello The Road Across Crouch End The Hills Ivan Hassey’s Sam has chosen Celloman project Fiddler Gráinne’s S teepways 45 to make a record aims to do for the latest album is Holy Smoke inspired by his home cello what other a soundtrack to of Crouch End. Some jazz musicians Patrick McGill’s A chance encounter of his compositions have for solo guitar, novel Children of the in a London pub conjure the hustle showcasing its Dead End. Gráinne is led to the forming and bustle of the versatility as a rich well-placed to bring of this captivating area, while others harmonic instrument, McGill’s colourful Americana project, reflect on journeys with slides, hammer- writing to life with her with perfectly judged taken far afield. ons and arpeggios. expressive style. pedal steel and sampiha.com jambila.co.uk grainnebradyfiddle.com backing vocals from former Alabama 3 singer, Siobhan Parr. folk steepways.com

R anagri Megson Hra bottle Playing For Luck Con-Tra-Dic-Shun & Jonas The Sea Is My Ranagri have a keen The husband Brother ear for modern indie- and wife duo A nt Noel pop and its influence continue to excel This musically Ferryman’s Wake is all over their latest with impeccably adventurous album, especially in composed originals partnership is A soulful set of Dónal Rogers’ Guy and well-matched perfectly suited rousing folk- Garvey-esque croon. traditionals. With to this maritime- rockers. Slice-of- They keep folk fans lilting arrangements themed set. life storytelling happy too – there are of accordion, fiddle Spellbinding shines through still plenty of bucolic and mandolin, the originals contrast on songs borne moments here and songs here are tragedies aloft by timeless the styles blend always sweetly sung with buoyant melodies and epic together brilliantly. and lyrically biting. performances. arrangements. ranagri.com megsonmusic.co.uk harbottleandjonas.com antnoel.com

The Musician • Spring 2019 tributes Levine Andrade Violinist, conductor and founding with his family, while enjoying member of the Arditti Quartet great freelance success.

“The best quartet in the world” Andrade formed the London was how composer Pierre Telefilmonic Orchestra for his Boulez described the Arditti commercial projects. Among a Quartet after it performed his host of credits are his recording challenging Livre Pour Quatuor. for the Olympic Games in 1996, Honey Lantree Andrade was a founding performing on Elton John’s Drummer with 1960s chart- single sold more than a million member of the group. Candle In The Wind, as well as toppers The Honeycombs copies in the UK and hit the working with Radiohead, Talk No.1 spot on her 21st birthday, Andrade gained a scholarship Talk and Everything But The Girl. Anne Lantree never set out displacing Manfred Mann’s hit to the Menuhin School where to be a pop star. Born in Do Wah Diddy Diddy. he was taught violin by the Andrade’s work with the Arditti Hayes in 1943 she worked maestro. He later studied at the Quartet was recognised with a as a hairdresser at a salon Known as much for her beehive Royal Academy where he was lifetime achievement award by in Hackney, owned by the hairdo and immaculate dress tutored by Frederick Grinke the Ernst von Siemens Music guitarist Martin Murray. One day sense as much as her terrifically 46 and Max Gilbert. Prize in 1999. she happened into Murray’s stompy drum sound, Lantree rehearsal space when the soon became the focal point By 1990, Andrade had tired of Clive Somerville drums were still set up, sat for the band. However, after a the group’s touring schedule down and played them like a few short years, the hits began and chose to spend more time Find a full tribute at theMU.org natural. As the legend goes, to dry up. The Honeycombs Murray’s band The Sheratons eventually split up in 1967 and were looking for a drummer and she left the music business he signed her up on the spot. at the end of the 1960s to look Bobby Mickleburgh Thus started a short but bright after her two young sons, West Country brass hero who member of Carlo Krahmer’s career as one of the only female played with the greats Chicagoans with Humphrey drummers in the pop business, “The song Have I The Lyttelton and Wally Fawkes though she understandably Bobby was born in Bath and before moving onto his own disliked being thought of as Right? became a learned cornet in the Salvation Bobby Mickleburgh’s Bobcats. a “gimmick”. number one smash Army. After the war he played and was licensed to in bands with Sid Roy and Jack He got to share a stage with his After an increasingly popular Hylton. He was playing trumpet idol Louis Armstrong in the 50s, residency at a pub in Islington, Pye Records.” with Ray Fox in Hull when he where he played alongside him The Sheratons were spotted was spotted by Lou Preager at a gig at Lord Donegal’s Jazz by iconoclastic producer Joe although she did return to the who instantly wanted him in his Club. In the 60s, his band Bobby Meek who quickly recognised drum stool in a new version band. Over his career Bobby Mickleburgh’s Confederates their massive marketability, and of The Honeycombs, and played with the likes of Lou played popular songs from the offered them the song Have continued playing until the Stone, Bill Cotton, Ted Heath American Civil War, before he I The Right?, which became early years of the 21st century. and Muir Mathieson. joined the Temperance Seven, a number one smash. The But Anna Lantree will be playing sousaphone, trombone song was licensed to Pye forever known as the girl with In 1948 he was a member of and trumpet for 28 years. Records, but their MD Louis the beehive and the winning Derek Neville’s band, and when Benjamin wasn’t much keen smile who played instantly appearing with them at the Nice Bobby passed away aged 98 in on the name and changed it recognisable drums on one of Festival, he jammed with Django November 2018. to The Honeycombs, before the finest No.1s of the 60s. Reinhardt and Jack Teagarden. announcing that Anne would In the late 1940s Bobby was a Roy Delaney now be known as Honey. The Roy Delaney

