Bunyi - an Independent Music Roundtable

BUNYI - AN INDEPENDENT MUSIC ROUNDTABLE

Prepared by Kreativekat Resources for CENDANA Cultural Economy Development Agency BUNYI - AN INDEPENDENT MUSIC ROUNDTABLE

A report on "BUNYI - An Independent Music Roundtable" organized by CENDANA (Cultural Economy Development Agency) and Kreativekat Resources, to discuss on various issues pertaining to the betterment of the local independent music industry in Malaysia.

TABLE OF CONTENT

0 2 A B O U T B U N Y I

0 4 A BOUT THIS REPORT

0 5 INTRODUCTION

0 8 THE NEEDS OF INDEPENDENT MUSIC

INDUSTRY PL A YERS

2 0 A N ECOSYSTEM FOR INDEPENDENT MUSIC

PR A CTITIONER TO GROW

2 2 CONCLUSION A N D W A Y F O R W A RD

2 5 A PPENDIX 2 0

ABOUT BUNYI T R O P E R E H T - I Y N U B h idsr’ eoytm ad h popcs availab tours. prospects r international the and their and CENDANA’s local and ecosystem, with players key industry’s the discussion identifying a Officer, include Sector sessions These music outline independent which generally the Malaysia. to in to roundtable and pertaining issues the sessions current to three of invited manag consist were event live promoters owners, and venue managers, support Musicians, stronger a as practitioners. music well independent as for t system network sustainable more a promotion building and on discuss to aims It network promotion industry. the and of enha to touring betterment the in players industry capabilities music their thoug independent the of garner to is ideas event this of focus th main The from representatives scene. music gather roundt independent a to Malaysian in is aiming by Agency) Resources, discussion organised Kreativekat Development with Publika, Economy Bee, partnership The (Cultural at 2019 CENDANA March 24 on BUNYI A Idpnet ui Rudal ta ws held was that Roundtable Music Independent An :

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3 0

ABOUT BUNYI T R O P E R E H T - I Y N U B primarily to understanding the local and internatio and circuits. local the se understanding to particular primarily This expert. booking vete artist industry Kukreja, music Thompson, Jennifer by Moderated system tour planning local solid circuits, tour Understanding Better!: Tour Three Session promoters. and v managers, organizers music event from experiences producer collated Johan, session Ali and Alam Shah and UiTM at manager tour lecturer (ilifm), Farhana Ili by Moderated System Support & Dis A Promotion Potential: Management, Fullest Its to Indie Local Pushing Two: Session cur the industry. the scene in of music independent o the and by faced challenges are expectations, This discuss to Music. initiated Independent and Arts Engag Visual for Sector Manager CENDANA's Almohdzar, Smek by Opportuni and Moderated Challenges Expectations, Independent: One: Session

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4 0

ABOUT THIS REPORT T R O P E R E H T - I Y N U B oeaos priiat ad otiuos t the at contributors b and raised discussion. suggestions roundtable participants or preva of thoughts moderators, indication present an and provide to issues as Ma in exist players only industry but v music the claim independent the representing not all of does exhaustively report and this that comprehensively noting the worth and is by It both event. exclusively this discussion, of participants suggestion roundtable and are and moderators the ideas during thoughts, document made from mentione comprehensively particular information any report, this this analys of and makers information the in additional here, include conclusion will and both introduction the than Other by: pub reference a made as is used be may it discussion that roundtable the of report The future of the Malaysian independent music scene. music independent role Malaysian the of perception, the future in interested are that Parties Malaysia. or in supporting researching in interested parties Potential departments. other and government relevant policy-makers CENDANA, as such players/community. Agencies industry music independent The

