Cynulliad Cenedlaethol Cymru / National Assembly for Pwyllgor Diwylliant, y Gymraeg a Chyfathrebu / Culture, Welsh Language and Communications Committee Diwydiant Cerddoriaeth yng Nghymru / Music Industry in Wales CWLC M17 Ymateb gan Gŵyl y Dyn Gwyrdd / Response from Green Man Festival

Culture, Welsh Language and Communications Committee Consultation Response: Music Industry Inquiry

Green Man

Now in its 18th year Green Man is one of the remaining large independent UK music festivals. It is run by a Powys SME, with no shareholding owned or core costs supported by music corporations, angel investors or media companies or public funded bodies. We are unique and focused on our commitment to building a sustainable and inclusive future in Wales. The festival experience includes music, culture, food and drink, comedy, film, theatre, wellness, tourism and science for people of all ages. A strong sense of place in the Brecon Beacons National Park, and a history of discovering new music talent and turning them into future headliners attracts a returning audience and sells out tickets many months in advance.

We have benefitted from event funding from the which has been invested into the site, marketing and promotion, and supported projects that generate wealth into Wales. Green Man received its first Welsh Government funding in its 8th year of trading, and is not funded annually. We work with various departments across the Welsh Government because the Green Man operation extends over different sectors.

Green Man Trust, the festival’s charitable arm was founded in 2013. The majority of its operational costs are funded by the festival with individual donors and Arts Council Wales also contributing. It’s charitable aims include the development of emerging artists, supporting disadvantaged people in Wales (offering training and community support), and to increase a better understanding of science and the environment. Arts Council Wales funding contributes to arts development projects only. Since 2013 Green Man Trust has supported 3,000 emerging artists, 2,000 trainees, 200 science engagement projects, 27 grants for Welsh communities.

The Health of the Music Industry

1 Cynulliad Cenedlaethol Cymru / National Assembly for Wales Pwyllgor Diwylliant, y Gymraeg a Chyfathrebu / Culture, Welsh Language and Communications Committee Diwydiant Cerddoriaeth yng Nghymru / Music Industry in Wales CWLC M17 Ymateb gan Gŵyl y Dyn Gwyrdd / Response from Green Man Festival

We note that this inquiry is relatively broad-ranging, and is seeking to ask questions about multiple industries, business sectors and art forms. It is a complex field and

2 Cynulliad Cenedlaethol Cymru / National Assembly for Wales Pwyllgor Diwylliant, y Gymraeg a Chyfathrebu / Culture, Welsh Language and Communications Committee Diwydiant Cerddoriaeth yng Nghymru / Music Industry in Wales CWLC M17 Ymateb gan Gŵyl y Dyn Gwyrdd / Response from Green Man Festival

there is unlikely to be a clear set of answers to the questions asked, and more government activity may not be the right response.

Policy and funding decisions designed to support the art form of music may be very different from those designed to promote the commercial music industry, or the development of music performers within that industry. That distinction should be understood and reflected in any recommendations.

Developing New Artistic Talent

In terms of the health of the contemporary or popular music sector, the pursuit and identification of music talent will always be at its heart. Also many people enjoy the pleasure of music performance in a non-commercial setting and that should always be respected and encouraged.

Regarding the live music sector there are various streams of income that a successful artist can generate. But the most significant is the ability to generate ticket sales. So, a way to evaluate the health of Welsh artistic music talent is to look at their ability to sell out different capacity venues.

1. Stadium a. Principality - 90,000 capacity b. London Wembley Stadium - 74,000 capacity c. Manchester Etihad Stadium - 55,000 capacity 2. ARENA a. Cardiff Motorpoint Arena - 10,000 capacity b. London Alexandra Palace - 10,400 capacity c. Birmingham NEC Arena - 15,800 capacity 3. Venue A a. Wales Millenium Centre - 2,597 capacity b. London Brixton Academy - 5000 capacity c. Bristol Colston Hall - 2,075 capacity d. Manchester O2 Ritz - 1,500 capacity 4. Venue B a. Cardiff Tramshed - 1000 capacity b. London Barbican - 1,100 capacity

