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

KEEP MUSIC LIVE #VoteAgainstBrexit contacts Union HQ Regional Offices

General Secretary Head of Communications London Horace Trubridge & Government Relations Regional Organiser: Jamie Pullman Isabelle Gutierrez 33 Palfrey Place, London SW8 1PE Deputy General Secretary t 020 7840 5504 Naomi Pohl In-House Solicitor e [email protected] Dawn Rodger Assistant General Secretary East & South East England Phil Kear PR & Marketing Official Regional Organiser: Paul Burrows Keith Ames 1a Fentiman Road, National Organiser London SW8 1LD Jo Laverty (Orchestras) Recording & Broadcasting Official t 020 7840 5537 Michael Sweeney e [email protected] National Organiser Diane Widdison (Education & Training) Licensing & Distribution Official Midlands Annie Turner Regional Organiser: Stephen Brown National Organiser 2 Sovereign Court, Geoff Ellerby (Recording & Broadcasting) Sessions Official Graham Street, Sam Jordan Birmingham B1 3JR National Organiser t 0121 236 4028 Dave Webster (Live Performance) Live 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 Your Vote Matters Only 2% of people questioned in a Music Week survey thought that Brexit would be good for the music industry – but you have to make up your own minds…

and music publishing areas of the industry The potential costs and administrative and is mostly about, and read by, music burden of arranging visas, work permits industry professionals rather than and carnets for upwards of 60 musicians performers and creators. Nevertheless, will seriously erode any profit that they when it ran a survey of its readers to might otherwise need to balance the books ascertain whether they thought that and keep their heads above water during a Brexit would be good or bad for the UK period of sustained arts funding cuts. music industry as a whole, the results were compelling. Only 2% of those Consider the consequences surveyed said that they thought Brexit So, for musicians, this is a Brexit election would be good for the business. Bearing in and you are now reading the ‘Vote Against mind that the record and music publishing Brexit’ edition of The Musician magazine. industry is not party political and could That said, it would be wholly wrong of me to arguably be described as conservative tell you how to vote in the general election with a small ‘c’, the results of this survey so I’m not going to do it. That decision, as are sobering to say the least. they say, is between you and the ballot box.

Administrative headache 3 If Brexit goes ahead we are looking at “For the music business, © Joanna Dudderidge Joanna © massive administrative burdens for Horace Trubridge, musicians who make some or all of this general election is General Secretary their living by performing, recording and selling merchandise and physical all about Brexit and the product in EU member countries. The Hopefully, you are reading this a few free movement of people, goods and damage that it will do.” days before the country goes to the polls services has been the cornerstone on 12 December. You will have seen from of our membership of the EU, and has But equally, I would not be doing my duty as the cover of The Musician the position enabled UK musicians to develop and General Secretary of the Musicians’ Union that the Union is taking regarding this sustain new markets without the need if I didn’t point out the consequences Brexit general election. Regardless of what the for lengthy and costly bureaucracy. The will have on our profession and the simple politicians may tell you, for the music reintroduction of visas, work permits truth that stopping the Conservatives from business, this general election is all and carnets will knock the profit out of regaining power in the forthcoming election about Brexit and the damage that it will touring abroad for many of our members, is the only opportunity we have of calling do to our wonderful profession. and will also greatly reduce the number it all off. A Johnson-negotiated Brexit, or of musicians from EU countries who visit possibly even worse, a hard Brexit, will do Music Week is a music industry trade the UK and who, in many cases, engage untold damage to our profession, now and magazine. It may not be familiar to you as and/or collaborate with UK musicians. for many years to come. it is very much focused on the recording Furthermore, many of the UK’s fantastic Please use your vote wisely. orchestras currently depend upon income Horace Trubridge derived from performing in EU countries.

TO HEAR MORE FROM HORACE, VISIT THEMU.ORG

The Musician • Winter 2019 Contents Winter 2019

“The end of freedom of movement will make it more The CBSO is one of difficult and expensive for UK many UK orchestras that regularly orchestras to tour Europe.” work in Europe.

The Musician • Winter 2019 Frontline Features 6 Media highlights new MU 20 Diet guidance: how musicians survey on sexual harassment can stay healthy on the road 7 Safety advice for musicians 34 Fair Play Focus: travelling on tour buses Exchange, Bristol 8 MU Insurance terms update 50 Why I Joined The MU: Three members share their stories Find out why the Reports Musicians’ Union remains opposed 3 MU General Secretary Your Voice to Brexit 10 Why voting against Brexit 9 Interacting with MU members makes sense for musicians and supporters on Twitter

14 Deputy General Secretary Dudderidge Joanna © 16 BBC Music Introducing Live Profile 28 How musicians can help to 24 Film and television tackle the issue of e-waste composer Timo Baker Union Notices 32 MU Music Writers’ Committee 2 Key MU contacts 36 Success for MU songwriters’ Reviews 42 Ask Us First workshop in Glasgow 43 Albums, EPs and downloads 46 Tributes 39 Assistant General Secretary released by MU members 49 MU Election results 40 The MU Equalities Committee 51 Member benefits

5 MU Contributors

Clive Katie Henry Neil Somerville Nicholls Yates Crossley A journalist, Katie is a Henry is a A journalist and broadcaster and freelance journalist freelance writer from editor who has written editor, Clive has and editor whose Gloucestershire who for The Independent, written for HMV, features and reviews has written for titles The Daily Telegraph, The Sunday Times have appeared in as diverse as Classic The Guardian and and BBC Radio, and titles such as Mojo, Rock, Total Guitar, The Financial Times. presented an Arts The Guardian NME and Record Neil also fronts the review radio show. p46 and Kerrang! p28 Collector. p20 band Furlined. p16

Roy Will David Neil Delaney Simpson Pollock Churchman Roy has Will has David writes Neil is an written for Metal contributed to a range for The Scotsman, List, experienced journalist Hammer, Classic Rock of music magazines, The Guardian, and The in broadcasting and and Melody Maker, and including Total Guitar, Independent, among print. A former BBC is the lead singer and Guitarist and Mixmag. others. He has written national newsroom drummer with the Will has also published books about running assistant editor, he two-piece punk rock the book Freedom music venues for the now writes on music band Hacksaw. p34 Through Football. p24 Music Venue Trust. p36 and the media. p32 © Andrew Fox

The Musician • Winter 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

Winter 2019

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

Media Highlights New MU Survey On Sexual Harassment © deepblue4you / Getty Images / deepblue4you © MU research highlighting the prevalence of sexual harassment in the music industry prompted a wave of media coverage when it was published on 23 October. The Guardian, 6 The Independent, BBC News online, ITV News online and Sky News online were among the dozens of news sources who reported on the findings, which reveal that 48% of respondent musicians have experienced sexual harassment at work, and that 85% did not report it. Workplace culture The research suggests that almost two- is cited as the greatest barrier to thirds (61%) of musicians feel they are more reporting harassment. at risk because they work on a freelance basis. Freelance musicians make up 90% of the MU’s 32,000 membership but only one in five (19%) say the contracts they work under “I understand I was one of 10 women making include policies or procedures to deal with reports about the same individual and yet “Survivors are often incidents of sexual harassment. no action was taken as far as I’m aware,” she said. “I was told this was just ‘lad culture’.” unable to speak The MU is now calling on government to extend the protections relating to In 2018, the MU set up a ‘Safe Space’ email out because the discrimination and harassment in the for members to report sexual harassment, consequences for Equality Act 2010 to freelancers. The MU is abuse, bullying and discrimination. MU Deputy also encouraging the public to sign a petition General Secretary Naomi Pohl says the Union their career or personal seeking stronger legislation to protect has since received well over 100 reports freelancers from sexual harassment. but very few have led to any form of justice. life are devastating.” “Survivors are often unable to speak out Workplace culture is currently cited as the because the consequences for their career Naomi Pohl, greatest barrier to reporting harassment or personal life are devastating,” she says. (55%), followed by fear of losing work (41%). MU Deputy General Secretary One woman, a freelance musician who For more information visit theMU.org. wished to remain anonymous, said she had To sign the petition visit megaphone.org.uk/ reported sexual harassment by a high-profile petitions/end-sexual-harassment-at-work- individual to a major employer in the industry. for-freelancers-too .

The Musician • Winter 2019 © Gus Campbell plaque by comedian Eddie Izzard. the with presented were and Conference prestigious Best Stand award at the Labour the won we as Brighton, in organisers by the Our stand design and teamwork were noted numerous plaudits for their performance. received who RNCM, the from Quartet String Levaré excellent bythe provided was music Live delegates. with popular particularly be to proved which Manchester, in Hotel Midland the at event fringe MU’ the a‘Meet hosted also we Conference Conservative the at time, first the For schools. UK in all for tuition music of decline post-Brexit and our concerns about the the movement of musicians across Europe to threat the delegates and MPs ministers, presenting at both events, highlighting to Conference, we could be found once again Party Conservative the and Conference Party Labour the both at presence MU Following the success of last year’s Conferences Party PresenceMU At industry contributedindustry to the Industry Stats The amount the UK music £5.2bn economy in 2018. For the latest news on how the Musicians’ Union is helping you visit theMU.org visit you helping is Union Musicians’ the how on news latest the For Thangam Debbonaire MP and Horace Trubridge.

employed people working in music, performing and the The percentage of self- visual arts (DCMS). 72% should wear them.” wear should available, musicians seatbelts“Where are bus is stationary.” the when seating relaxed more the use only should They motion. in it’s when bus the should wear them and avoid moving around “Where seatbelts are available, musicians travelling through night. the be will buses the whether ask and provided accommodation the of aware be to is tours such on engaged be may who members to advice Our happen. doesn’t it say to not accidents involving tour buses that’s but of reports get not do we “Thankfully Organiser Live Performance, commented: National Union Webster, Musicians’ Dave obvious. always beds – and that seatbelts and clips are not double to bunks and sofas –from buses accommodation now available on tour but the incident highlights the range of fatalities, no were there Fortunately, Norway. in –crashed bus sleeper –or anightliner after motion, in is and avoid moving around when the vehicle seatbelts whenever possible on tour buses, The MU is advising musicians to wear TourOn Safety Bus Advice Offers MU MU National Organiser National MU Dave Webster,

employed in the UK Music Creators’ sector in 2018. in sector Creators’ The number of people 139,352

MU Band Agreement Band MU How To Benefit From prior to the 2020 event. 2020 the to prior the aim of successfully resolving matters a positive dialogue with the organisers with arguments and is committed to maintaining these to opposed strongly remains MU The orchestra. pit or band ashow in experience Grade 8-standard qualification and aimed at professionals, despite specifying maintained their advertisement was not experience and quality required. Organisers to adequately remunerate musicians of the budget the have should £90, to £25 from prices ticket and 220,000 of attendance annual an with event, an that argued MU The band members in lieu of proper remuneration. only food and accommodation provided for Office, the Tattoo proceeded as planned, with department and Scotland & NI Regional Performance Live our both of efforts the Despite payment. any without broadcast, TV global for rights granting and 2019 August theperforming full 25-show run throughout band, stage anew form to musicians found to be advertising for professional Edinburgh Tattoo Military after they were Royal the of organisers contacted MU The NotBattle Over Yet Edinburgh Tattoo contact their MU Regional Office. Regional MU their contact to your needs. For details, members should a free written partnership agreement tailored offers Union the join, or members MU all are outlined above. Provided that your partners alternatives usual less the of any considering arrangements, and particularly if you are tax and other implications of your band legal, the on advice expert seek Always 1890. Act Partnership the of sacked, and to avoid inappropriate provisions is or leaves someone or up breaks band the partners to avoid disputes, particularly if music their with agreement a written have to advised strongly are members MU The Musician • Winter 2019 FRONTLINE

7 SUPPORT THE MU Love Music? Encourage your music-loving ! friends and family to sign up as MU Supporters at theMU.org

Update On MU Idles at the Downs Inspiring Stories Of Festival, Bristol, Insurance Terms 31 August 2019. Female Musicians

From 1 January 2020, member-owned Musical Journeys is a new book by cellist computers, laptops and tablets will carry a Hattie Bennett BEM, which recounts the higher excess of £350 for each and every stories of 18 extraordinary female musicians claim. Claims will be restricted to £4,000 including Sidonie Goossens, Thea King, per member in any five-year period from © Simon Chapman / LNP / Shutterstock Evelyn Rothwell, Marta Eitler and Chrissy the date of loss. Lee. It focuses on their life in the music business working in concert halls, clubs, The policy otherwise remains worldwide opera houses, studios and theatres around cover for loss or damage to owned musical the world. For more information, email instruments/equipment up to £2,000 per [email protected] member in any 12 months from the date of loss, plus up to £200 for hire charges limited Report Reveals Value to £500 during the period of insurance Vlog For Bassists subject to policy terms and conditions. Of Outdoor Music Bassist Jack Stevens has launched a vlog Any music teacher or lecturer that is Outdoor music events in 2018 contributed for bass players. To date his interviews have aware of any claim or circumstance of £13.6bn in Gross Value Added (GVA) to the included Ellen O’Reilly, Dave Troke, Dishan professional negligence, errors or omissions UK economy and created 234,380 full-time Abrahams, Sam Odiwe, Pete Daynes, Dan that may give rise to a claim under the MU equivalent jobs, according to a report carried Ezard and recently Andrea Goldsworthy. Professional Indemnity Insurance for music out by Bournemouth University for the Check it out at youtube.com/c/bassmanjack 8 teachers must report to Hencilla Canworth by Events Industry Forum. 31 December 2019. Failure to do so may result in the claim not being covered. The report, funded via subscriptions from MU Journal In Digital events industry publication The Purple Guide, Members with any tax investigation claims concluded that 45% of all outdoor event Musicians’ Union members can now choose issues should also advise Hencilla Canworth spending was by people going to music to receive The Musician in digital format prior to 1 January 2020 for reporting under events, with outdoor music events providing only, by selecting the appropriate option the MU Tax Investigation Cover. the highest GVA and employment figures. under ‘Communication Preferences’ when they log into the MU website at theMU.org. To make an insurance claim, email Overall, there were 141.5 million visits to The MU would also like to remind members [email protected] or call outdoor events in 2018, with a total on-site that The Musician is available as a PDF, in 020 8686 5050. and off-site spend of £39.5bn. large print and in audio on the MU website.