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5 0

INTRODUCTION T R O P E R E H T - I Y N U B oua nt ny mn ter as u as aog th among also but fans w their more many among public. and general only Hussein Butterfin not Uncle OAG, demands popular as Meet the such Prana, suited Bands Estrella, which then. time the Malaysians of genres, young spirit o various was teenage from and which also youth Malaysia of in epitome scene the music independent The satur already genres. was pop fr and that rock strayed classic culture ballad, which with music music from mainstream underground emerged the the t as in performances scene known and music was bands indie local the as of 90’s, rise These the saw overseas. Malaysia arts. or independe self-published their Malaysia perform of and creators are in produce affiliate and not musicians labels are independent that record acts musical i major or music independent musicians report, as this of purpose the t For genre mainstream a to to genres refers alternative promotion to also and equated music usually marketing independent style, of inno broadly, terms more be in to major tends fluid or associated produced music t being the Not labels that means record process. the small them m in the of or musicians involved mo produce describe independent is they to - is music used the been music that has indie music It or with labels. - related music closely independent term The

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st e BUNYI- THE REPORT 0 6 The independent music scene in Malaysia which was once the epitome of youth and teenage spirit of the time were also from various genres, in which it suited the demand of young Malaysians then.

One of the most prevalent characteristic of the independent music scene was the establishment of “gigs” or live music performances by these independent musical acts. Using the 1990’s as a benchmark and for the past 20 to 25 years, the independent music scene has witnessed its glory days and its mercurial downtrend.

However, looking at the current development of the Malaysian music as a whole, it is quite certain that the independent music scene is here to stay and may yet again be restored to its former glory.

Those involved in the independent music community understands that there is a need for change in how they view the machinery that operates around the industry.

As much as it is important to be passionate in doing something which they love, they must also consider other crucial aspects such as management, financial, promotional and networking to ensure the sustainability of the industry. BUNYI - THE REPORT 0 7

To adapt in its industrialised surroundings, adequate and appropriate support must be determined before a sustainable ecosystem can be established to:

Be beneficial for the development of the independent music scene and create a holistic environment in public engagement. Address the financial, promotional and networking issues that are burdening independent music industry players.

What kind of “ecosystem” exists for the independent music industry players, and what kind of ecosystems might be envisaged?

As a guide, a visual ecosystem may comprise of the following interdependent elements to address the needs of industry players in the next chapter.

However, at a glance, it seems that Malaysia does not have many of these elements in place. And as shall be seen later in this report, there is a general sense that the ecosystem is not functioning very well.

This report, drawing from the roundtable discussion, attempts to identify gaps and imbalances in the existing ecosystem, and gather ideas for a healthier development.

BUNYI - THE REPORT 0 8

THE NEEDS OF INDEPENDENT MUSIC INDUSTRY PLAYERS

ACCESS TO EDUCATIONAL INSTITUTIONS

EDUCATING THE PUBLIC

FUNDING AND FINANCIAL SUPPORT

NEW FAN BASE AND PROMOTION

NETWORKING CREATES OPPORTUNITIES MORE SUPPORT FROM TRADITIONAL AND

MAINSTREAM MEDIA UNDERSTAND PROPER TOUR MANAGEMENT

GOING ONLINE

LAWYERED UP

INTERSTATE TOURING 0 2.5 5 7.5 10 9 0

ACCESS TO EDUCATIONAL INSTITUTIONS T R O P E R E H T - I Y N U B hlegs n Opportunities), Expectat Independent: and (Topic: session Challenges first this In EDN' Sco Eggmn Mngr o Vsa Arts Visual for Music Manager Independent and Engagement Sector CENDANA's h sgeto hwvr rvds calne a poi as challenge, a by provides out however suggestion The mo fa of get set to new value. a a market to more internet arts gaining colleges the their thus promoting using in (schools, also partie traction and with institutions acts universities) education music of as such engagement includes These of way by and platforms. vari expansion new using exploring network audience methods, the educate engagement to community the of o te aasa idpnet ui at, ih most Lim with Brendan old acts, years 24 to 16 music aged youth being independent audience target bee Malaysian has the institutions for educational to inaccessibility r apocal dpnig n hi cue The cause. creati in their accountable on promotions. more be public-friendly also depending should community a approachable that public the cou among are CENDANA awareness that the hoped increase He the help take with gains. do events, monetary no their general to having in acts Clubs invite to Interact initiative and schools that ui idsr veteran industry music