3 Cynulliad Cenedlaethol Cymru / National Assembly for Wales Pwyllgor Diwylliant, y Gymraeg a Chyfathrebu / Culture, Welsh Language and Communications Committee Diwydiant Cerddoriaeth yng Nghymru / Music Industry in Wales CWLC M17 Ymateb gan Gŵyl y Dyn Gwyrdd / Response from Green Man Festival

c. Bristol SWX - 1,100 capacity

4 Cynulliad Cenedlaethol Cymru / National Assembly for Wales Pwyllgor Diwylliant, y Gymraeg a Chyfathrebu / Culture, Welsh Language and Communications Committee Diwydiant Cerddoriaeth yng Nghymru / Music Industry in Wales CWLC M17 Ymateb gan Gŵyl y Dyn Gwyrdd / Response from Green Man Festival

5. Venue C a. Cardiff Club Ifor Bach - 380 capacity b. London Moth Club - 300 capacity c. Bristol Crofters Rights - 300 capacity d. Manchester YES - 250 capacity e. London Shacklewell Arms - 200 capacity f. Newport Le Pub - 100 capacity 6. Venue D a. Various non-specifically music (pubs, clubs, restaurants) venues which offer occasional live music performance as part of the customer experience - from 20 to 100 capacity

Wales has many world class music performers. However, it would be an interesting piece of research to examine how many sell-out headline acts who could fill the larger venues have emerged in Wales since the millenium.

Streaming

Streaming has created new opportunities to access and listen to music. Now all musicians have an opportunity to promote their music without even leaving their home, as anyone can create playlists.

The concept of ‘bedroom pop,’ has recently risen to prominence. Mostly in relation to ‘pop,’ music rather than other music genres. Those with millions of followers can expect to get payment for their ‘brand influence,’ on media platforms. It has also created a new avenue to gain access to music management as artists have been signed based on large number of followers.

Access into the Music Industry

It is difficult to make the case for specific government intervention that would deliver this outcome, but it is important to ensure that there is a supportive environment and that must begin early in child education. Early investment in music in schools, develops both the musicianship and the passion for making music is key to encouraging more young people to consider a career in music and performance. It also offers an inclusive music opportunity for all, and not just for

5 Cynulliad Cenedlaethol Cymru / National Assembly for Wales Pwyllgor Diwylliant, y Gymraeg a Chyfathrebu / Culture, Welsh Language and Communications Committee Diwydiant Cerddoriaeth yng Nghymru / Music Industry in Wales CWLC M17 Ymateb gan Gŵyl y Dyn Gwyrdd / Response from Green Man Festival

children whose parents are willing to offer and can afford music lessons.

6 Cynulliad Cenedlaethol Cymru / National Assembly for Wales Pwyllgor Diwylliant, y Gymraeg a Chyfathrebu / Culture, Welsh Language and Communications Committee Diwydiant Cerddoriaeth yng Nghymru / Music Industry in Wales CWLC M17 Ymateb gan Gŵyl y Dyn Gwyrdd / Response from Green Man Festival

If every Welsh child had an opportunity to learn a musical instrument what an incredible investment that would be into their lives and what a strong statement that would make to the world.

Wales has been highly successful in developing acting talent, and most successful Welsh actors will claim their early experiences in Welsh youth drama organisations has helped them achieve their goals. Artists and bands should be saying the same.

Green Man Artist Development

When organising the music on stage across the week, we ensure that we promote women and BAME artists. This includes providing a specific stage at Green Man designed to showcase up and coming Welsh bands, and mentoring for Welsh promoters, record labels or music management to learn to book a festival stage. The Settlement Stage has an opportunity to be seen by a 5,000 capacity audience..

Green Man offers an artist development program called Green Man Rising. Having run for 13 years, last year it attracted over 1,700 bands. It is supported by the festival, Green Man Trust, Arts Council of Wales and donations by music artists such as Bryan Adams. It is designed to find the headliners of the future through the established structures of the music industry.

Green Man Rising is unique in that it reflects the reality of professional music development. It is not sponsored or voted on by the public votes which can be manipulated. All applicants are judged by leading music professionals who are currently working in the roles of agents, management or music journalism at national level.

World leading music organisations such as CAA, William Morris, Moshi Moshi, Bella Union, Domino Records, Guardian, Times, MOJO, DIY, NME and many others have taken part in judging this competition. The representatives involved are music industry professionals who have a history of identifying managing and developing music talent that can sell out the venues or similar mentioned above.