Dates For The Diary 11 Dec 28-30 Jan 08 Feb 04-05 Mar 22-25 Apr

What: Tax & Accounting What: AmericanaFest What: Question Session What: Music & Drama What: Brighton Music For Musicians UK 2020 Annual Music Conference Education Expo 2020 Conference (electronic Where: Oh Yeah Music Where: Oslo Hackney, Where: The Lighthouse, Where: Olympia, music & networking event) Centre, 15-21 Gordon 1A Amhurst Road, Mitchell Lane, Hammersmith Road, Where: Various venues Street, Belfast BT1 2LG London E8 1LL Glasgow G1 3NU London W14 8UX around the town Info: theMU.org Info: tinyurl.com/amaukconf Info: questionsession.co.uk Info: tinyurl.com/qqprzn5 Info: tinyurl.com/qu3ypkd

The Musician • Winter 2019 workshop leader will be wonderful Georgian Singing Still waiting to hear if our Visa Struggles [email protected] Robert Parker music exams. are associated with taking that negatives the of many very accessible and avoiding exam boards), making them other with exams higher for accepted when entering London theory exams are approved, Trinity College 5 (although, being Ofqual Grade above exams practical no requirement theory for exercises using music, and scalic play to player the allows scales and arpeggios which include their approach to student. These innovations to encourage and reward the exams developing of vanguard the in been consistently has Trinity College London), and independent arm known as an (now 1877 in exams music world to introduce graded firstmusic college in the the was Music of College is rather one-sided. Trinity raises some good points, but The of Musician edition 2019 Teaching’ in the Autumn of value ‘The article The Trinity Of Praise In Your Voice diverse range of dialogue between the MU and its members. diverse rangeofdialoguebetweentheMUanditsmembers. This selectionoftweets,emailsandlettersreflectsthe Follow us on Instagram @WeAreTheMU Follow us on Twitter @WeAreTheMU facebook.com/musicians.union , Nottingham

Jude Cann Hunt @CannHunt Hunt Cann Jude it. lost without against losing it. Jobs will be are @WeAreTheMU why is the creative industries, which as such sectors, certain for temporarily). FOM is essential country (either permanently or up residence in another EU about having the right to take being than more is FOM Freedom Of Movement @UKHarpists Xenia Horne Harpist @WeAreTheMU around freedom of movement reality the is –this project the in organisations who are involved the all from sent support of –letters visa her granted Greenwich, London. in Dance and Music of Trinity Laban Conservatoire Email us [email protected] Find us at theMU.org soundcloud.com/musicians-union

@ nicolettemmusic Nicolette Macleod actually trained to read them. is who bysomeone checked be to contracts send to able be to Wonderful @ WeAreTheMu. of part be to grateful So You MU Thank @richardbannan Richard Bannan our campaigns. leading for @ WeAreTheMU and @ ISM_music Credit et al are fighting valiantly. orchestras, opera singers music industry. British choirs, poses to the UK classical highlighting the threat #Brexit Kudos to @JohnJCrace for Valiant Brexit Battle

David Bleeker Architectural / Alamy Stock Photo Musicians’ Union offices. THE TEAM See p See Precision at Colour Printing Printed Repro Art director Stuart Hobbs Editorial director Mark Donald Rebecca Nannery Senior account manager production Head of Fusion procurement and Clare Jonik Director of content marketing Production editor Clive Somerville, Henry Yates Nicholls, David Pollock, Will Simpson, Neil Churchman, Roy Delaney, Katie Writers Art editor Chris Stenner Consultant editor Neil Crossley Editor Limited and Musicians’ Union. the written permission of Future Publishing of this journal may be used or reproduced without part No reserved. rights All 2019. Union Musicians’ or damage. © Future Publishing Limited and loss any for liable be shall subcontractors or Union nor their respective employees, agents neither Future Publishing Limited nor Musicians’ material you submit is sent at your risk and or services referred to in your submissions. Any media for the purpose of promoting any products or format any in part in or whole in submissions grant Musicians’ Union a licence to publish your format or media throughout the world, and you this journal that is published worldwide in any of edition any in part in or whole in submissions and Musicians’ Union a licence to publish your automatically grant Future Publishing Limited steps. If you submit material to this journal, you appropriate take will Union the and action other contact the editor straight away before taking any please made, been has error an that believe you if but inaccuracies, avoid to best our do We of goods and services offered in advertisements. Musicians’ Union accept any liability for the quality bodies. Neither Future Publishing Limited nor with such services should be taken up with those their relevant regulatory bodies and problems financialor services insurance aregoverned by of recommendation. Organisations offering form any imply not does advertisement an of products/services in the journal. Publication and retailers direct with regard to the price of Readers are advised to contact manufacturers inaccuracies that occur in such information. Union accept any responsibility for errors or Neither Future Publishing Limited nor Musicians’ Publishing Limited on behalf of Musicians’ Union. to press. This journal is published by Future going of time the at correct knowledge, our of best the to is, and only purposes informational for is journal this in contained information All certification and accreditation. PEFC and FSC full hold printer and mill paper socioeconomic standards. The manufacturing 2 Keith Ames (MU) Ames Keith Gary StuckeyGary for the contact details of of details contact the for Keith Ames, Neil Crossley, Crossley, Neil Ames, Keith The Musician • Winter 2019

Matt Eglinton Eglinton Matt to strict environmental and managed forests, conforming and produced from sustainable sourced was magazine this in free manufacture. The paper certified forestry and chlorine- from responsibly managed, magazine paper which is derived using only to committed are We FRONTLINE Andrea Ball

Keep Music Live #VoteAgainstBrexit On the eve of a general election, the Musicians’ Union outlines the reasons why it remains opposed to Brexit. © Marcus Tondo / WWD / Shutterstock

Rita Ora (above) was among the musicians who signed an In a matter of days, the UK will be going remain. The Liberal Democrats, if they won open letter calling for an end to to the polls for the third time in four years. a majority, have pledged to revoke Article Brexit. The end of freedom of The reason? The EU referendum in June 50 and abandon Brexit. movement will make it harder for orchestras such as the LSO 2016, which irrevocably changed our (right) to tour the EU. Member country and our politics and has made it The SNP, Plaid Cymru and the Green Party of Parliament and MU member almost impossible for parliament to agree are also anti-Brexit and are all calling for a Kevin Brennan (far right). or to function properly. second referendum, while the Brexit Party, as it says on the tin, is in favour of Brexit but Both for those who oppose Brexit and for would prefer a harder Brexit than the one 10 those who want to leave the EU, this set out in Boris Johnson’s deal. election is likely to represent the last opportunity for people to vote in a Why is the MU anti Brexit? government that will carry out their wishes. Musicians need to be able to work to tour 27 countries without any need for visas overseas free of extra burdens and added or work permits for musicians, or carnets Positions on Brexit costs, and the MU has long argued that (temporary export licences) for instruments. At the time of going to press, political parties Brexit will damage the music industry. In had not yet published their manifestos. fact, when the music industry (musicians, Freedom of movement also means that UK Positions on Brexit, however, have been composers, songwriters, lyricists, orchestras can recruit from a talent pool of widely publicised. producers and artist managers) were over 500 million, while a large proportion of asked how leaving the European Union guest artists travel here on EU passports The Conservatives want to leave the EU by would impact on their ability to work in the and can thus accept a typically poorly-paid 31 January 2020, either with Boris Johnson’s music business, only 2% thought Brexit (by international standards) week with a deal or, failing that, without a deal. would have a positive impact compared to British orchestra without too much 50% who said it would have a negative impact. administrative hassle. The Labour Party say that they would negotiate a different Brexit deal with the EU, Any Brexit that ends free movement for Even in the long term, the end of freedom which they would then put to the public in a musicians will cause major problems in our of movement will make it more difficult and second referendum, where people would industry. Some of our members visit several expensive for UK orchestras to tour in Europe. choose between the Brexit deal and European countries over the course of a week, It could mean orchestras having to add more often with very little notice, and do this on a non-playing (and thus non-earning) days to regular basis. each tour to deal with longer and more complicated movement. It could also end in Orchestral touring opportunities beyond the European promoters deciding that booking Make Them Listen EU have been growing in recent decades, British orchestras is just too much hassle. Regardless of who wins, we want musicians’ reflecting the fact that classical music is concerns to be on their list of priorities. After actually a growth industry when looked at on The local music scenes that make up the UK’s the election, please look up your new MP a global scale. But these tours are always very live sector are also reliant on touring acts, not at theyworkforyou.com and send them the costly and time-consuming to put together, just from other parts of the UK but from postcard that you will find included in this not least because of the complex visa, carnet issue of The Musician. and paperwork requirements. European touring has been much easier – with the ability

The Musician • Winter 2019 PROFILEREPORT © Joanna Dudderidge Joanna ©

View from an MU Member

“Of all the issues that have been brought to the fore with the Brexit debate, freedom of movement has been the most pertinent to me. I admit to finding it baffling that anyone would see it as anything other than an essential right for British workers. Like so many of my colleagues, I have

© Mark Allan Mark © benefitted massively from the right 11 to work throughout the other 27 EU countries, both with UK ensembles and There’s a vibrant cultural exchange between with groups from the EU. “Any Brexit that ends the UK and other EU countries that is free movement for facilitated by the freedom of movement. The “The EU represents by far the largest close proximity of other EU countries to the UK proportion of my work. There are many musicians will cause makes touring viable, even at grassroots level. reasons for this. Firstly, it is quick and Artists who can access other musical easy to travel to our neighbouring major problems.” communities, cultures and audiences will countries to work, far easier than have a fuller understanding of where their travelling further afield. It’s not unusual music works and how to exploit all available to start a week in one country and to further afield. Grassroots UK artists find their revenue streams. end the week in a completely different own fanbases and launch their careers by country with yet another ensemble. supporting touring acts and accessing their Many of the UK’s music venues have This flexibility and ease of employment more established audiences. international renown due to their diverse is key to many careers including mine. programming featuring local artists alongside Freedom of movement in the EU allows artists those from all over the world. In addition to “I feel in the lead up to the general to explore Europe and identify relevant venues, there are several festivals across election, musicians, and many others, audiences for their music; it’s not uncommon Europe that provide opportunities for UK acts need to loudly make the case for the for an artist who is relatively unknown in the at all levels. Allowing UK acts to be visible and benefits of freedom of movement. UK to have a keen following and established successful throughout Europe strengthens profile within another European country. the UK’s cultural significance and contributes “Politicians seem to have made this Restricted access or administratively to incoming tourism. important right a buzz phrase for burdensome requirements (surrounding both something the country doesn’t want artists and their goods, merchandise for Many of the MU’s members recall gigging and or need and we must turn this around, example) – as is already the case for other touring in the days before the European Union, reclaiming freedom of movement as territories around the world – could easily put and if there is any return to those days then something hugely beneficial for the an end to UK artists touring EU countries, European touring will become unviable for an country as a whole.” particularly at grassroots level. This would awful lot of artists. compound the existing concern as to who ANNEKE SCOTT Horn player. tomorrow’s headliners are.

The Musician • Winter 2019 Musician and producer Bernard Butler is one of the numerous musicians speaking out. “Many musicians already ‘leave out’ Switzerland because of the hassle of having to use carnets.”

Before the EU, musicians had to use travel carnets to show that they could temporarily move instruments and gear outside the country. An ATA carnet that covers 70 countries currently costs £325.96 plus a

a prohibitive cost for many musicians, not to More than 100 MPs have signed up to the mention time consuming as equipment and Union’s pledge, including MP for Bristol gear would need to be checked at the border. East, Kerry McCarthy (above).