The Musician • Spring 2019 Tributes

John Collins John Edney Big band musician with One of the country’s a lengthy career leading trombonists.

John Collins’ life as a David Peace Shaun Dillon John was born in professional musician Blues pianist, chorister A respected composer, Peckham, London began in the army. and MU stalwart musician and teacher in 1935. He was a He started playing trombonist in the the clarinet and tenor Many members will Born James Shaun inaugural LSSO, under saxophone in the 1st recall David Peace, who Hamilton Dillon in Dr Leslie Russell, and Battalion Green Jackets died peacefully on 23 Sutton in 1944, Shaun went on to become one band. In 1960 he entered January 2019, following passed away in of this country’s finest the life of a professional a period of illness. David Ted McKenna November 2018. players. He performed musician, where he was born in Solihull, One of the 70s finest with many companies joined several big bands Warwickshire in 1948 rock drummers A musician, composer, including the Festival playing in London’s and always enjoyed wind teacher and long Ballet Company, various leading nightclubs and music as part of his life. Born in Lennoxtown, term member of the BBC Orchestras and he would later perform He played piano, sang Scotland in 1950, Ted’s Musicians’ Union, select West End shows. in broadcast and as a chorister in Solihull interest in music started Shaun’s life was one of recording sessions. and enjoyed periods as young with double bass devotion to his causes. In 1964 he joined the a professional musician, and piano lessons. Royal Opera House Throughout the 60s into playing blues piano, “Shaun led a Orchestra in Covent the mid-1970s, he would organ and singing with In 1972 he was happily Garden under the be found performing at many bands. David had drumming with Glasgow life devoted to conductorship of Georg the Playboy Club, the been a member of the prog rockers Tear Gas. his causes.” Solti. He also became a Astor Club, and Latin Musicians’ Union for It was here that he met visiting music teacher Quarter. He could be many years and was singer Alex Harvey, In 1974, his work at Dulwich College. heard in BBC Big Band involved on behalf of the who had been making Cantata in Memoriam After six years with 47 broadcasts or found Union at a regional level waves locally. Tear Gas was first performed, the Opera House John leading the cabin band in the Midlands. were renamed The and to it, the words to left and moved to the as part of Geraldo’s Sensational Alex Harvey the poem When by Inner London Education Navy on the Queen Mary He had also worked Band and enjoyed cult George William Russell: Authority’s Centre for cruise ship. From the on behalf of the MU in success throughout the Young Musicians. He mid 1970’s he joined developing support for 70s. A 1975 cover of Tom “When mine hour had a distinguished Surrey County Council’s the Union’s campaign Jones’ Delilah and the is come / Let no teardrop teaching, coaching roster of music teachers relating to the following year’s Boston fall / And no darkness and leadership career and would tour schools potential implications Tea Party were both big hover / Round me spanning 40 years. teaching clarinet, sax, of Brexit. He will be hits that prominently where I lie.” and flute for 35 years. greatly missed by featured Ted’s superb John was elected fellow musicians and drumming. The band Shaun passed away to numerous MU In John’s memory, his colleagues in the split when Harvey peacefully at home. committees and freely wife Ann requests that industry and across the passed away in 1982, With the support of his gave of his time. He was gifts or donations are UK. A donations page but reformed in 2004 family, the nursing team a man of integrity, a true made to the Musicians’ has been set up in his for a run of shows. and Marie Curie, his believer in social justice Union Benevolent Fund. memory to raise funds grandchildren have and a tireless supporter for Help Musicians UK Ted also enjoyed a lasting memories of of his fellow musicians. Ann Collins / Mark at justgiving.com successful career as him. Rest in peace, Dad.