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0 1

EDUCATING THE PUBLIC T R O P E R E H T - I Y N U B University zy Yunor Azmyl schools. Indonesian in gigs the organize Shoes to White of Company with Couples the example collaborated had remo an which to order government citing in education music misinformation, of improvement the urged Thompson th Jennifer with authorities. dealing organ with dealing their encouraged proper in CENDANA maintain to case, also this In and di authorities. face venues they b acts, finding demands in international despite in and bring felt to stated still public is Ent. stigma negative Xonorous from Zid o CNAA o ep doae o riig social raising work. also for community could unified This more a advocate public. In through general achieved help the academia. among to in pro he awareness music, present CENDANA on is perceptions for social that the to gap response knowledge the

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1 1

FUNDINGS & SUPPORT BY THE GOVERNMENT T R O P E R E H T - I Y N U B mk loda reminded Almohdzar Smek ud rm yt Protocol Kyoto from Fuad f only community. are music CENDANA by independent local managed the being currently funds sal rm eoia Recordings Melodiya from Ismail sustaina a not industry. is the this maintain to v However, and brands sharing. profit corporate and with from touring collaborations and parti shows the funding, for should of cost Most their sta gigs. they sourced the have corporate than for other organisers, provided rewards rate and for negotiating venues consider smaller support o nrae hi sae f rmtos r improve or promotions of Youtube. as scale such platforms on their and algorithms artists indie increase for CEN to resources economy. provide France, local also the in f to should to recording contribute not album decision does this Gila’s CENDANA’s Orang to as criticised so Sekumpulan He locally record industry. to the acts local encourage to

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2 1

THE NEEDS OF INDEPENDENT MUSIC PLAYERS T R O P E R E H T - I Y N U B the cultural links between the two countries and Ma and countries two the de between wit further links to MOU cultural governments the network a Indonesian has and CENDANA Australian increa to Currently, coalitions resources. i corporate CENDANA forming m into Malaysia. acts’ East looking to local and on fund Malaysia focus bui of of to outside used capacity round be than also next can Other projects fund 2019. The the May in music. for is local application even the bands and projects promote can recording independent mobilisation, from involving applications ersnig CENDANA Representing collaborations with corporate brands and venues, "Most of the participants have sourced their cost for shows and touring from crowd-funding, sustainable way tomaintain the industry." FUNDING AND FINANCIAL SUPPORT FINANCIAL AND FUNDING and profit sharing. However, this is not a

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3 1

NEW FANBASE & PROMOTION T R O P E R E H T - I Y N U B Hafidz from the bands Khottal and Tahv0le and Khottal radi bands the from 'Kami,' Hafidz series TV movement. the culture ea youth to the the and FM due from X station wave benefited room indie the in 2010's present reminded bands Records the Head Teenage from Radzi di Raj Edwin expand include networks. regional to c suggestions reach the the Further Junkli diversify to and it landscape. for TapauTV media as potential the such saw CENDANA platforms to regard With gatew a become and scene. bands the for two smaller these other like inter bands promote Large help mainstream Masdo. or gained Hujan as such especia successfully have involved who bands the those of authenticity for need ewrig eso o frm ivtn ohr notable a other hosting inviting by forum, Vibes field. or the in Good players and session networking Urbanscapes as such aaaa uk fo Te eoin Solitude Venopian The from suggested Suiko Takahara nati held be to is which propo also Malaysia' he R Kreatif network, and the 'Tahun a BFM as increase to such effort str channels an As radio requires and other from industry support whole the of 5% consisted o CNAA o olbrt wt bg festivals big with collaborate to CENDANA for