We also know that visas could be a problem. They can take time and resources to get, and how much time and how much resources is What can I do to stop Brexit? not always in our control. For example, If you do not want Boris Johnson’s Brexit deal ‘fast-track’ or premium processing fees for US and you don’t want a No Deal Brexit, you can visa applications have recently gone up from use this election to vote against Brexit. 12 $1,225 to $1,410. The MU is affiliated to the Labour Party and we It is worth noting that many musicians already support its pledges to provide funding for the You can ask the questions on social media, in ‘leave out’ Switzerland when organising a NHS, education and housing among other a letter, email, or in person at an event or if European tour, because of the hassle of things. We have also worked with the Labour they knock on your door. Let us know what having to use carnets. Not only will the end of Party to ensure that the manifesto includes they say on Twitter and Instagram @ freedom of movement definitely reduce the commitments on music education for children WeAreTheMU or via [email protected] number of musicians coming to tour in the UK, as well as voting in favour of the Green New it will also increase costs and admin for our Deal at its Conference. What if Brexit does go ahead? musicians travelling in Europe. If the Conservatives do win the election, it is For members who do not want to vote Labour possible that the UK will leave the EU within a What has the MU been doing on Brexit? but do want to stop Brexit, the other parties matter of weeks. If we leave with a deal, there The MU has lobbied MPs tirelessly over the are, in some areas, creating a ‘remain alliance’ will be a transition period until the end of 2020 past few years, arguing that freedom of as a tactical voting tool. There are websites during which very little will change. If we leave movement for musicians is essential. We which can advise on this, although of course without a deal, some things are likely to have held events in parliament, attended tactical voting is never foolproof. change almost overnight. Labour and Conservative Party Conferences and our members have sent thousands of The long and short of it is that if the Although a No Deal Brexit will not be easy at all postcards to MPs. Conservatives and Brexit party win an for musicians, there are some steps that you overall majority, then Brexit will happen. can take in advance to avoid some of the We have worked closely with MPs such as Any other outcome is more likely to lead to issues you are likely to face. Stephen Doughty, Thangam Debbonaire a second referendum. This is also the • If you are an EU citizen living in the UK you and Alison McGovern to ask questions in the perfect time to contact the candidates in should apply for settled status. If you have House of Commons and hold the government your constituency and ask them what their any problems you should contact your MP to account. More than 100 MPs signed up to plans are for music, as well as Brexit. or your Regional Office. our ‘free movement for musicians’ pledge. Ask your candidates: • D epending on how much travelling you do Unfortunately, despite our best efforts, we • Do they support staying in the EU? within the EU, it may be worth applying for an could not secure the backing of any • If we have to leave, will they support the EU driving licence. Conservative MPs. Musicians’ Passport? • D o they commit to supporting musicians, if they are elected to Parliament?

The Musician • Winter 2019 PROFILEREPORT

Musicians Speak Out Against Brexit

“It is alarming that our UK festival would “Musicians need freedom of movement to now have real problems bringing artists into survive… No promoter will carry the burden this country. Many no longer want to come of the extra cost of a work visa, and neither to the UK because of the difficulty, cost and can the artist. It’s the same for classical delays with visas, along with the new fear musicians, composers, actors, dancers and that they will not be welcomed.” all freelancers. Imagine WOMAD or Glasto PETER GABRIEL Musician, activist and with no new acts, or the entire classical co-founder of WOMAD (BBC interview). music industry bankrupted by visa costs as our young musicians have no chance of “Gigging across Europe remains a key working abroad. Let’s keep the doors open source of income for so many musicians and for them and remain leaders in our field.” any bureaucracy that acts as a deterrent to DAME SARAH CONNOLLY CBE Mezzo- touring is to be fiercely resisted.” soprano (interview with Slipped Disc). BERNARD BUTLER Musician & producer. “The music industry contributes £5.2bn “At the moment we enjoy freedom of to the economy. Brexit represents an movement. I can move around the continent existential threat to that success unless we with a guitar and suitcase with very little protect the ability for artists and musicians obstruction. If we lose this right, the next to travel freely between the UK and the EU.” logical steps are border checks, carnet MICHAEL DUGHER CEO of UK Music forms, work permits and heightened (interview with The Independent). security measures. I have to do all this outside of Europe, particularly when I “Freedom of movement is just a golden tour North America. It’s costly and time- ticket, but now that that’s disappearing, 13 consuming. All those extra hours of waiting or it looks like it will, we don’t even know if • If you are going to be travelling with an around in an airport or having my guitar that option will be available to us.” instrument that contains rare wood or ivory case emptied on the side of the road, these ANNA PATALONG soprano singer you should check the CITES implications. are things I could do without.” (interview with Bloomberg). JOHN SMITH Guitarist and songwriter Links to all this advice and details on potential (interview with The Guardian). “I don’t see how anyone could genuinely entry requirements for EU countries can be believe Brexit was going to positively found in the Advice section of the MU website. “I don’t get involved in politics, but I will impact on their lives. Nobody is going to We will post regular updates and send emails say one thing: I was born a European and benefit, apart from a few bankers and to members as appropriate. Government I love being a European.” politicians moving a hedge fund.” departments have opened hotlines for people ED SHEERAN Singer/songwriter JASON FEENAN Drummer with Derry punk to call for advice and to report any problems. (interview with NME). trio Touts (interview with The Independent). Again, you can find details of these on the Musicians’ Union website.

If Brexit does go ahead, the MU will continue to fight for a touring visa for performers and “Britain Still Rules The Soundwaves” their crews which: • Is affordable and admin-light “Imagine Britain without its music. If it’s “We are about to make a very serious • Lasts for at least two years hard for us, then it’s impossible for the mistake regarding our giant industry and • Is multi-entry and includes a single entry and rest of the world. the vast pool of yet undiscovered genius exit carnet system that lives on this little island.” • C overs all European Union member states “In this one area, if nowhere else, Britain • Covers crew and equipment does still rule the waves. The airwaves. Open letter to the Prime Minister (8 October The cyberwaves. The soundwaves. It is 2019) orchestrated by Bob Geldof and signed If Brexit does go ahead and you experience of us. It is our culture. by artists including Simon Rattle, John Eliot problems with touring or travelling, please Gardiner, Howard Goodall, Damon Albarn, contact your Regional Office and your MP. It is “But Brexit threatens, as it does so much Jarvis Cocker, Brian Eno, Nick Mason, Alan important that you let us know of any issues else, this vast voice; this huge global McGee, William Orbit, Neil Tennant, Rita so that we can build up a comprehensive list cultural influencer. Ora, Ed Sheeran and Paul Simon. of problems to take to government.

The Musician • Winter 2019 We Can All Help To Tackle The Climate Crisis MU Deputy General Secretary Naomi Pohl on the changes the Union is making to reduce its environmental impact and why, alongside artists, organisations and other industry professionals, it has signed up to Music Declares Emergency.

Climate crisis and environmental look like plastic but are actually made from sustainability are finally climbing the global biodegradable material, derived from agenda, from governments and large renewable and non-finite raw materials. We corporate interest groups to individuals are limiting international delegations where carrying reusable coffee cups. In the music possible, as we appreciate that air travel is a industry, sustainability is a topic at every big contributor to any organisation’s carbon meeting we attend, from the UK Music Board footprint – we don’t undertake many overseas to our own Executive Committee. trips but we need to be sure we only fly when absolutely necessary. To cut down on The Union has signed up to Music Declares extensive travelling within the UK, we are also 14 Emergency, a group of artists, music industry trying to use Skype, FaceTime or Microsoft professionals and organisations who are Teams for meetings. standing together to declare a climate and ecological emergency and calling for an Environmental impact immediate governmental response to protect One area in which we can make quite a all life on Earth. We also backed Labour’s significant change, with the help of our Green New Deal motions at its Conference members, is in cutting down on print and this year. Green policies in the manifestos are gradually moving to digital. As well as reducing no doubt going to be a big focus, for young our environmental impact, this is something voters in particular and, alongside Brexit, that may be of benefit to members. For could be a driver for political change. example, from next year we are reducing the size of the MU Members’ Handbook. It will still The Union has made significant progress contain crucial information about the Union’s internally to reduce its environmental impact. services but the detailed industry advice We have moved from disposal to recycling, sections will move online. We update the installed recycling bins throughout our advice that we give according to changes headquarters for paper, plastics, batteries in technology and developments within the and toner cartridges, and we are also industry and so we believe our website is a recycling electronic equipment wherever far better place for this information; printed possible. In fact, we donated our old PCs to documents can be out of date as soon as a charity that restores them for individuals they land on your doormat. or organisations in need. Our website will be redeveloped and Our merchandise is also becoming more redesigned next year and we plan to move environmentally friendly. The latest MU pens to a more personalised version; the website should promote content based on your area of work and that’s relevant to you geographically. “We have installed recycling bins throughout The reduced Members’ Handbook will use less paper and this means we will be able to our headquarters and we are also recycling electronic equipment wherever possible.”

The Musician • Winter 2019 PROFILEREPORT

“Touring will always be a challenge in terms of carbon footprint but we will campaign for more musician-friendly public transport.”

15 © Hero Images / Getty Images

reduce the size of the new membership packs but the Union will campaign for more Royal Liverpool Philharmonic, the Barbican, we send out, which are currently in plastic musician-friendly public transport, offering Abbey Road Studios, the BRIT Awards, New boxes. The 2021 MU Diary will be available on safe storage for musical instruments, for Adventures and Glyndebourne. request rather than sent to all our 32,000 example. Many of our members already members. In spring 2020, we will be asking if lift-share, which saves money and the planet. Ultimate responsibility you wish to receive a 2021 MU Diary. Assuming It is important to remember that, ultimately, that not all members request a diary, we will Check out your suppliers, business partners the responsibility for tackling the climate crisis save some trees by making this change too. and clients, and organisations that engage lies with governments, global decision- you, to see if they have their own makers and major corporations. The issue has Sustainable merch options environmental policies. Arts Council England’s to be addressed on an international scale and If you want to improve on the environmental draft 10-year strategy demonstrates a big individual actions won’t solve the problem; sustainability of your own career as a shift towards this being a key requirement for just 100 companies have been the source of musician, carry out an audit of your activities organisations that it funds. The charity Julie’s more than 70% of the world’s greenhouse gas and do some research online. Look at Bicycle is a font of knowledge for anyone emissions since 1988. That said, in the face of sustainable merchandise options and try to working in music and its website includes a this emergency we can all do our part, and cut down on plastic and paper wherever list of venues, festivals and event spaces that help in our own small way to safeguard the possible. Touring will always be a challenge are part of the Creative Green community earth for future generations. for musicians in terms of carbon footprint (juliesbicycle.com/creativegreen- certification). Want to get involved? Sign up to Music Declares Emergency at musicdeclares.net Creative Green is the only environmental certification scheme designed specifically for the creative and cultural industries. Organisations that have signed up include

The Musician • Winter 2019 BBC Music Introducing Live

In a rapidly transforming The opportunities and challenges facing from A-list celebrities, such as funk legend Nile today’s independent artists was the core Rodgers, who addressed a packed audience music industry, events theme of BBC Music Introducing Live, a along with manager and business partner three-day event at Tobacco Dock in Merck Mercuriadis. The pair’s core message such as BBC Music Wapping, East London. More than was the value of songs, and the long-term Introducing Live offer a 15,000 musicians attended, along with economic value of intellectual property (IP). representatives from the music industry, wealth of practical advice including managers, broadcasters, tech “The power is in your hands,” said companies, manufacturers, educators Mercuriadis, whose management credits for musicians. and organisations such as the MU, which include Beyoncé, Guns N’ Roses, Elton John Report by Neil Crossley welcomed visitors to its stand within the and Iron Maiden, and who set up the music Grade I-listed former warehouse. royalties trust, Hipgnosis Songs. “You create the magic that makes the world go round.” Panels at the event, from 31 October to 2 November, offered advice on everything from Support structure finding a support slot to getting your music Rodgers recounted the story of US songwriter on the radio. There were also presentations Mars Bonfire, who after receiving a $5,000 16 cheque for one of his first compositions in 1967, went straight out and bought a brand- new Ford Mustang. As he drove the car at speed up the freeway, the euphoria of his new financial freedom and the joy of the open road © James North

Nile Rodgers (right) and his manager Merck Mercuriadis discussed the value of songs and the importance of solid support.