United Archives GmbH / Alamy Stock Photo; © Ian Dickson / Redferns / Getty Images Batchelor a session musician, Nigel Douglas, Steve Jenny Howarth playing with the likes Francesca Dillon Dagg and John Smith (née Peace) of Greg Lake and King Crimson. His friend and sometime collaborator Fish called him “A beautiful man who The MU also notes the sad passing of: could drift from the • Geoff B Scott (saxophone/clarinet) comic to the serious.” • Roy Pellett (clarinet) • Ian Bowser (double bass) Will Salmon Find a full tribute to John Edney at theMU.org

The Musician • Spring 2019 Why I Joined The MU We asked young musicians why they joined the Union and why they treasure their membership.

48 MILLICENT stephenson TVEHE E S SALLY RAE MORRIS “I had many questions when I started “We’ve both been members of the MU for a “When I decided to take the leap and transitioning my music hobby into a career, number of years and the support provided become a full time musician, it was a no so I joined the Musicians’ Union for advice. has been invaluable. Caroline has used the brainer that I would join the MU. Self I was pleasantly surprised by what the MU Contract Advisory Service to review employment can be scary, but the MU have offers. Advice from the MU prevented me publishing deals offered to her on several felt like a much-needed support system. signing a sync contract that could have occasions. We both needed public liability As well as providing the basics (public strangled business. As a sole trader it is and instrument insurance as gigging liability, instrument insurance and free PAT very easy to let business things slide but musicians so that has been really useful testing) they have also offered attending the informative and free and gives us peace of mind knowing we are opportunities for my self-development by development courses have kept me sharp protected. It makes life easier when all the delivering workshops covering everything and up to date, while also helping me to services are included in one membership. from downloads to vocal masterclasses. network with people across the artistic The staff in our MU office in Glasgow add The other musicians I’ve encountered have spectrum. I was elected to the Midlands the personal touch and are friendly, added extra value by enabling me to build Regional Committee in January 2018 and approachable and supportive with any my own personal networks.” am on the MU Equalities Sub Committee.” questions or assistance we require.” Morris says that her musical ‘day job’ is a Millicent Stephenson is an award-winning Scottish duo Marissa Keltie and Caroline Gilmour combination of performing acoustic covers at saxophonist whose achievements include being formed The Eves in 2016 when they were both pubs, clubs and private functions as well as featured on BBC1’s Songs Of Praise and setting up seeking another artist to collaborate with. working as a freelance Music Event Manager. the Cafemnee networking event, designed to help Gilmour’s EP Electric Waterfalls reached No.2 in However, her main gig is as lead singer and women achieve their musical goals . She has the UK physical singles charts while Keltie’s rhythm guitarist for country duo Gasoline & created the Not Just Jazz show, which showcases self-penned track, The Other Side, received over Matches. Their debut single Fool’s Gold went her original compositions, as well as new and 19k views on YouTube. Since then, Keltie and straight to No.1 at the start of the year in the innovative interpretations of iconic jazz, blues, Gilmour have written an album, due for release in iTunes country chart and the band were also reggae, soul and gospel numbers. Millicent is also 2019, and have performed in Australia, Canada, shortlisted for Best Country/Folk Act in the a songwriter, pianist, vocalist, music director, Denmark as well as the UK. The duo have a Birmingham Music Awards 2018, as well as having teacher and owner of the Silver Gliss Music label, passion for harmony and a love of pop and they received a nomination for Duo of the Year at the Her full biography can be found on her website at cite First Aid Kit and Florence And The Machine as 2018 British CMA Awards. Morris is endorsed by

millicentstephenson.com influences. Visittheeves.co.uk for more. G7th Capo & Auden Acoustic Guitars. Kesiak Kris © Mac13SoulPhotographic, MacFarlane Anthony ©

The Musician • Spring 2019 NOTICES MU News This page features a range of information and advice that will help Union members in the course of their careers.