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4 1

NETWORKING CREATES OPPORTUNITIES T R O P E R E H T - I Y N U B ei dcmnain ps-vn flo-p n respo failures. and and successes follow-up operational the post-event sal filing and stores’ record documentation, includes c media with which along database resource industry p compelling even a is and This grants clients. donors, approaching when required summarised Farhana Ili agents. booking or between companies bridge a corporate create with to labels CENDANA adequate eve for in pull when to suggested He failed enough OAG Radhi as sufficient such not names are shows Organising jobs. day their from funds using space shared investments. large Bunyian the from Alam run do returns owners minimal venue receiving and organisers g in Independent pos success the of rate for coverage. higher and fans a designers Indonesian found they materia Indonesian materials, promotional with create Indones to with and collaborating labels communicate and to years venues two took Asia Mammoth, Sifters from Arynn promot and organisers event experiences owners, collated venue BFM Al Support managers, at (ilifm), Shah UiTM producer and at Farhana Johan, lecturer Ili Ali by business Promotion music and moderated manager was Management, which on System) Fulles Its to Discussion Indie Local A Pushing (Topic: 2 Session o te hv t ssan hi event their sustain to have they how ht rpsl rtn i a ia skill vital a is writing proposal that

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6 1

UNDERSTAND PROPER TOUR MANAGEMENT T R O P E R E H T - I Y N U B growth, especially in smaller venues. One method Malaysia. Thompson method One Jennifer venues. by smaller in re especially low ways growth, receive for often prompted venues Farhana and Ili circuits tour to Local value show can promoters. state future this a and as venues choreograph organisers, performance and with deliver together to acts said independent Schadt 'Vandal' and Jason ch to concepts help better. can new progress and visions with circuit future touring These experience album t collaborations. album the their plan to acts reinvent music encouraged also He tour. ind local international any an on before embark aspects musicians all need on the tour research all underlined He as proper promoter. the to perspectives value of monetary be and business from For international tour circuit, co-moderator co-moderator circuit, RKOKLive tour from international For indust all much benefit will fans. planning so tour each real proper not ensure that to more out done and be gather pointed she may growth tour presentation, as audience gains on to tour be financial local should Understanding that solid stressed tours a Better!: Thompson building Jennifer Tour and moderator (Topic: planning 3 circuits, Session In

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ur BUNYI-THE REPORT 1 7

Andrew from Paperplane Pursuit enquired on the minimum threshold required for a music act to be noticed by promoters. According to Rahul, a band’s relevancy is measured with gaining one million listeners on Spotify, which is worth 12-13,000 dollars per year. However, different music acts may have different algorithms and value.

Rahul also advised on securing a strong homebase. However, this could also provide a double-edged sword as the local success could create an illusion of employing similar promotion tactics in other countries. Online presence of music acts is also a must.

Iris Van Wijhe, the manager of Salammusik & Zee Avi, has experienced otherwise. Acts under her management do not necessarily have a large following on these online platforms, but they have successfully gained an international following largely by touring. Salammusik have access to World Music festivals and other niche lanes which highlight their unique sound. International

GOING ONLINE audience especially in Europe are more keen to new persona and sounds.

Takahara Suiko also stated that musicians need to be able to connect with audience via witty banters in their set in order to overcome possible language barrier. 8 1

LAWYERED UP T R O P E R E H T - I Y N U B Lawyered Up secon the in year. masterclass the of the hold ideally would and agreed Almohdzar Smek roya enlig rights, legal help can matters. issues, other This sponsorship panel. on the scene the on clients agreed corporate also Participants Didi Ramlan Didi ra months six her to from five unique about festival. 1, her the generated to Radio to buzz BBC on due initial was interview the and Glastonbury in identity success is Yuna’s there. presence be out also materials stage should their Acts getting succeed good in fans. to new proactive a gaining acts in Having local important help platforms. actually various could identity

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9 1

INTERSTATE TOURING T R O P E R E H T - I Y N U B hud lo mrv ter is ih at aasa a Peni Malaysia the East players. in with or ties their Valley key s improve Klang music also the in should independent the those outward, especially looking than Other five of reach. of the expansion consortium the in loose encourage found to A help can bands a bands visited. or m being should acts of word currently via featuring promotion as or such The support association Malaysia. on-ground of with v engage states smaller other in in especially as growth, method One audience organic an Entertainment, Kota Kinabalu, Sabah and Ashraf Edru Ashraf Sarawak and Sabah Kuching, Haus Kinabalu, Kota Entertainment, In response, response, In ca how is Borneo. question to drive start The to similar this relevance. Lumpur bring their Kuala Unfortunat to on insuffi travel venues. reaction to of combating have number in often low they help and require coverage media also acts Bornean these between disconnection the scenes. reduce located and usually are which Malaysia However East festivals, bringing versa. local in to vice acts investment and more see to Borneo, like would into acts Malaysian As mentioned earlier, mentioned As a take to is touring presence. method the online One of into break development. may sustainability waters the across trips Jennifer Thompson mentioned Thompson Jennifer suggested by Jennifer Thompson Jennifer by suggested Emanuel Ili Farhana prompted prompted Farhana Ili