The Musician • Winter 2019 REPORT

Left: Representatives from BBC Radio offered advice on how musicians can get their tracks on the radio. Below: MU member Anna Neale. © Jonathan Stewart

sparked a new song, which would become the a creator. Distribution and remuneration are global hit Born To Be Wild. “Mars never earned just getting more robust.” MU In Action less than $300,000 a year from that one song,” said Rodgers. For up-and-coming artists, the overriding MU PR & Marketing Official question was how best to proceed in Keith Ames chaired a panel The founder of Chic acknowledged the such a fast-changing industry. At a Music on night safety for musicians, importance of support. “Without help around Managers’ Forum (MMF) event – Artists alongside Emily Marlow, me I would never have made it,” he said. He and Manager Dynamics: Finding The Right co-founder and director at Girl recounted his early struggles when trying to Manager – musician and performance Gang Leeds, and MU members break into music. Even with tracks such as Le artist Bishi recounted the challenges artist- Anna Neale, Luisa Santiago 17 Freak on his demos, he recalled, he was being managers such as herself face finding and Zoe Konez. “We all work consistently rejected. “The record company the time to create while undertaking all night shifts, but keeping safe in that signed me turned me down 24 times and the managerial tasks necessary to push a rowdy venues, knowing where signed me on the 25th time,” he said. career forward. “Your entire life is a giant to park, learning how to adapt spreadsheet – just a giant diary with lots of to life on a tour bus and dealing Mercuriadis said that the financial community coloured markers in it,” she said. “I have really with ‘space invaders’ is an now recognises the true economic value of struggled with that but then I’ve just overcome important part of performing songs. Unlike commodities such as gold and so much. It’s made me so strong.” live,” said Anna. “It was great oil, songs are not affected by global political to be be able to share some of events, he said. “If IP is structured in the Money talks my experience and knowledge right way, then it continues to reward you as Singer-songwriter and producer Laura from the past 20 years.” Bettinson highlighted the financial sacrifices of embarking on a career in music MU Recording & Broadcasting when your friends may be climbing the Official Michael Sweeney sat corporate ladder and commanding ever- on the Hal Leonard Europe and more impressive salaries. She also noted UK Music Present Copyright: how her early perceptions of her career path What You Need To Know underwent a profound shift. “I entered the panel. “The attendees were music industry thinking, ‘well, of course I’m taken through a wide range going to make pop music ’cause I can sing’. It of issues,” he said. “From wasn’t until my mid-20s, that I was like, ‘well, the essentials of copyright actually I’m really good at the production ownership and sources of income to the importance of having clear agreements in “Without help around place with collaborators.” me, I would never have made it.” Nile Rodgers

The Musician • Winter 2019 “Diversity is absolutely central in terms of More than 15,000 musicians attended sound and culture, and probably one of the event. Right: Maddy Radcliff, MU Campaigns and Social the most important things in my mind.” Media Official. Chris Price, Head of Music for Radio 1 and 1Xtra

thing as well’. I get as much enjoyment out of practical help and support out there, and what sitting in my studio making beats until 4am the MU can do to back them up.” as I do standing on stage in the costume and the lights. There really isn’t a blueprint for The panel addressed the importance success any more.” of networking. “It boils down to do your research, be creative in your approach, be The next generation polite, don’t be creepy, be persistent and The MU welcomed a range of visitors to its always follow up,” said Maddy. “If you do stand and Officials participated in a variety manage to get a meeting with the person you of panels. Campaigns & Social Media Official want to see, always ask if there’s anyone else Maddy Radcliff spoke on the panel Social they think you should connect with. You can Inclusion in the Music Business – What Next? build your network really quickly like that – but Hosted by the UK Music Futures Group, UK it’s astonishing the number of people who Music’s committee for young people in the don’t follow through.” industry, the panel focused on the challenges facing young people who are trying to get into Maddy highlighted the networking the UK music industry. sessions and events run by the MU with MU discounts, and highlighted Shesaid.so,

18 “The UK Music Futures Group has been talking “a fantastic organisation and a great way © James North a lot about class, culture and the barriers to connect with women across the music people face entering the industry, issues that industry”. The panel also talked about the the MU has been working on for a long time,” specific challenges faced by BAME, LGBT+ sell – will be stronger and more successful for said Maddy. “It was great to get on stage and and neurodiverse people working in the having a diverse and representative group of talk about those things to young people trying industry. “People in power need to remember people around them.” to navigate the industry, and discuss the that they – or what they create or produce or On the radio Getting Your Music On Radio And What To Do When It Is was such a popular session that the doors had to be shut early. Chris Price, head of music for Radio 1 and 1Xtra, Left: Panellists on the Power Of Being An said the route into airplay on Radio 1 was via Independent Artist In specialist shows such as Radio 1’s Dance Party Country and Americana With Annie Mac. Price encouraged artists to panel. Below: Alora, a identify and target the specialist show that resident artist at The Roundhouse, London. best fits their music. He also advised artists to ask themselves honestly ‘are you shaping or shifting culture?’. “If so, we’ll be more interested in your work,” he said. “Diversity is absolutely central in terms of sound and culture, and probably one of the most important things in my mind.”

Harrison Stock, assistant producer on Radio 1’s Future Sounds, spoke about the station’s weekly two-hour meeting, when 11 people select the seven tracks that will be added to the Radio 1 playlist. “It’s a really big deal and we don’t take it lightly,” he said. “It’s amazing how certain tracks just jump out. It’s

The Musician • Winter 2019 REPORT

management and PR, to social media, arranging live shows and releasing the music. “That is a real draw on your time that takes you away from the creativity,” said Lara Baker, director of business development for the UK and Ireland for song rights management platform Songtrust. “As you develop your career, you need to know when to add people and to start building a team.” Keychange The panel highlighted the power of saying 19 Diversity and equality were ‘no’ to label or management deals, and the key issues throughout the fact that signing the wrong deal could be a The panel highlighted the need for artists event, as reflected in PRS significant setback in an artist’s career. Dylan to “build a world around them”, with strong Foundation’s panel, Gender Myerscough-Harris, UK A&R for Peermusic, photos, artwork, video and ideally a team Equality In The Music Industry said there is currently a “unique mindset” made up of management, PR and a plugger. Through Collaboration And applied to musicians and their music, a “quick When asked if a record plugger is vital to Activism. A four-year project fix” notion that musicians should attain getting your music on radio, Price said: “It’s to make the music industry success within six months. You wouldn’t not essential but it helps.” more equal was recently expect to go into any other industry and be announced by Keychange, CEO within six months, he said, and the reality The panel highlighted Scottish singer- PRS for Music Foundation’s is that building a solid career will take a great songwriter and acoustic guitarist Gerry pioneering initiative that deal longer. Cinnamon as an artist who has built his encourages festivals and fanbase, story and narrative without a plugger music organisations to achieve “There’s a phrase from Nashville, that it’s a and with “no manager, no marketing or label”. a 50:50 gender balance by 10-year town, meaning that it takes 10 years 2022. Project manager Maxie to get to a position in your career that you’re Deal or no deal Gedge said Keychange would happy with. That’s true for music in general... The issue of whether artists should attempt involve 74 participants every You often need to take a step back, focus on to sign with a label was a prevailing topic year for the next three years yourself and think, ‘okay, I may only have £500 throughout the event. “It’s all about what travelling around 12 countries for my band right now but I love the music they can offer that you can’t do yourself,” to collaborate and take part we’re making and I’m going to continue doing said Wigan singer-songwriter Robbie in panels and workshops. it’. You may get incremental growth over three Cavanagh, a panellist on The Power Of “I think, generally, there years but you are the driving force. That’s so Being An Independent Artist In Country And is a will for change – for important… The core of your music has to Americana. He noted that much of what greater diversity within the come from you and you believing in it.” labels offer can be achieved by the artist. music industry in all our organisations. Keychange The downside, of course, is that the artist gives all kinds of music has to do “everything, all the time”, from organisations a chance to practically make that change.”

The Musician • Winter 2019 The Beatles stop at a chip shop while filming their surreal 1967 comedy The Magical Mystery Tour.

The Musician • Winter 2019 Keystone Press / Alamy Stock Photo the the Charlie Wray out is not cool.” Passing proper fuel. hard work. You need “Touring is bloody Feature by HenryYates the temptations ofmotorway servicesandtakeaways? so howdolivemusiciansmaintainahealthy dietandavoid Good nutritionisthefuelthat drivesasuccessful touringband, watching is hedonism to healthy living? Perhaps one factor from transition this for reason the is what So days.” these seriously more far take people and the effects ofdrugs and alcohol are something The raised awareness regarding fitness,good diet especially with the strict driving rules now in place. Performance. “The drunk touring band is a cliché, Live Organiser, National Webster, MU Dave considers on,” moved have “Musicians chain. food the of level every at echoed is ethos in shift that swear by mineral water and macrobiotic diets, and now extremes to bodies their pushed once who stars The them. with attitudes and change, eras But awaited touring bands of every stature. – enforced by the dismal motorway cafes that one strand of rock’s self-destructive aesthetic breakfast” on Rudie Can’t Fail period, to The Clash singing of “drinking brew for milk, peppers and cocaine in his Thin White Duke the music industry. From David Bowie surviving on malnutrition was practically a badge of honour in For most of the 20th century, borderline to to the first wave of hellraisers burn out, Beat

, a poor diet was just Eat takeaways and fast food can become the norm.” the become can food fast and takeaways late-night so prioritised, always isn’t eating and shows, playing of top on tour-manage and drive artists Many road. the on when so do to struggle maintain a healthy lifestyle and diet at home can seen the challenges first-hand. “Artists that normally has Wood Kelly Official, Performance Live MU As need proper fuel. Passing out is not cool.” Wray. “You Charlie tech drum and manager tour nutrition. “Touring is bloody hard work,” explains moment when they desperately need optimum precise the at deteriorating often habits eating their with road, the on struggle musicians many work, live towards weighted is industry music the when time a at But intake. their control can artist an studio, When rehearsing on home or turf recording in the Temptations on tour performances and future sales.” performance on one night can influence subsequent apoor that dictates now which media, social in growth the with Especially important. so is capable rivals. “Delivering consistent performances a drunk or lethargic band will lose ground to more competition in the modern music industry, where fiercer to down is shift the believes also Dave needs for optimal performance.” that there are many similarities in what the body the of importance nutrition for athletes, and realising into done been has that research the at looking are musicians “More benefits. nutrition’s of awareness Organiser, Education Training, and is the increasing another, suggests Diane Widdison, MU National cutting both short their careers and lifespans. But The Musician • Winter 2019

FEATURE

21 Veronika Klirova (below), principal second flautist with the CBSO (right) tries to eat “Stock up on healthy meals packed with grains, snacks to avoid giving beans and vegetables. in to temptation at service stations.” Caroline Davies

Armed with a little knowledge of nutrition and its effects on the body, however, musicians can start to make better choices. Processed food should be avoided: it’s packed with sugar and sodium, which can cause bloating, mood swings and constipation. On the flipside, as Matt Millership (above) eats supermarket- bought veg ravioli while touring in France

the building block of muscle and bone, protein Photography K Tina © with alt-blues duo Tensheds, while Alex is a vital part of the mix. “Make sure all your Gold (right), aka Darling BOY, takes meals and snacks contain some protein, to plant-based milk on tour with him. balance blood sugars and keep your energy up,” suggests nutritional therapist Caroline Davies. “So you could start the day with porridge or overnight oats, adding seeds, in to temptation at service stations,” adds nuts and berries, perhaps a dollop of Greek Davies. “Such as unsalted nuts and seeds, yoghurt. Or consider taking a blender with you fresh and dried fruit, and protein bars. If you and making smoothies for all the band. Make have a fridge, keep it stocked with carrots and 22 sure to include veggies, and some form of cucumber to snack on, adding hummus or nut protein powder, like hemp or pea.” butter to make for a more filling snack.”

The testimony of touring musicians suggests Liquids are just as important. “We all know junk food is usually bought on impulse when that too much alcohol will affect performance there’s no other option. As such, it pays to be and energy levels,” continues Davies, “so

prepared. Maxwell Hughes, former mandolin try to increase your alcohol-free days. © Steve Bone player with The Lumineers, travels with baby Dehydration will reduce focus, so carry food pouches, which he’s found to be the refillable water bottles and aim for two litres a most practical way to boost his vitamin intake. day. Herbal teabags will help as an alternative altogether, with people pointing to curled-up Consider a mini fridge or cool box to keep to conventional tea and coffee, too.” cold meat, cheese and a salad bowl on the bar fruit, vegetables and salads fresh. “Stock up and asking if it’s okay.” in advance on healthy snacks to avoid giving Alternative menus If eating well on the road seems hard enough “The French are slowly getting it,” says Matt for musicians with no dietary requirements, Millership, who leads alt-blues duo Tensheds where does that leave those who – whether and plays with Jim Jones & The Righteous for ethical or health reasons – need specialist Mind. “You can pick up vegan cheese in food? On a positive note, bands touring the supermarkets – veg ravioli is my hot tip. domestically report being well catered for. Spain and Italy are a little behind, though. “Lots of high street places have decent vegan Sometimes it’s just a ‘no’. Other times, you can options now,” says Wray. “Pizza Express and see the chef taking the meat out of the dinner. Papa John’s have vegan cheese.” But they are getting there, albeit slowly.”