The winners have the opportunity of performing at Green Man, receiving mentoring and advice to develop their careers, as well as access to festival press and media which can promote them as artists. Green Man’s reputation for creating headliners

7 Cynulliad Cenedlaethol Cymru / National Assembly for Wales Pwyllgor Diwylliant, y Gymraeg a Chyfathrebu / Culture, Welsh Language and Communications Committee Diwydiant Cerddoriaeth yng Nghymru / Music Industry in Wales CWLC M17 Ymateb gan Gŵyl y Dyn Gwyrdd / Response from Green Man Festival

draws many music industry professionals who attend each year. This greatly broadens the showcasing opportunities for emerging musicians.

Funding Strategy

Whilst more public funding for directly supporting new talent in the industry would be welcome, it will be important to ensure that the programmes are designed around the expected and respected skills and competences to enable success in a rapidly changing industry, rather than a subsidy-based system designed to simply use public funding to pay for artists to have performance experience.

Funding is best placed with the artists, promoters and venues that can illustrate a robust history of generating ticket sales, and identifying music talent that has achieved commercial success. These skills and achievements are respected by the music industry and adds credibility which is essential to achieve success.

Climate Emergency

Environmental impact through travel is becoming more of an issue within the music industry and is likely to increase in the future. Using fossil fuels for travel and - in particular flights and audience vehicles is an issue and alternative and less impactful forms of travel need to be considered.

Travel arrangements for touring artists or attendance at international music conventions, needs to be thoughtfully managed. The carbon impact of these journeys should be balanced with the essential need of the journey.

Green Man is part of the international festival touring circuit and using trains instead of plane services to lessen the carbon footprint of the tour is a conversation that is happening more and more. Encouraging visitors to use other forms of transport apart from cars also needs to be incentivised through ticket reductions, and other attractive opportunities.

Green Man has long established green initiatives including a no single use plastic policy for a number of years, as well as other green initiatives. But we see traffic impact as our biggest challenge.

8 Cynulliad Cenedlaethol Cymru / National Assembly for Wales Pwyllgor Diwylliant, y Gymraeg a Chyfathrebu / Culture, Welsh Language and Communications Committee Diwydiant Cerddoriaeth yng Nghymru / Music Industry in Wales CWLC M17 Ymateb gan Gŵyl y Dyn Gwyrdd / Response from Green Man Festival

Music Organisations

Over the last 10 years a large number of organisations which support different areas of the music industry have emerged. The challenge is to connect Welsh artists, and music management to them and to work out what organisation does what. A free one stop website run by Creative Wales which lists and categorises each organisation under function and service would achieve this. I would recommend that complete transparency regarding the funding of these different organisations be available to Welsh Government before they are included, and that an algorithm be applied that would illustrate and monitor the experience of the people who used their service.

The Festival Industry

The festival industry has expanded rapidly over the last 15 years from an alternative lifestyle choice to a business that generates many billions into the economy. The offer is diverse and caters for many ages, music and lifestyle interests. What they bring regarding GVA and jobs is incredibly varied and maybe a one stop answer to all festivals is not going to achieve the best results.

For instance many are organised by volunteers in rural areas. These events will not make money or drive tourism or some of the other targets given to achieve funds. But in a time when village centres such as pubs, stores and schools close these bring a much-needed focus to rural areas, addressing loneliness, isolation and generating civic pride and community spirit.

Commercial music festivals come and go, finding it difficult to sustain their festival in an overpopulated market. Most of the larger festivals are owned by music corporations who also own the ticket company, artists management and venue. Media and manufacturing companies have also entered the market and can use streaming and other incentives to create lucrative booking deals.

Event operational knowledge is needed in festivals, but strong entrepreneurial skills, innovation and creativity drives them forward. Festival success is possible but just like music performance, and artist and venue management it’s a challenging career choice to take and not acknowledging that is illusionary.

9 Cynulliad Cenedlaethol Cymru / National Assembly for Wales Pwyllgor Diwylliant, y Gymraeg a Chyfathrebu / Culture, Welsh Language and Communications Committee Diwydiant Cerddoriaeth yng Nghymru / Music Industry in Wales CWLC M17 Ymateb gan Gŵyl y Dyn Gwyrdd / Response from Green Man Festival

Funding

There is a potential to develop more live music and festival experiences in Wales. When considering government investment in this area, one should look at the business element as distinct from the development of artistic talent. Commercial creative businesses, like Green Man and other Welsh companies should be able to access the same level of government support as more ‘traditional,’ businesses.