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lso BUNYI-THE REPORT 2 0

Issues such as resources, human capital, documentation & management skills, legal issues and networking amongst industry players need to be enhanced. Pervasive negative social perception on the industry such as negative stigma on certain genre, diminishing of genre and financial issues (funding & lack of resources) must be addressed.

The three sessions revealed that most independent industry players share the same needs and values in order for them to move forward as a community and in establishing an ecosystem for them to grow.

It is empirical that local independent music scene is given

PRACTITIONERS TO GROW the chance to access schools, colleges and universities as the target market for these acts are youths aged 16-24 years old from various locations in Malaysia.

AN ECOSYSTEM FOR INDEPENDENT MUSIC BUNYI-THE REPORT 2 1

Issues such as resources, human capital, documentation and management skills, legal issues and networking amongst industry players need to be enhanced. Pervasive negative social perception on the industry such as negative stigma on certain genre, diminishing of genre and financial issues (funding & lack of resources) must be addressed. The consolidated networking of industry players are needed to ensure that every action ever taken by any parties would be beneficial to others as well.

Currently there are no comprehensive databases to support the growth of the industry. Information from these databases are crucial in networking and promoting music acts, as it acts a pillar that will enhance the reach of the art scene to all stakeholders, including the public. The lack of support from the mainstream media, especially radio stations must be addressed quickly too. Even though there are some that provide 20% of their airtime for local independent songs to be played, that notion is not widely shared by all radio stations.

Regional presence should be made and felt, as industry players need to use other alternative platform via the internet in promoting their arts. Industry players need to

PRACTITIONERS TOunderstand GROW their rights, and the rules and specific regulations that has been set up by the authorities to ensure that they will not succumb to any legal conundrum in the effort to practice their craft, besides reaping the financial benefit that comes with it. AN ECOSYSTEM FOR INDEPENDENT MUSIC BUNYI-THE REPORT 2 2

WHAT ARE THE CHALLENGES?

The bond between industry players and the government must be strong and all parties must continue to work in tandem.

It is crucial to acknowledge that the independent music business in Malaysia is still far from its target, in terms of consolidating efforts to work as one community in the pursuit of establishing a sustainable ecosystem for their industry.

Based on this particular event, there is more work to be done in terms of unifying the whole industry as to truly understand the issues and challenges they are facing for the betterment of their community.

Edwin Raj from Toko Kilat noted that those who were present in the room comprised only 5% of the whole industry, which clearly showed that industry players need to engage with one another and to support discourse initiatives made by government agencies like CENDANA.

CONCLUSION & WAY FORWARD

CONCLUSION & WAY FORWARD 3 2 T R O P E R E H T - I Y N U B rciinr ad h piae etr s el s loc as well as matters ecosystem, (IP) sector properties the further, private intellectual and mus the discussed government independent financing and be between gap are practitioners the can bridging that locality, mentoring, topics of regardless terms In r to ideas different areas and in issues. issues different those in held different scenes as be have too will should Lumpur Kuala of roundtables outside and Discussions bu venue to and BijanFX event issues by ecosystem. ATAS operational for viable and major KL their is Livefact understand as session such operators, recommended from Another benefited preparations. Seou in they pre-event Festa their Zandari have managed like they how market how music a Lust discuss targets. attending Solitude, to specific Venopian The with Ramayan with session sessions, a organises example, group CENDANA focus that small recommend we forward, Moving

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APPENDIX 5 2 T R O P E R E H T - I Y N U B Participants during BUNYI- An Independent Music Industry Roundtable 2019