Making Tax Digital For VAT New MU Live Advice Information for all Musicians’ Union members will then request that the backup records are MU launches Fair Engagement Guide for who are registered for VAT sent to them digitally via the API link. As such, Performing and Touring with Featured Artists if you are not set up for MTD, you will not be The 1 April 2019 sees the introduction of able to comply with their request. This document sets out the Union’s guidelines Making Tax Digital (MTD) for VAT. It is the first for musicians engaged by featured artists part of HMRC’s MTD programme and changes For VAT registered businesses with taxable and/or their representatives. These include: the way that VAT records must be maintained. turnovers in excess of £85,000, you should be • The rates that apply for tours or one-off The changes come into effect for VAT periods taking steps to ensure that you can be MTD performances at venues, arenas, stadiums commencing after 01 April 2019 so the first VAT compliant by either upgrading to MTD and festivals; period for MTD will therefore be the quarter compliant accounting software, or ensuring • The rates that apply to headline – as ending 30 June 2019. that the person who submits your VAT Return opposed to supporting – artists; on your behalf is able to comply. It is • The document offers advice on working as a While the way VAT is charged, collected and anticipated that all firms of accountants will live session musician rather than being a accounted for is staying exactly the same, be able to offer this service to their clients, so core band member. MTD for VAT will introduce a new way of if you rely on a third party to submit your maintaining VAT records and submitting VAT Return, you should check that they will be able Featured artists for the purposes of the Guide Returns online. to offer you an MTD compliant service. It are artists who have representation from 49 should also be possible to take non-compliant management, major record labels or other Under MTD, any VAT registered business with VAT records and upgrade them to MTD third parties. Alternatively, they may be taxable turnover in excess of the current VAT complaint records. However, there will clearly promoting a commercially released album. threshold, £85,000, will be required to be an additional cost for all of these services maintain digital VAT records using MTD and this cost will be borne by the VAT By using these guidelines you can understand compatible software. You would have registered business. the value of your work in different contexts. expected that HMRC might have trialled this The MU has also launched a useful set of major change with large businesses first, but Finally, if you make some exempt supplies or Booking Details for Unsigned and Emerging this is not the case and it is almost certain that sell second hand goods via the margin Artists. Both the Guide and the Booking there will be some difficulties for small scheme, then your partial exemption or Details are available from theMU.org businesses in complying with these changes. margin scheme calculations can be carried out outside of the MTD compliant software, MTD compliant digital software allows for with only the final adjustment figure brought a transaction to be traced from the VAT back into the digital VAT records. Legal Advice And account to the sales or purchase ledger and then to the actual sales or purchase invoice. In summary, the changes are happening soon Assistance Notice Some digital accounting software (Xero, and they should not be ignored, so start We wish to remind members that they may be Quickbooks etc.) already does this and there takings steps today to ensure that your ineligible for MU legal advice and/or legal are many other forms of MTD compliant business is MTD ready. assistance if they do not meet all the Union’s software available. All major suppliers of established criteria, (including criterion 1 which accounting software will have to offer an MTD Supplied in February 2019 by the Union’s refers to when a member provides his/her compliant version. auditors, HW Fisher & Co - Chartered musical services through their own limited Accountants, who specialise in personal, company. This confirms that the claimant, As well as keeping your VAT records on MTD partner-led advice. “Must be an MU member and fully paid up at compliant software, a business must also the correct rate of subscription. (A limited submit VAT Returns using a new ‘API’ ** MU members are reminded that this text company cannot be an MU member).” This (Application Programming Interface) link to is for general information only and no-one ensures the avoidance of any conflict of HMRC’s website. Initially, the VAT Return should take action, or refrain from taking interest plus the Union cannot lawfully submitted via the API link will be just be the action, without obtaining professional advice. represent a limited company. See your MU same boxes 1-9 as currently submitted, but Further details can be obtained from HW Members’ Handbook or theMU.org for the where HMRC has a query on a Return, they Fisher by visiting hwfisher.co.uk established criteria in full.

The Musician • Spring 2019 COVER STARs

A Meeting Of Minds 50 This issue’s cover stars Catrin Finch and Seckou Keita talk to Tracey Kelley about finding acclaim with their second collaborative album, Soar.