“Wetherspoons is a reliable favourite with The key is to have a touring menu planned, plenty of choice,” picks up Lauren Tate, who says Veronika Klirova, who is principal second fronts hard-rockers Hands Off Gretel and flautist for the City of Birmingham Symphony recently released her solo album, Songs For Orchestra, and runs yoga classes for Lauren Tate, who Sad Girls. “We never struggle in the UK. But musicians. “Plant-based food is definitely best fronts Hands off the same can’t be said for Europe. We’ve just for improving focus and attention span. Gretel, says it can returned from tour and although we requested be hard to get good vegan food in Europe. vegan hot food on our rider, the food

The Musician • Winter 2019 FEATURE © Upstream Photography Upstream ©

Secret Weapons In an ideal world, your diet should provide all the nutrients that you need. In reality, though, there will be times out on the road when your supply lines fail you. That’s when vitamins and supplements can prove beneficial. Vitamin C is an all-round staple for healthy skin and bones that can boost your immune system when you’re spending a lot of time in a cramped or draughty van. You might also want 23 to take Vitamin D in the winter to help keep your bones, teeth and muscles I used to feel so tired when I ate meat and sites such as food waste recycling service, healthy, and lysine can be used to dairy. I try to have at least one meal a day Too Good To Go; or join a Facebook group to prevent and treat cold sores. made up of grains, beans and vegetables – trade local knowledge and recommendations, cooked, raw and ideally also pickled.” from Coeliacs Eat Out Too to Vegan Musicians, Browse the shelves of any health Crew and Managers On Tour (founded by Polly food shop, meanwhile, and you’ll find When your demands are more specialised, Phluid of The Spangles). “I use the HappyCow a range of lesser-known supplements it’s even more important to come prepared. app,” says Klirova. “It’s a community-driven for your touring needs. Ginkgo biloba “I carry plant-based milk with me, and also space with users adding tips on plant-based is said to sharpen memory and lessen nuts and seeds to snack on,” says Alex Gold eateries and options all over the world. I’m anxiety. Rosemary could enhance (aka Darling BOY), whose roles include musical also a member of the Birmingham Vegans memory and improve digestion. director of All Or Nothing: The Mod Musical Facebook group. It’s a great place to ask There’s evidence that turmeric and multi-instrumentalist for Supergrass questions and get advice.” and ginger have anti-inflammatory drummer Danny Goffey. “I absolutely swear by properties – great for conditions wheatgrass, a fantastic natural detoxifier.” These lifestyle changes might take a little common amongst musicians, such effort, says Diane Widdison, but the payback as tendonitis. Musicians with diet-related medical conditions could be a renewed energy and appetite for should ask ahead for local recommendations your career. “Food is fuel for the human body, If all else fails, a simple egg can be a or a rider to accommodate their needs. “I’m and therefore what we eat and drink really great standby: it contains vitamins fortunate that I can provide venues with a impacts on the way we feel. The musician’s D, B6 and B12, plus minerals such as dietary rider that suits me,” says the British life can often be hectic and chaotic, but time zinc, iron, selenium and copper. Or, bluesman Laurence Jones, who suffers from invested in eating healthily will be rewarded by just keep things simple and pack Crohn’s disease. “Even if that means eating improvements in physical performance and a small selection of bottles in your plain foods, it keeps me healthy on the road.” mental wellbeing.” gig bag. “A good multivitamin and additional B12 and iron go a long way,” Food for thought says Wray. “And The Vegan Society Technology can also be a road warrior’s friend: does a supplement called VEG 1 that’s browse the countless nutrition-based apps; specially formulated for vegans and get Uber Eats or Deliveroo to deliver direct to excellent value.” your dressing room; familiarise yourself with

The Musician • Winter 2019 ScorePerfect From playing stadiums with The Prodigy to composing edgy soundtracks for hit TV series and Hollywood blockbusters, Timo Baker has forged his own musical path. Profile by Will Simpson

24 PROFILE

The skills composer Timo Baker learned while in a band have helped him in the studio.

A modest house in a residential area of south Bristol: an unlikely crucible, it’s fair to say, for moments of high drama and edge-of-your- seat excitement. But in fact the atmospheric, stirring music for Hollywood trailers and Netflix hits such as The Adjustment Bureau, Paul and Making A Murderer, as well as numerous National Geographic and BBC natural history shows, have all been recorded in its stylish home studio.

The owner’s career is a testament to the opportunities out there for musicians beyond playing gigs and releasing tracks. Timo Baker tried all that in the 1990s. But when the boat bound for rock stardom passed him by, he turned instead to creating music for film and TV. Chiswick. “Within a few weeks of getting there I had an email saying ‘does anyone know any composers?’ Difficult decisions I was like ‘yes – that’s me!’.” So they asked me to 25 Timo was a musical child. He had piano lessons, write a whole bunch of tracks for their TV content. sang and was a school trombonist before being For about 12 months I worked as a graphic designer diverted, like so many others before and since, to by day and a composer by night, by which time I had the electric guitar. After leaving the University of a raft of material – a show reel, if you like.” Bristol, he and a group of friends formed funk/metal band Crazy Gods Of Endless Noise. A kind of south- Fortunately, his experience in the band had given west version of the Red Hot Chili Peppers, the band Timo the production skills he needed to make a go were signed to M&G Records, playing stadiums with of it. “I learned through osmosis, just by being in the The Prodigy, appearing at major UK festivals and on best studios in the UK with the best producers and MTV, and touring internationally with Feeder. engineers. Plus, in the band we’d mixed electronic music with live instruments. Early on we bought an When they were dropped after two albums, their Atari ST and learned how to programme it. guitarist had to face up to an uncertain future. “As you can imagine, leaving university and going into “I started off writing ‘band type‘ songs but without your perfect job was pretty extraordinary. I had to the vocals. Then I taught myself how to write to have a long hard look at things; at what else I could picture and I developed an understanding of what do if it wasn’t music,” he explains. “It was quite a film music was, the beautiful dialogue between painful process.” picture and sound. As I dug deeper, I started to understand how I could make different sounds that After a couple of months of soul-searching, Timo would resonate with the images. It’s a different skill, alighted on graphic design and landed a job as but it came very naturally to me.” a web designer at a TV production company in LA calling Timo’s big break came after he returned to Bristol “I learned through osmosis, and began networking within the city’s TV and film industries. “I had continued writing music for myself just by being in the best and I wrote an album under the name T Minus 50. A friend heard it and suggested I send it to his brother studios in the UK with the best in LA. He said he was a music supervisor – I didn’t even know what that was. Anyway, I sent him the producers and engineers.” album and he absolutely loved it.

The Musician • Winter 2019 All photos apart from where noted: Joseph Branston. © MU 2019 © Universal / Kobal / Shutterstock / Kobal / Universal ©

“It turned out he worked on CSI, so they used film or series is about – then a little bit about three tracks off that album on CSI New York. what they’re after musically, and then maybe That guy then set up a movie trailer business a couple of clips that I’d have to compose, for and represented me in the States for trailers, which there’s usually no fee. so I got into that world, which is like a sub- industry of the business.” “If you land the job, there’ll be a meeting with “The challenge for me is keeping the music the director and some of the production sounding fresh, keeping it inspiring and From then on Timo was on a roll. He acquired staff about the creative brief. There’ll be a energised. You want each piece to be special a reputation as a safe pair of hands and the scheduling meeting saying ‘these are the and as good as it can be. My last assistant work, from both sides of the Atlantic, started hit points you need to make’, then they will was particularly good at pushing me outside rolling in. His TV work includes River Monsters, send some additional clips so you have a my normal methodology. We’d experiment Primal Survivor, Survive The Tribe and Stan sense of what the overall vision is. Then a with plugging unusual instruments into effect Lee’s Superhumans and in 2014 he won a Royal rough cut and editing. pedals and then processing the recorded Television Society award for Best Short Film audio or mic-ing up the drum kit in an Score for The Kismet Bureau. “It’s like a funnel. You develop some themes unusual way.” and textures and drop that into the picture. Sometimes Timo gets approached directly, What I’m looking for is the picture lock, which Timo likens his studio and console to a although for larger jobs there is often is when none of the images change. Then I carpenter’s workbench; like a carpenter, he still a pitching process. “They will send a can finesse all the themes that I’ve developed might get out a chisel, hammer or saw, just to pitch document – an overview of what the to a finalised picture.” get going. “I start to throw pieces of audio that I’ve created, or they will send me the images, Under pressure and then I’ll pull out some bits of audio – little “There is something There are times when the work becomes incredibly intensive – at one point he was incredibly powerful working 18 hours a day for weeks on end – but he knew that if he wanted to stay energised about the collective.” he needed to slow down.

The Musician • Winter 2019 PROFILE

Timo has been an active member of the MU for almost 30 years and is a member of the Writers’ Committee.

“Brexit Will Be Bad For All Timo composed the score for the trailer for the 2011 sci-fi thriller The Musicians” Adjustment Bureau starring Matt Damon and Emily Blunt (left). “The free flow of musicians from the UK into Europe for all these years has been brilliant – I’ve never known anything else. So, for it to seeds or textures that I think marry. That puts be stifled in any way is obviously a able to bring his experience to the Writers’ 27 me in that space very quickly, where I can negative thing. Committee: “It’s great to advise and bring start to bring other elements in. Then I might my own two-penneth to the table. There is put on a little rhythm – a little percussion “Musicians aren’t well known for something incredibly powerful about the hit, or a bowed guitar thing – and then the being well organised – there’s collective. When there’s a lot of people on the more classical elements; the things that are a lot of other things to think same page, pushing in the same direction, required in a contemporary film score: pianos, about! – so if you’ve then got to that gives a huge amount of weight, which you strings and percussion.” sort out more red tape in order wouldn’t get working alone. It feels great to be to enable something to happen, part of a movement of musicians, a profession Dream job it’s going to be bad for the music that generally does get – for want of a better Timo is lucky enough to have made a career world as a whole. word – screwed over.” out of something that many people choose to do as hobby but he admits that while he “If people aren’t able to get into Career goals enjoys the flexibility that working from home different cities to tour, to tell their Timo turned 50 this year, but he still feels offers, it can be lonely – and hard to switch off. stories and get their creativity he has a huge amount to give, musically “It’s a bit like a siren calling me onto the rocks. out there, that’s going to be very and creatively, and is always on the lookout Making music is a brilliant thing but I’m always damaging creatively. for the next challenge. “I’m always looking thinking about work, whether it’s the latest to collaborate with film directors and other score that I’m working on, or how I need to put “I’ve worked for a bunch of musicians. I want to get into feature films and some new strings on that guitar.” European companies in the past, drama. I’m making more connections in that but as to how any of that plays out, world – which is more London-based – so it’s Conscious of the need to protect his mental none of us knows. I’ve got another about putting out the tendrils a little bit. health, he’s found ways to lure himself away studio in the French Alps and if from the studio. “I go to the gym, and I actively Brexit stops me from using that “I’ve also been working on some film scripts, seek out other people and I’ve recently been space, or makes it more difficult to just to be in the driving seat; to be proactive going for more long walks. It’s easy to feel get musicians out there, it will be about the whole process. You get to a point in detached when everything happens virtually, very frustrating.” life when you think, ‘I’ve got a couple of stories but I schedule things into my day to stop me I want to tell’.” going mad.”

Timo has been an active member of the MU since 1992 and, in recent years, has been

The Musician • Winter 2019 A Tsunami Of Waste The fastest-growing threat to the environment could result in a fundamental change in musicians’ attitudes towards their electronics. Report by Katie Nicholls

Cables, pedals, mixers, microphones, FX processors, controllers, amps… many people who make, record or perform music will have at least one of the above, probably 28 a few of each, in fact. And, of course, let’s not forget the phone, tablet or computer that everyone needs to function in 21st century western culture.

Society’s insatiable demand for devices is The cables, pedals and gadgets that not without its consequences. Electronic musicians rely on are rarely recycled, waste – e-waste – is, says the UN in a report contributing to the 50 tonnes of e-waste published earlier in 2019, threatening to that humankind is producing every year – a figure that’s set to more than double by become a “tsunami of waste” that will be more 2050 if we don’t take action.

damaging to the environment than single-use © Lya_Cattel / Getty Images; © Thiago Benassi / Shuttersock plastic, harming human health and generating 14% of total carbon emissions, a huge figure and more than half of the total produced by E-waste may be a relatively unknown term As well as base metals, such as copper and the global transport sector. in the current lexicon of environmental tin, and noble metals including silver, gold awareness but while it’s not hard to and platinum, the production of electronics Defining e-waste understand what it is, it’s worth digging a bit demands the mining of rare-earth metals, The UN report, A New Circular Vision deeper to understand why it’s such a threat such as neodymium, which is used in For Electronics, says that humankind’s to both the environment and human health. microphones and speakers. consumption of gadgets has created an e-mountain of waste; we produce 50 tonnes “The first thing to consider is the raw “People are waking up to the fact that a year, the equivalent of 125,000 jumbo jets. If materials,” says Ben Skidmore, a volunteer our current levels of resource use and nothing is done, says the report, “the amount for The Restart Project, a charity that helps consumption aren’t sustainable,” says of waste will more than double by 2050, to 120 people learn how to repair their broken Chiara Badiali of Julie’s Bicycle, a charity million tonnes annually”. electronics, and rethink how they consume that supports the creative communities to them in the first place. “Rare minerals are act on climate change. “That includes all the often mined in conflict regions and with rare earth and other elements that go into child workers. The production of electronics our many technologies and devices, how is also really resource-heavy, using a lot of energy and water.”

The Musician • Winter 2019 REPORT © QUIQUE GARCIA / Stringer / Getty Images

Japanese experimental artist Ei Wada turns discarded electronics Future Sound into instruments. Of Old Tech

Japanese experimental artist their jobs, likely to be high consumers of Ei Wada has an innovative electronics: “Many of our members rely approach to e-waste, taking on electronic equipment to carry out their discarded electronics and 29 roles in the music industry, whether in the turning them into instruments. creation of music, amplification of a live He’s a member of The Open performance, or for recording and listening Reel Ensemble, a group of purposes,” she says. “Naturally, they will want Japanese musicians who to dispose of and replace equipment regularly manipulate old old reel-to- for all sorts of reasons, but primarily because reel recorders, PCs, fans and where they are mined, the energy used they want to remain at the cutting edge. and turntables to create to extract and manufacture them, and the It is highly likely, therefore, that musicians cutting-edge electronica, while toxins leeching into the environment from contribute to the world’s e-waste crisis more the Ei Wada Jazz Band consists electronics that aren’t properly disposed of. than your average office worker.” of seven cathode ray tube E-waste is also a human rights issue. A lot televisions that he uses as of hazardous e-waste is illegally exported Badiali agrees that this is an industry that percussion instruments. to countries where people dismantling produces high levels of e-waste. “We do a lot electronics for recycling can be exposed to of work to get people in the industry to think “These tech objects are a hazardous chemicals, and recycling facilities about the raw materials – metals, plastics symbol of Japan’s economic can contaminate local soil or water.” and so on – that are in the instruments and growth, but they also listening devices,” she says. get thrown away in great Nature of the job numbers,” Wada told the Naomi Pohl, MU Deputy General Secretary, “A few years ago we ran an ‘e-waste Motherboard website. “It’s says that musicians are, by the nature of teardown’ with the RSA’s The Great good to not just say bye to Recovery project. We invited people working things that are thrown away, in music to take apart turntables, phones, but to instill old things with “Rare minerals radios and music players and have a look new meaning, and celebrate inside to better understand the stuff that their unique points.” are often mined in ‘powers’ our music making and listening, and come up with ideas for shifting towards a conflict regions and circular economy. Seeing the sheer number of different screws, plastics and circuit with child workers.” boards coming out of a device is quite eye- opening.” (You can watch the video at Ben Skidmore vimeo.com/119333576).

