ISSUE 763 / 1 FEBRUARY 2018 TOP 5 MUST-READ ARTICLES record of the week } Details announced for BBC Music’s Biggest Weekend Summer Light event. (BBC) Tample } state51 Music Yotanka Records Group restructures out now component Tample are a fantastic quartet from Bordeaux who create businesses. (RotD) addictive pop music with an indie shuffle and a heavy dose of soul. Their latest single, Summer Light, starts with } US Copyright extended synth-strings and a driving beat before layering in Royalty Board sets hooky guitars, shimmering vocals and a rippling baseline, reviews including Rolling Stone France, Causette, KR Mag, CONTENTS improved streaming leading to a magnificently dreamy chorus reminiscent of FIP and Soul Kitchen. Their infectious sound can easily rates for songwriters. iconic french duo Air. With over 230k plays already, the track transport outside of their homeland and they have a KEXP (FT) is quickly ramping up on streaming services whilst the video session already set for April. Get on Summer Light and P2 Interview: Ritch Esra, is currently on rotation on MTV and W9 in France. Their new explore their album now as it won’t be long before this hot producer of the Music } Live Nation’s album, which is also called Summer Light, was released band’s sound starts to emigrate overseas. Business Registry, Michael Rapino just last Friday (26 January) and has seen a bounty of great See page 10 for contact details discusses his views tops Billboard’s on the role of major annual influence list. labels, A&R and artist (Billboard) development } Coalition of Plus all the regulars rightsholder including Compass, organisations appeals Tweets, 6am, Word On, to find solution to Business News, Media Value Gap. (IFPI) Watch and Chart Life P4 Jareth – Compass P9 Y.O.U.N.G – Records of the Week P15 Songs of Praise – Word On 1 interview Ritch Esra, producer of the Music Business Registry, discusses his views on the role of major labels, A&R and artist development Since 1992, Ritch Esra has been running the I believe major labels do Do you think artist We’re seeing a rise in what becomes valuable? Music Business Registry, producing up to the have a role today though, development is still ‘non-traditional’ A&R, The most valuable minute contact books for A&Rs, publishers, and there is a very good happening effectively? what does that add to the commodity is the ability to reason why there aren’t 30 Lots of the early stage I think the reason get people’s attention. attorneys, managers and the sync world. market? or 40 examples of Chance development nowadays is for the burst in non-traditional Previous to that he spent the ‘80s as Director or Macklemore and that’s being done by the artists A&R is because labels don’t We talk about a renewed of West Coast A&R for Arista Records and because if you stop and take themselves and their teams. take on the responsibility of optimism for the business promotion coordinator for A&M. Somewhat a look at who those people The role of the manager developing talent, whereas in the UK now, how do you nostalgically looked back on as the ‘glory are, they’re very hardworking for unsigned artists today lawyers, managers and see that changing how days’ by many, Esra worked extensively with and dedicated artists. So is so much more significant producers really do. the industry plays out in the publishing and songwriting communities many artists don’t take the than ever before. Artists On the producer side, the US? Label side, people for material for Whitney Houston, Aretha time to educate themselves of the past had industry it’s much less expensive are very, very excited now. Franklin, Dionne Warwick, Melissa Manchester, on the business when they’re infrastructure to support for them to develop talent We’ve seen the demise Tanya Tucker, Jennifer Warnes and Jermaine starting out. In the past, there them [label, touring, now. The financial pressure of record income and the was an infrastructure in the financial], so who’s doing on a producer to be able to traditional business and Jackson. Still meeting with executives regularly, industry that supported new it now? The artists and the take on talent is much lower, now we’re seeing a growth, consulting and teaching, we discuss his talent and now all of those managers. The managers so are the costs of actually and that’s very significant. observations on the current US market. systems are gone. have so much more power making records – and that’s I say label side, because I think if you want to in the stable but what they the key. In a world where the part that’s still troubling be an artist that lasts now lack is the resources. everyone can make music, to a lot of people is what }} it’s about authenticity, We’re seeing more artists examples of things that social mastery, innovation, carve careers on their own they’ve done but I think the leadership and strength of terms now, how does that criteria nowadays is looking personal narrative. Labels affect the landscape for the for the natural forces in the used to take artists from majors? The major labels marketplace to find and zero to 50, now they want “In a world where used to have total control develop talent for them. to discover talent at 50. It’s everyone can make music, over the artistic, financial and In the US, you can use not just the A&R that has marketing process and today Macklemore and Chance the changed, it’s what is required what becomes valuable? The that’s not the case. I don’t Rapper as examples of those to be a successful artist and think the major labels are who have done it themselves the inner strength. I look at most valuable commodity in the business of signing, and found themselves good major labels as amplifiers is the ability to get nurturing and developing places in the industry. Some now, they simply amplify talent any more. They claim may use major label services what the artist has already people’s attention.” they are and they will give but they’re independent. started to build. 2 interview news Music Week }} they pay publishers and A&Rs need evidence that an £ The Big Story: £ Cover Story: Music songwriters. The publishers “I look at major labels as act has what it takes to be Warner/Chappell Week meets new aren’t as happy as the labels amplified by the label. MD Mike Smith UK Music CEO because they’re not seeing amplifiers now, they simply adds the Manic Michael Dugher. the windfall that their label amplify what they artist has I don’t think majors are willing Street Preachers (P16-20) compatriots are. It’s a very to take on talent from the get- to his growing complex problem that I already started to build.” go, that moment when you publishing roster. £ Special Report: don’t think will ever be fixed instantly recognise talent in a (P4-5) Music Week meets because the giant publishers club. At Arista, we spent two label services. are controlled by the same years making the Whitney £ Feedback so (P22-27) corporations that run the beyond that or they’re taking How have you seen labels Houston record and there far on the return record labels, so they’re not talent too early. adjust the way they work? are very few situations you of Britney. (P6) £ Art On Ice – going to screw one division There’s a reason music Monte Lipman [CEO of can point to that are like that the importance to help another. However, I talent shows aren’t creating Republic Records] has said these days. I think what’s also £ Rising Star: of music to the don’t think we’re out of the talent and that’s because a that it’s the inability of record interesting is that they have Saquib B – A&R, long-running Swiss water yet. lot of them focus strictly on labels to break more than more tools at their disposal to GRM Daily & show. (P29) The problem is, we’re thinking that if they make one single off a record that track the growth of talent now Parlophone. having successful hit records a great TV show then of has become increasingly yet I’m not so sure their track (P7) £ Interview: Rising but we’re not developing course they’ll have a career. difficult. Previously you had record has gone up in terms rock band many successful artists and That’s not the case. The the timing, the inertia, the of breakthrough talent. It used £ PPL signs Rita Marmozets talk that’s a problem. We keep reality of developing a music momentum all going for you to be 10-12% of your signings Ora as global 2018. (P30-32) seeing people who have big career has nothing to do with and the more albums you broke through and I’m not collections surge. streaming hits but no one producing a good television sold the more hits you had, sure it’s any better now. (P8) £ Hitmakers: wants to see them live. That’s show, it’s a whole different maybe now everything on Paul Williams, not a problem that’s easily set of development. These singles exists in its own silo. What do you think will £ On the Radar: Chairman of solved, that’s a longterm, acts need to put in the time A massive hit at the top of the happen next? The big Jessie Reyez.