Was it obvious from the first moment you Seckou Coming to work with Catrin, I was sure Did you play together before composing these played together that this would work? that I needed to push the groove, because the pieces, or did the sound inform the writing? Catrin Finch (Welsh harp) Initially, I was harp has this amazing melody line that it can Catrin We’ve been touring such a lot, sound- paired with a different kora player [Toumani play, but then the groove needed to be coming checking and playing around as you do, and Diabaté] for a tour, but there was trouble in from myself. I think that was where I wanted to someone would come up with an idea or riff, Mali, so Seckou was sent in from Senegal. make it really solid, and let the rest follow. and one of us would jump on it. And that’s how And it ended up that I continued the project our music is developing now – through playing with Seckou because, the minute we started Migration is a central theme on Soar, your together. Soar is what happens after five years playing together, we just clicked. second album together. How did the concept of playing with somebody: we used ideas that for the record come about? come out of playing together. And that’s a Seckou Keita (kora) The first day I met Seckou When we started recording the album, lovely way to develop ideas - they came over Catrin at her studio, I really clicked with her we discovered that this bird – the osprey – time, and there wasn’t any pressure. musically. There was a chemistry there. leaves Wales, not far from the studio, and migrates to my home town in Senegal every What does the Musicians’ Union mean to you? Was it a learning curve with the two different year where it spends the winter before coming Catrin The MU is like a backbone to musicians. playing traditions? back here, with no queues or passport. This I’ve always felt it important to have them on Catrin Yes, our first challenge was that I was an amazing coincidence. Catrin and I said, board, to have that support network, because come from a very classical background, “This is like us, right now, in this place!” And of it is a sort of dog-eat-dog world. There are so whereas Seckou comes from a world music course, the osprey soars in the sky and makes many different aspects to being a musician background where everything is learned by this journey without any political issues – that we’re not really taught. It’s difficult to ear. But I found it very liberating to put my they’re just free. This is the basis of the album, understand the contracts and to know what manuscript away and just completely go with that our music spreads out around the world. we should – or shouldn’t – be getting. I’ve it. I learned from Seckou this freedom to just found comfort in knowing there is a group of take on board the music and live it, rather than people I’d be able to call on and get advice and

The Musician • Spring 2019 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 London SW9 0JJ While membership of the MU offers a wide range of free services, T 020 7840 5512 there are a number of benefits that you need to register or apply for. E [email protected]

Music Writers’ Section Phil Kear MU website Contract advice – Music Support National Organiser To fully access our website – before you sign A charity for individuals in the UK Recording & Broadcasting theMU.org – you will need to Receive professional advice on music industry suffering from 60-62 Clapham Road London register on your first visit using your the terms and implications of mental, emotional and behavioural SW9 0JJ membership number. any complex agreements via health disorders. musicsupport.org T 020 7840 5557 our Contract Advisory Service. E [email protected] Help Musicians UK Contact your Regional Office to Instrument and Charity offering practical, positive find out more. equipment insurance support to emerging, professional For £2,000 worth of free musical Orchestra Section Jo Laverty and retired musicians, whatever the Motoring service instrument and equipment cover. National Organiser genre. helpmusicians.org.uk The MU Family Motoring and Register by calling Hencilla Orchestras Accident Aftercare Scheme Canworth on 020 8686 5050. 60–62 Clapham Road Partnership advice provides 24/7 cover. Members must 51 If all the members of your group enter discount code MU24 to obtain Musician’s Hearing London SW9 0JJ are already MU members, or free membership of the scheme. Services (MHS) T 020 7840 5571 decide to join, we can offerfree Register now via telephone or the A range of hearing related E [email protected] partnership advice and an web. mu.totalmotorassist.co.uk services for MU members. agreement. Contact your Regional For an appointment, call MHS Recording Office for more information. Music Minds Matter on 020 7486 1053 or visit & Broadcasting Section A comprehensive mental health musicianshearingservices.co.uk Phil Kear Medical assistance support service providing advice, National Organiser The British Association for information, resources, and For full details of all the Recording & Broadcasting Performing Arts Medicine delivers professional and clinical services 60–62 Clapham Road specialist health support to for musicians in need of help. benefits of membership London SW9 0JJ musicians. Visit bapam.org.uk musicmindsmatter.org.uk see Members’ Handbook. T 020 7840 5557 E [email protected]

Teachers’ Section Are you due a royalty payment from the Musicians’ Union for the use of any of Diane Widdison your recordings in television programmes, films or adverts? Are you the next National Organiser Education & Training 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.org/ Theatre Section contact and payment details, so the royalty income can Home/Advice/Recording-Broadcasting/Royalties Dave Webster be distributed straight away. However, there is a certain Here, you will be able to find more information on the types National Organiser amount of income we have collected that we cannot of royalty income we collect, as well as lists of musicians Live Performance distribute as we have not been able to identify who and recording line-ups we are currently trying to trace. 60–62 Clapham Road London SW9 0JJ the MU.org/Home/Advice/Recording-Broadcasting/Royalties T 020 7840 5512 E [email protected]

The Musician • Spring 2019 #BehindEveryMusician 9000