The Musician • Winter 2019 © Mark Phillips, CC license CC Phillips, Mark ©

Steps To Change 30 Chiara Badiali’s tips for dealing with e-waste… • U se rechargeable batteries to power equipment, including microphones. Where single-use batteries are unavoidable, make sure they are disposed of appropriately. • If equipment breaks, get it fixed rather than replacing it. If you can’t fix it yourself, look out for local maker spaces who might take it The cost of making music be repaired and the situation is exacerbated off your hands. The internet is awash with cheap pedals by a lack of consumer confidence when • Ask manufacturers to and amps. The commodification of music it comes to taking electronics apart and make their products more hardware has promoted a throwaway culture, working out what’s inside. “Anything new repairable and support the adding to the growing mountain of e-waste. produced in a factory contains a circuit extension of legislation “Mass production is getting easier,” says board that is put together by a machine, such as the EU’s new ‘right Skidmore. “Firms in Asia produce pedals for so it can only be repaired if you have a to repair’ rules (which don’t about £25. They sell more because they’re particular set of skills. That’s one barrier, but cover music equipment cheaper. It’s a circular problem.” there’s also the knowledge of what something at present). does. Fewer and fewer people can look at • A sk manufacturers about The issue, says Badiali, is as much about a circuit board and analyse it. Even though their environmental policies shifting a consumerist mindset as it is someone somewhere designed it, the typical and what they’re doing to about recycling. We need to buy less and person on the street is simply troubleshooting reduce the impact of their “ask for policy change to make things longer- with a warranty. products on the environment. lasting and more repairable”. Skidmore • If you’re getting rid of any agrees that electronics are not designed to Reuse, recycle, reduce electronic equipment, try While only 20% of e-waste is currently donating or selling it first. recycled, the good news is that all e-waste can be recycled. The even better news is that

The Musician • Winter 2019 REPORT

“If your electronics still work, try to sell them or give them away.” Chiara Badiali

financial. There’s always new technology, which becomes old a few years later, but if you buy vintage stuff that’s good value it will always sound good, and it will always be reliable because it’s proved itself. That’s a good culture to encourage.”

“If your electronics still work, try to sell or give them away,” says Badiali, who points

© Emily Ma; © Sirli Raitma out that there is a very vibrant second-hand market for gear. “Otherwise, dispose of old electronics via accredited WEEE (Waste Electrical and Electronic Equipment) collection points – some councils have specific bins in their neighbourhoods, some stores operate take-back schemes, otherwise visit your local Chiara Badiali (above) works for recycling centre. Don’t throw electronics in environmental charity Julie’s Bicycle. Ben Skidmore (left) volunteers for The Restart your normal bin.” Project, which encourages people to learn 31 how to repair their broken electronics. Action plan The MU is in the process of producing new guidance, which will outline realistic and practical action that can be taken on climate worth more than the materials they contain. change and to improve environmental Therefore, extending the life of products and sustainability. “We know this is something re-using components brings an even larger our members care about and we would economic benefit.” encourage them to review their practices with the environment in mind,” says Naomi Pohl. Make do and mend Restart takes a multi-pronged approach to “A quick internet search will turn up plenty raising awareness and changing attitudes to of advice on recycling electronic equipment. it has huge financial value. Of the e-waste encourage the recycling and reuse of e-waste. You can sell it on, donate it to charity or have currently polluting the earth, the UN says that As well as lobbying for policy change, it also it restored for yourself or others. The Union “the material value alone is worth $62.5 billion runs ‘Restart parties’ in pubs and community has recently donated its old PCs to a charity, (€55 billion), three times more than the annual centres where people can learn how to fix, or for example. We also recycle everything output of the world’s silver mines and more at least take apart, their broken electronics. we can, including old mobile phones and than the GDP of most countries. There is 100 The charity educates through schools and batteries. Tackling the global environmental times more gold in a tonne of mobile phones conferences, too. “You want to empower,” crisis is of paramount importance and we all than in a tonne of gold ore”. says Skidmore. “If you can teach people to fix want to play our part.” stuff, that’s great, but we also teach people The fiscal argument for recycling gathers even to have a look, to not be afraid to open things more weight as “harvesting the resources and Google how to fix it, or to try and find from used electronics produces substantially someone who does know how to fix it.” less carbon dioxide emissions than mining in the earth’s crust,” says the report. “Working Skidmore believes the music industry is better electronic goods and components are placed than most to roll out a new attitude towards old electronics. “The strong vein here – at least with guitars and rock‘n’roll,” says Skidmore, “is that old gear has a lot of value – spiritual and cultural as well as

The Musician • Winter 2019 Fighting For Writers’ Rights The Music Writers’ Committee represents the interests of the 1,000+ members working in this hugely important sector. © AleksandarNakic / Getty Images / AleksandarNakic © Report by Neil Churchman Songwriters are under pressure, which is why composer and Committee member Fiona Brice (right) Songwriters, composers, orchestrators, Committee member Fiona Brice is a believes their interests need to be represented. arrangers and copyists create and hone successful composer, arranger and the raw material on which every live performer. She says it makes sense to performance and every recording is built. give writers a forum of their own within the They are the lifeblood of a multi-billion- Union. “It represents writers as musicians pound industry. Without them, there first and foremost. Becoming a composer would be no music. So who nurtures and is really just an extension of the musical safeguards such a vital community? For process,” she says. “After all, so many of us 32 the MU, it’s the 20-strong Music Writers’ play an instrument to a high level. It can be Committee, which represents the interests quite isolating to be a composer. For me, of over 1,000 members who are actively the key thing is to illustrate the fact that, involved in the sector. although it can be a solitary process, we don’t exist in isolation and it’s good to have that

The Committee comprises practitioners representation in the MU.” Bailey Emilie © from all aspects of the music writing process. They meet to examine the Universal problems industry’s state of play, discuss emerging The scope of the writing section is vast, and traditionally have been done by someone trends and problems, and pass on their growing. Composers, arrangers and copyists else,” explains Michael. “Writers are being recommendations to the Union’s Executive are busy across every genre and on every forced to do more work, but not necessarily Committee about how to protect members’ platform, from movies to musical theatre getting the budget for it.” rights, remuneration and conditions in an and from violin concertos to videogames. increasingly fragmented market. The Writers’ Committee convenes three or Blurred lines four times a year. “Composers come from so And that means less work for those in the “It’s a hugely important sector, and one of many backgrounds,” says Fiona. “There’s a unsung but vital arena of music preparation. the older specialist sections of the MU,” says massive range of writing styles and therefore “It’s about the blurring of roles that used Committee secretary Michael Sweeney. “Not a massive range of problems we all encounter, to be very delineated,” says Jill Streater, an all of our equivalent sister unions around the but those problems can often be universal.” experienced music copyist, and a Committee world count writers as a distinct membership member. “A lot of composers have assistants category. But the MU believes writing and The reason behind much of the pressure now, which wasn’t really the case when I music preparation play an essential part in on the sector is the general squeeze on started, and a lot of work tends to get dumped many members’ careers.” budgets – constraints that compromise on them. They aren’t really trained to do the quality and lead to corner-cutting. “There parts, so whoever is employing them is trying have been pressures on budgets in many to shortcut the system.” “The problems we areas, particularly since the financial crash,” says Michael. That manifests in several ways. Michael believes another key area for concern, all encounter can Across the board, members are being asked particularly for composers working in TV, is to do more for less. For instance, composers often be universal.” can find themselves being expected to do the work of orchestrators, arrangers and Fiona Brice copyists. “These are extra jobs that would

The Musician • Winter 2019 REPORT © Furtseff / Getty Images

Advice For New Composers

Fiona Brice has worked with artists including Kanye West and Ed Sheeran and arranged for the BBC Philharmonic and the Royal Northern Sinfonia among others. She has good advice for musicians embarking on a writing career. • KNOW YOUR OWN WORTH Understand just how much you are contributing to an 33 arrangement. In the early years, in relation to their publishing rights. In the the client it’s what they want. That’s a real I was doing a lot of orchestral past, when a composer was paid to write for drawback for writers who don’t have the arrangements for rock bands a show, they would expect to retain 100% of expensive software or the skills to do that.” and I never got paid any royalties, the PRS revenue when it was broadcast. because I wasn’t brave enough One of the Committee’s key tasks is to ask. The bottom line is, I was Michael explains: “Now certain companies will maintaining a rolling review of fees being paid contributing original material insist on an assignment of rights as a condition to MU members. It is currently sifting through to a song in the same way that of getting the commission. Frequently this the data from its latest extensive survey of a top line writer might do, such will entail the commissioner receiving the commissioning fees. as adding a counter melody or a maximum 50% ‘publisher’s share’ of PRS crucial hook. broadcast income. And then there’s the “Fees are tricky,” admits Fiona. “When I’m • B E CLEAR ABOUT YOUR ROLE question of whether the company would act doing orchestral compositions, say for the When I was younger, I was genuinely as a proactive music publisher and BBC, then I apply the MU advisory rates, preparing parts without even make the music work elsewhere. There’s a because it would be unacceptable for them considering that it was really range of companies with so many models.” to pay me less than that. But a rock band on someone else’s job – I found an independent label might not necessarily myself extracting woodwind parts Increasing demand understand how charges for orchestration at 3am! Later on, when you’re at Fiona Brice says clients’ expectations have and copying work. Sometimes it’s easier to an orchestral level, you begin to also changed because of advances in set a fee, and just round it all up. I also have think, ‘Hang on, this is too much’. technology, leading to more demands on a a manager who deals with some of the more • K EEP HOLD OF CLIENTS writer’s time and talents. “In the 70s if, for weighty legal stuff, especially if it’s recording Managing to secure repeat example, you were an orchestral arranger, you for an album or film. business is really important, so would turn up with your scores and a copyist stick with a band and try to work would write them out by hand, sometimes “When you are finding your way as a music with them for more than just one editing on the day of the recording. That might writer or composer in the first years of your song. Try to do an album – or two have been the first time the artist or label had career, you do learn by bitter experience. – so that you build a relationship heard the piece or arrangement. Now you are Everything you do is a first.” with the artist. If they go on to be likely to be expected to produce not only an successful, they should take you arrangement, but a demo as well – and of a with them. good enough quality that you can convince

The Musician • Winter 2019 The original directors of Exchange previously Fair Play Focus ran much-loved and late-lamented Bristol venue The Croft, and have an even longer track record as performers and promoters in the city. So when the opportunity came up in August 2012 to take over this former nightclub and occasional squat at the heart of the city’s up-and-coming Old Market area, they jumped Exchange, at the chance. As well as hosting gigs most nights, the venue has become something of a broader cultural hub, with a record shop on the first floor, a coffee shop on the ground floor and a Bristol recording studio in the basement. But it is as a progressive and innovative music venue that Exchange is best known, and for that reason it The south-west city’s popular was no surprise that it would become a small-scale independent venue member of the MU’s Fair Play Venue scheme. wholeheartedly endorses the Shared vision Interestingly, after a public fundraising MU’s Fair Play Venue scheme… campaign in 2018 to help secure its future, Exchange is now community owned. “We felt raising money through a share issue would give us the investment to improve the venue’s profitability and infrastructure,” says manager 34 Matt Otridge. “We also have a large group of people (389 at the moment) who care about

Exchange is keen to promote local musicians such as Bristol-based rock band Turbowolf (left).