Creative businesses do not operate in the same way in which the manufacturing, technology, professional services or retail industries operate. A grant or loan system designed to support a new manufacturer in Wales may not be appropriate for the way in which a creative business operates. The number of full-time jobs created is often seen as a success factor, whilst training funding is often only available for fixed roles. Many creative businesses operate with small or part-time staff teams, and income streams and success factors are wholly different. Entrepreneurs who are keen to work with the Welsh Government to invest in Wales in creative industries also need to be sure that the funding and support regimes are flexible and reflect the potential income ratios and multiplier impacts that such businesses can deliver, rather than on fixed job creation.

Whilst the development of Creative Wales is to be welcomed, the decision to separate this team from the Economy portfolio is contestable, and its budget of only £1.7m revenue and £5m in capital, causes some serious concern. If this entity is designed to ramp up growth across film and tv, live events, music and festivals, then considerable further investment will be required.

Further, a specific way of drawing down training funds is required. Whilst large manufacturers and service industries can access three-year apprenticeship funding, for example, career progression within the creative industries is less linear, making it nearly impossible to access a considerable proportion of work-based learning funding.

As the post-16 and work-based learning regime in Wales can be influenced more directly in Wales, we would very much like to see a strong signal from the Welsh Government that some of this considerable funding is shifted rapidly towards developing the skills needed to boost the creative industries, particularly when

1 0 Cynulliad Cenedlaethol Cymru / National Assembly for Wales Pwyllgor Diwylliant, y Gymraeg a Chyfathrebu / Culture, Welsh Language and Communications Committee Diwydiant Cerddoriaeth yng Nghymru / Music Industry in Wales CWLC M17 Ymateb gan Gŵyl y Dyn Gwyrdd / Response from Green Man Festival

planning for post-Brexit economy.

1 1 Cynulliad Cenedlaethol Cymru / National Assembly for Wales Pwyllgor Diwylliant, y Gymraeg a Chyfathrebu / Culture, Welsh Language and Communications Committee Diwydiant Cerddoriaeth yng Nghymru / Music Industry in Wales CWLC M17 Ymateb gan Gŵyl y Dyn Gwyrdd / Response from Green Man Festival

The Music Venue Industry

There are a number of reasons why music venues are closing but there is no doubt that the availability of low-priced alcohol in shops has reduced the spend over time in our night-time economy and music venues in particular. Should we be subsidising a range of music venues across Wales in order to support them?

This may not be a long-term sustainable proposition. Ideally the objective is to create a business environment where venues have a chance of running to profit, taking on board the impact music venues have on the positive perception of the locations they reside in.

That said, an effective programme which encourages smaller venues across our cities to regularly play live music would be welcome.

One element that could help smaller venues is to challenge the performing rights society, which can aggressively target small venues. Wales could decide to follow a distinct licensing regime that reduces the costs associated with playing live music in smaller venues.

Reduction of business rates in music venues is very welcome, also Noise at Work legislation in relation to entertainment licencing could also be revisited and a fairer system put in place.

Licencing

Green Man has a successful history and relationship with our licence authority and representatives of the Police, Environmental, NHS and other services who monitor the festival.

The current legislation is fit for purpose but improvements would be welcome. It has not changed since 2003, and with an expanded and better understanding of live entertainment it may be due to be reviewed. I would hope that Wales devolved powers might enable a lead on positive change?

1 2 Cynulliad Cenedlaethol Cymru / National Assembly for Wales Pwyllgor Diwylliant, y Gymraeg a Chyfathrebu / Culture, Welsh Language and Communications Committee Diwydiant Cerddoriaeth yng Nghymru / Music Industry in Wales CWLC M17 Ymateb gan Gŵyl y Dyn Gwyrdd / Response from Green Man Festival

Festival Taxation

One specific issue relating to the festival industry in Wales is the taxation regime. Green Man is subject to business rates in a way in which festivals across Wales are not. We were informed by HMRC that we were being charged as we were the only Welsh festival which generated significant revenue for land hired.

Moving forward

We hope you find this paper useful. We very much look forward to working with the Welsh Government in developing ways of working with the creative industry,

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