The Exchange, 72-73 Old Market, Bristol BS2 OEJ exchangebristol.com

E: [email protected]

CAPACITY: 500 ABOUT: City centre venue with gigs most nights across a range of genres CONTACT: Iwan Best

GETTING A GIG: The venue advises © Jonathan Minto bands to contact the promoters, who are listed on its website. To hire any of the venue’s rooms, email [email protected] © Brothers Good / Shutterstock / Good Brothers ©

The Musician • Winter 2019 FEATURE

Canadian count for something as well, but that’s just a “We definitely approach psychobilly band theory I hope we never have to test!” The Creepshow running the venue with at Exchange. Diverse sound a DIY punk ethos.” The venue is famous for the range of musical genres it caters for, and has just unveiled a Matt Otridge, Exchange new initiative to involve more local bands. “We try to keep our programme as varied as possible, from death metal and grime to folk the place and will offer the ideas for the future. and free jazz – and everything in between. In It’s not like we plan to stop running the venue the past, we leaned more towards punk and anytime soon, but we want it to last beyond heavy music, but nowadays the programme our tenure, and becoming community owned is more eclectic than ever. We definitely seemed the best way to achieve that.” approach running the venue with a DIY punk-rock ethos, though. We have a small As with many small venues, Exchange 60-capacity stage in our basement for local has received noise complaints, but the bands,” Matt adds. “It’s free to hire – they just management team is taking action to mitigate need to pay for a sound engineer.” the impact on its neighbours and hopes that if a complaint does escalate, the Agent of Otridge tries to ensure everything the venue Change principle, which makes developers does is filtered through a Fair Play frame of building homes near UK venues responsible for mind. “Most of our programme is booked addressing noise issues, will also be helpful. through external promoters, so we make sure they know we’re an MU Fair Play venue. If a “The threat is always there, but we do our promoter was ripping off a band, we wouldn’t best to manage it,” says Otridge. “A lot of let them hire the venue again.” the residential spaces around us were built after we set up, so hopefully Agent of Change To access the Fair Play Venues database, 35 would protect us. We are hoping to install a visit bit.ly/2jM4cUq; to nominate a venue, © Jonathan Minto new PA in 2020 and more sound proofing, so email [email protected] that should help manage the issue. Hopefully being a community-owned not-for-profit would

The Musician MU Regional Organiser The Venue Manager

CHRIS GEORGIADIS, ANDY WARNOCK, MU MATT OTRIDGE, SINGER WITH REGIONAL ORGANISER, EXCHANGE, BRISTOL TURBOWOLF WALES & SW ENGLAND “I started promoting “Exchange is a great venue “It’s great to have venues because I was fed up of the to perform at. It sounds like Exchange signed £1-a-head flyer deals that great and the atmosphere is up to the Fair Play Venue were common at the time, always lively. I think this is due scheme. It has a really diverse so I’d sooner hire a room and to the staff and the type of crowd the programme and its work becoming a put the gig on myself. When we took venue has cultivated over the years: community-owned venue, with spaces over The Croft, we applied this attitude kind, compassionate, open-minded for resident companies and support to the way we ran the venue and the and up for a good time. We’ve played for broader activity as well as more whole programme of events. We prefer Exchange a bunch of times and always local bands, is really valuable as part to try and convince local bands to had positive experiences, on stage of Bristol’s network of venues. We all embrace the DIY ethic and programme and off. Liaising with the in-house team hope that Agent of Change will help to their own events. Signing up to the is a pleasure, as they are professional, protect venues from noise complaints, MU’s Fair Play Venue scheme is about helpful and most importantly… friendly. but we’re also engaging with groups showing solidarity with the MU, other Punk rock in nature and welcoming to such as Bristol@Night to secure like-minded venues, and the bands all, Exchange really is a gem in Bristol’s support for music and musicians in themselves – as without them there is live music scene.” Bristol and across the region.” no gig and no venue.”

The Musician • Winter 2019 Tips From The Hitmakers An MU songwriting workshop in Scotland offered advice on crafting hits and building a successful career. By David Pollock All photos: © Jannica Honey Jannica © photos: All

“When you get your singer-songwriters Panellist DJ Vic Galloway together in a room, what else are you going talking to the attendees to do but sing?” asked Mike Macdermid, (above). MU Regional a panellist at Pitch Perfect: Songwriting Officer Jennifer Laidler and Regional Organiser Unwrapped, an event organised by the MU’s Caroline Sewell (right). Scotland & Northern Ireland Regional Office.

The workshop offered musicians the 36 chance to learn first-hand how some of process of writing a song and offering tips on Scotland’s successful songwriters are how to earn a living from it. creating the next big hits, from electronic composition to traditional songwriting Following introductions from MU Regional techniques and ideas. It took place at Organiser Caroline Sewell and the Regional the end of October at the Scottish Music Officer in Scotland and Northern Ireland, Centre, part of City Halls, Glasgow’s oldest Jennifer Laidler, there was a briefing on purpose-built performance space, and how to ensure a writer’s work is registered. next to the Old Fruitmarket in the city’s PRS for Music’s Stewart Fleming and MU Merchant City cultural district. Recording & Broadcasting Official, Michael Sweeney, offered advice on collecting Outside, a group of noisy Lazio fans were revenue from royalties. being escorted by mounted police to a cup within the composition. “It’s a structure thing, game against Celtic. Their route would have The highlight of the afternoon, however – and for me,” Macdermid said. “There are some taken them through the city’s East End the most nerve-wracking session – was the really great ideas and I can see how it’s all and past the bright lights of the famous chance for audience members to submit come together, it just sounds like there are Barrowland Ballroom. If the Scottish music songs to be critiqued by the four panellists: two songs in there. Two really good songs, industry has an epicentre, it can’t be far from Macdermid, professional songwriter and DJ though, the hook and the melodies are great.” this very spot, where nearly 50 MU members on Scottish station Northsound 1; singer- have come together for an afternoon of talks songwriters Josephine Sillars and Amy Macdermid is an example of just what is and workshops aimed at demystifying the Duncan; and Vic Galloway, a local champion possible in the songwriting business. He’s of new music through his shows on BBC not a household name like Ed Sheeran – at Radio Scotland and BBC Radio 6 Music. least not unless you listen to a lot of drive- “All the key elements time radio in the north of Scotland – but he Mixed messages works regularly as a songwriter, for artists in are there, and to be Macdermid was aiming his rhetorical the Far East in particular. His pinned tweet on question at audience member Johnny Barr, Twitter proudly declares that he wrote a song honest, your voice who had collaborated on Not Too Late with for Loona, a South Korean girl group who won Winter Springs Music, a group of his fellow sounded really nice.” Scottish students at the University of Leeds’ School of Music. That’s why Macdermid had Josephine Sillars detected so many voices and styles at work

The Musician • Winter 2019 REPORT

Panellists singer- Learning From songwriter Josephine Sillars and radio DJ The Experts and songwriter Mike 37 Macdermid. “Being on the other side has been really interesting for me, because I go to so many of these events as a musician,” said songwriter and Best Korean Act at last year’s MTV Europe panellist Josephine Sillars. “I’ve makes the song more dynamic, but all the key Music Awards, held in Seville, Spain. been the person in the audience, elements are there, and to be honest, your and I’ve submitted songs to voice sounded really nice. Have confidence in Voice concerns panels but I’m at a point in my your singing – it should be higher in the mix, Jamie Campbell, another audience member career where I can potentially because it was lovely.” brave enough to submit a song, was help others, and any shared concerned that the quality of his voice knowledge is good to get back Good News For The Outcasts by Mike wasn’t good enough on Glasgow, a wistful into circulation. When you’re trying Nelmes featured a sparse piano groove saxophone-led track that the panel likened to make waves, to get your music and was upbeat and spirited in the style of to the sound of local favourites Del Amitri out there, to book better shows: American singer-songwriter James Taylor, and The Blue Nile. Campbell said it was just networking is a huge part of that. although Duncan observed that Mike was a demo and his intention was for another sticking too rigidly to the click track, and artist to sing it. Panellist Josephine Sillars – a “As an audience member, I suggested that a live performance could well-known young Scottish singer-songwriter, would always look at who’s loosen it up. who performs with her band, The Manic Pixie speaking, listen to what they’re Dreams, and is also studying for a Masters in speaking about and find out The panel really enjoyed Philip Rasmussen’s Music at Leeds – offered technical advice, and what their expertise is; it could fun Christmas song, Go And See If He’s some words of comfort. be someone you’ve never heard Been, and all agreed that he was probably of, but they could be exactly the going for the ‘have a Christmas hit and live “I want to talk about instrumentation,” she person you need to speak to. I off the royalties’ plan. Josephine Sillars said. “I liked the saxophone [others didn’t], learned loads today, even as a suggested smiling while singing to lift and but I felt it was a block of music, rather than panellist. There are people I want brighten the vocal performance, while having the light and shade, the textures and to talk to and maybe collaborate Macdermid joked that the only time to layers. Something that might be fun on the with myself. That’s the thing, you second or third verse could be to change the have to take every opportunity to strum pattern on your guitar, or change the push yourself.” guitar completely. Play around with it so it

The Musician • Winter 2019 MU Regional Organiser Caroline Sewell, Stuart Fleming of PRS for Music and MU Recording and Broadcasting Official Michael Sweeney.

Jamie Campbell and Sandra Donald, who both submitted songs to be critiqued.

Sharing Words Of Wisdom “What we find from our members is that it’s this kind of event that they really appreciate, where a “When something from the depths. Before playing the track, lot of real nuggets of information Donald captured the hearts of the audience and wisdom can be found,” is this personal, with her story of how recovery from a serious said Regional MU Organiser for illness had encouraged her to write more Scotland and Northern Ireland I almost don’t want intense and personal songs. Caroline Sewell. “Songwriting is a 38 focal point, an area where a lot of to comment on it.” “When something is this personal, I almost our members might be working, don’t want to comment on it,” said Duncan, whether that’s for other people, Amy Duncan and it didn’t feel like a cop-out. The warm or for music libraries or syncs. words she shared about the song summed up how affecting and clearly representative of “It’s a difficult place to try and write a Christmas song is on the hottest Donald’s experience and emotions it was. generate income streams, so summer day imaginable. it’s good to have an awareness The panel also heard songs from Ross Arthur, of what other people are doing. Growling guitar anthem Wheels Turn by self- Sheila McWhirter, Jayne Murdoch, Alan Murray That’s why we try to vary the panel confessed ‘old rocker’ Andy Young was right and Jim Bowers. Macdermid advised all the as much as possible, to provide up Galloway’s street. “Parts of it reminded me songwriters to ensure they have two-minute solid examples of people who are of Dr Feelgood,” said the DJ. “It has a great songs in their repertoire to help with radio play working to these models – it opens R&B sound but your chord progression keeps when DJs find they don’t have time for a three- your mind to the possibilities. going down through the pre-chorus and into or four-minute track at the end of a show. the chorus. I would have it go up – that’s your “In terms of the live critique, I’m Born To Be Wild moment, the point where you By the end of this imaginative and well- full of admiration for the people want the audience’s lighters in the air. Bring in constructed event, there was a sense of who put themselves forward. I some harmonies on the pre-chorus, and then camaraderie in the room – not just due to the couldn’t imagine anything more go nuts on the chorus.” music we had shared, but because of our nerve-wracking, but I suppose deeper understanding of the possibilities of that’s the whole nature of being Singing from the heart songwriting as a craft and a career. a musician and a writer, isn’t it? Sandra Donald’s It’s My Time delivered a That you put your heart and soul genuine X-Factor moment – and not just out there, not just for this room, because of the very contemporary vocals on but for the rest of the world to love her aspirational ballad about coming back or to tear down. You take that risk, I suppose, don’t you? They’re a great bunch.”

The Musician • Winter 2019 REPORT

The Philharmonia has appeared on the soundtracks of all the New Deal Harry Potter videogames. For Games Assistant General Secretary, Phil Kear, on the MU’s efforts Leedale Katherine © Dudderidge; Joanne © to record more videogame soundtracks in the UK.

Videogame soundtracks have come a long way since the monophonic synthesiser lines of Pac-Man or Tetris. These days, gamers can usually expect a full orchestral score, similar to a film or high-budget TV series, while they are saving the planet from an alien invasion. In fact, game soundtracks are becoming something of a phenomenon in their own right, with 2018 Sony PlayStation release God Of War buyout of the performers’ rights in the immersive experience through dramatically winning a ‘Best Music’ BAFTA for its score, soundtrack. While the US musicians’ union, increased graphic rendering speeds and 39 written by Emmy-award-winning composer AFM, has had a videogame soundtrack improved cloud gaming performance. Bear McCreary and recorded primarily in recording agreement in place since 1993, London using UK musicians and singers. already offering all the rights required by Given the enormous potential for games publishers, the MU has historically increased employment of our members While the quality of UK-recorded been reluctant to grant buyouts on behalf working in the recording sector represented soundtracks is hard to deny, most of of its members. by these exciting developments in the the recording seems to be undertaken gaming industry, a proposal was endorsed elsewhere. In 2019, 420 new videogames An exclusive deal was agreed with Sony by the MU’s Executive Committee in October were published, including FIFA 20 and PlayStation in 2005, which granted these to offer the terms of the PlayStation deal the 29th instalment of the long-running, additional rights for a one-off fee, and this to all games publishers, offering a one-off Legend Of Zelda series, Link’s Awakening, has resulted in a steady stream of work for buyout fee per musician per soundtrack for contributing to global game industry our members, with a soundtrack averaging the additional rights. revenues of £1.18bn. Yet less than 20 600 hours of musician employment. orchestral games soundtracks have We will be promoting the availability of these been recorded in the UK this year. Other games publishers have historically new terms to our MU Approved Contractors, been quoted an additional fee per musician and across the gaming industry in the Future rights for every 20 minutes of music recorded, coming months. With UK musicians The videogames industry has always leading to a potential 80% increase in producing breathtaking scores allied to been predicated on publishers acquiring recording costs. This has acted as a the potentially spectacular games made all future rights in all the elements of serious deterrent to publishers coming possible by the superior processing power each game: the code, the graphics, the here to record game soundtracks. of the industry’s next generation consoles, artwork and the music. This includes a I’m hopeful we will see a significant increase One-off buyout fee in the number of game soundtracks being Microsoft will release its next generation recorded in the UK moving forward. “An exclusive deal with Xbox console next year. It’s set to be the fastest and most powerful console on the Phil Kear Sony has resulted in a market, allowing developers to produce increasingly elaborate and spectacular steady stream of work games. Sony is looking to release its next generation console, PlayStation 5, at the for our members.” end of 2020 too, promising to create an

The Musician • Winter 2019 Promoting Equality And Diversity The MU has a long history of fighting prejudice and promoting diversity. Report by John Shortell, MU Equality, Diversity & Inclusion Official

The Trade Union movement is based on the formulate a new industrial agreement principles of fairness and equality. Fighting or represent the committee at the TUC discrimination and tackling inequality is a Equality Conferences. priority for the MU. Members who are elected work on: We are sadly a long way off from achieving a • MU equality, diversity and inclusion policies society founded upon principles of fairness • Ensuring experiences of specific groups are and social justice. Racism, sexual harassment, represented in policy and campaigns 40 pregnancy and maternity discrimination, and • Creating and implementing the MU’s ageism are just some of the issues the MU Equality Action Plan tackles on a regular basis. • Sharing expertise on ways to recruit musicians from marginalised communities The MU is working to ensure that the music industry is free The MU has a long history of improving • Advising the MU’s Executive Committee on from discrimination.

equality and promoting diversity. We equality and diversity-related issues © Pekic / Getty Images continue to fight against injustice wherever • Guiding the MU’s work to tackle inequality we encounter it and regularly challenge and create a fairer music industry discrimination and harassment on behalf of • Providing a powerful advocacy voice on Bringing these four groups together at our members. inclusive practices in the music industry one time helps the Committee work more • R epresenting the MU at the TUC intersectionally, raises awareness of the The Equalities Committee plays a vital role in Equality Conferences different issues groups face and makes the ensuring the MU is equipped to tackle these best possible use of the Committee’s time. issues and stays at the forefront of best The MU’s equalities structures support practice for equality, diversity and inclusion. and encourage activity and ensure we are Limiting membership of the Committee to representing all musicians. The committee these four groups does not in any way stop What does the Committee do? isn’t a talking shop, or people trying to be other members getting involved in equalities Committee members are elected for a ‘politically correct’, the Committee’s driving issues or from finding out what the Committee two-year term and asked to attend three force is delivering the MU’s core mission: is working on. We need all members to be meetings per year. You are not expected making sure all musicians are treated fairly aware of this work to help create a music to devote excessive amounts of time to and no musician faces barriers in their industry free from discrimination and the Committee, but you might also want career because of who they are. prejudice. The Equalities Committee gives to be involved in a specific campaign, help underrepresented members who face Who can join the Committee? discrimination a space to discuss the issues The Equalities Committee brings together and recommend what the MU’s equalities “We regularly challenge four different equalities strands. Anyone priorities should be. who would like to stand for nomination must discrimination and represent the group they want to stand for: What has the Committee been working on? • Black and Minority Ethnic (BAME) Members The Equalities Committee has been busy harassment.” • Disabled Members • LGBT+ Members John Shortell • Women Members

The Musician • Winter 2019 REPORT

MU Section Committee Elections 2020

Alongside the Equalities Committee, the MU has the following elected Section Committees with a maximum of 20 seats. These are made up of members working in each area of the industry, who are able to make recommendations to the Union’s governing body, the Executive Committee, on issues of relevance to them and their sector.

• EDUCATION SECTION All forms of music teaching. • RECORDING & BROADCASTING SECTION Recording sessions for TV, film, radio, video games and other commercial releases. • LIVE PERFORMANCE SECTION 41 Gigs and festivals (all genres). • ORCHESTRA SECTION – FREELANCE ORCHESTRAS COMMITTEE All freelance orchestral players including extras or deputies in any contract or freelance orchestra. • THEATRE SECTION helping level the playing field for musicians experience, and which allows everyone to Regional and touring theatre from marginalised groups through thrive and fulfil their potential, is vital. in particular (London theatres, campaigning and positive action projects. including those in the West End, are Some of the projects the Equalities Equality Diversity and Inclusion Official, John generally covered by the Union’s Committee has worked on include: Shortell, says: “A diverse membership is London Regional Committee). • L aunching the MU’s first mentoring scheme essential to effect change and create a music • MUSIC WRITERS’ SECTION for female members industry where every individual is given an All forms of composition, • S upporting campaigns for LGBTQ+ inclusive equal chance to achieve their potential, free songwriting, arranging and copying. education from prejudice and discrimination. • O rganising MU delegations to LGBT+ Pride Members who wish to be nominated marches “No one should be denied the opportunity should keep an eye out for an email • T he Safe Space Campaign to end sexual to work or develop their talents because early in the New Year for further harassment of who they are. If we allow prejudice and information. It is crucial that these • Family-friendly workplaces discrimination to exist, everyone suffers. Committees are well populated, • Advocating for screened orchestral auditions If you’re passionate about bringing about diverse and, most importantly, that to improve BAME representation change and tackling discrimination, I they are made up of members actively would urge you to stand for election to the working in the relevant sector of Get involved Equalities Committee.” the industry. If you would like to be The MU’s overarching aspiration is to ensure considered for a Section Committee that the music industry is representative of all If you would like to discuss any other matter and you are not on email, please musicians and opportunities are accessible related to equality, diversity and inclusion contact Hannah Senior in our North of to everyone. The MU recognises that creating contact John Shortell on 020 7840 5506 or England Regional Office (turn to p2 of an environment that welcomes and values email [email protected] The Musician for contact details). diverse backgrounds, thinking, skills and

The Musician • Winter 2019 ASK US FIRST It is in the interest of all MU members to read this list carefully.

If you are offered work or an agreement by anyone below, consult the MU contact shown before saying yes. Or talk to MU In-House Solicitor Dawn Rodger on 020 7840 5516 or [email protected]

— Achim Holub — Jan Mulder / Miller Music USA — Productions at Southwark The latest — The Akademia Phil Kear 020 7840 5557 Playhouse Jamie Pullman 020 7840 5532 — Jonathan Gilbert — Ross Dorrance edition of the — Band Management Universal Ltd aka Jonny Gilbert t/a Skinny Music Ask Us First Sam Jordan 020 7840 5553 Sam Jordan 020 7840 5553 — Big Al Entertainment Group list can be Scotland & Northern Ireland — M B-Xperiential Limited / — S immonds Music Limited / office 0141 341 2960 Guildford Jazz Festival Thomas Simmonds obtained from Sam Jordan 020 7840 5553 — The Convent / Matt Roberts / — Spirit Productions Limited the ‘Advice & Charlotte Roberts / — N eil Eckersley / Speckulation — Steve Robertson / Good Times downloads’ August Templar Entertainment Ltd / Roll Ltd / Escape From Reality Jamie Pullman 020 7840 5532 Wonderland the Musical Ltd Ltd / Hi Res Agency Ltd section by — Fest Camden — O liver Weindling / Babel Label Ben Benson 0121 236 4028 logging into Ben Benson 0121 236 4028 — Oren Rosenblum — Tom McLean / Cherry Pie Music theMU.org — Geronimo Festival / Barry Dallman 0161 236 1764 Chris Walters 020 7840 5554 Geronimo Events Ltd — P eter Frosdick Productions Ltd — Wave 365 Media Ltd Ben Benson 0121 236 4028 / Shout Tour Ltd — Wayne Maughan / Wayne Maughn / Wayne Keith 42

MU STANDARD CONTRACT ADVISORY FOREIGN CONTRACTS SERVICE CLAIMS

Members are strongly advised to Throughout their professional When undertaking professional obtain written confirmation of all life, musicians may be required activities with a contracting party engagements. The MU produces to enter into complex and often based abroad, members are Standard Contracts for engagement long-term agreements for such strongly advised that they ensure and these are available from your services as recording, songwriting, fees are paid upfront before the Regional Office or at theMU.org management, touring and contract is performed and that an merchandising. It is vital that advance is obtained against any Members should always use an MU musicians receive expert advice on future royalty payable. Members Standard Contract as these provide the terms and implications of such are also reminded of their obligation evidence of the conditions of an contracts. This service could be under Rule XI.3 to ”submit written engagement if a dispute arises. obtained, at a cost, from one of the contracts for professional activities The MU cannot always assist if a many solicitors who specialise in abroad to the Union before they are contract does not cover you. Where music business matters. entered into”. MU contracts are not used, written evidence is essential. A letter or However, MU members may be Members should be aware that note should specify the date, time invited to enter into an agreement requests for legal assistance in and place of the engagement, the whilst not having the means to pay relation to claims abroad must fee, and that the engagement is for such legal advice. To cater for be considered against the MU’s subject to MU rates and conditions. such circumstances, the MU offers criteria for legal assistance. Such The letter or note should be signed members a Contract Advisory claims are often not cost effective by someone fully authorised to Service (CAS), which, in the vast to pursue and if no upfront payment do so. We recommend reading majority of cases, is available at no is obtained, members may remain p61-62 of Playing Live and p102 of cost and grants up to an hour of our completely unpaid for their services. Recording and Broadcasting in the specialist solicitor’s time on any MU Members’ Handbook. music contract.

The Musician • Winter 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, Tom Short and reviews Clive Somerville. 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.

shared love of art-song unites Simon Wallfisch (baritone) and Edward SIMON Rushton (piano), who have created a rich, vibrant series of song WALLFISCH & EDWARD cycles for nearly a decade. Wallfisch made his Wigmore Hall debut RUSHTON for Radio 3 in 2017 and has sung with English Touring Opera and Robert Schumann: A the Nuremberg State Opera, with Gramophone magazine admiring Songs Of Love “characterisations of quite exceptional vividness” in his work. And Death

Simon Wallfisch and Rushton (above left) is a renowned song by the Fünf Lieder (Op. 40), containing Edward Rushton recitalist and founder of the Besuch Der a quartet of songs by Hans Christian deftly explore an Lieder, performing in people’s homes. Here Andersen, then the Dichterliebe (Op. 48), of atmospheric trio they return with their fifth offering, this time which Schumann remarked: “I have never of Schumann’s of Lieder, the German song style. The 12 before written anything with such love as vocal works. poems by Justin Kerner (Op. 35) are followed when I was composing this group.” simonwallfisch.com

The Musician • Winter 2019 classical folk rock

THE GONZAGA BOXWOOD & NICK WYKE & BAND BRASS BECKI DRISCOLL Amadio Freddi: Beethoven Cold Light Vespers Transformed Vol 1 This folk duo have FINAL COIL Jamie Savan and his The group’s focus earned a considerable The World We Left ensemble Gonzaga on Harmoniemusik, following based on the Behind For Others Band have produced which never strength of their fiddle a revelatory account achieved much playing. A crowd- The prog-metal trio of Amadio Freddi’s popularity on these funding campaign explore dark territory, Vespers, showcasing shores, is admirable, has allowed them to colouring their songs some truly and their historical team up with guest with serrated grunge imaginative vocal and instruments lend musicians here, while riffs, brooding post- instrumental writing wonderful timbral retaining the dynamic rock instrumental that was clearly variety to these restraint and fluency passages and ahead of its time. arrangements. of their live sound. sprawling melodies. resonusclassics.com boxwoodandbrass.co.uk englishfiddle.com finalcoil.com

THE CASIMIR BERKLEY MITCHELL CONNECTION ENSEMBLE AND VINCENT Cause And Effect Cobbett’s Legacy The Preservation Of Fire Diane McLoughlin’s There are some VARIOUS compositions eschew fascinating new This self-released Sunshine Of Your 44 drums in favour of works here. The album explores a mix of Love – A Concert piano motifs and standout is Laurence trad tunes and songs For Jack Bruce pulsing bass lines, Osborn’s Living spanning the centuries. leaving room for Floors, which The theme of vital social This DVD and 2CD lyrical dialogues evokes the brutish commentary burns package delivers a between her soprano violence of stone age throughout, as the final fitting sound-and- sax and violinists. life with muscular track situates Brexit in a vision tribute. Bruce’s thecasimir writing for strings. long history of injustice. family join the likes of connection.com resonusclassics.com mitchellandvincent.com Clem Clempson, Neil Murray, Mark King and old Cream cohort STAND OUT Ginger Baker. jackbruce.com This month’s highlights include a spellbinding release from a mesmeric performer and the latest from Nick Gibb’s celebrated Celtic folk outfit.

LUKE JACKSON FOLKLAW Journals We Will Rise DERECHO Beneath A Blessed with one of those A life-affirming romp Stained Glass Sky soulful, heaven-sent through our socially voices that soars with aware times, with tales An original take emotion or plunges into of women’s rights, on gothic-tinged, brooding intensity as this mental-health issues emotional rock. highly personal song- and ocean plastic Frontwoman and diary dictates, Jackson punctuated by the songwriter Jo Ash is a has surely realised his simple pleasures of a gift to the genre, with potential with his fifth favourite bar or time with a voice that soars and and finest album yet. friends. An utter joy. swoops through the lukepauljackson.com folklaw.co.uk rolling thunderclouds. derecho.band

The Musician • Winter 2019 REVIEWS americana/country acoustic

THE EMPTY VERA VAN PISTOL PETE PAGES HEERINGEN WEARN & THE The Wanderer Won’t Be Broken WILDWOOD FLOWERS Despite growing from Van Heeringen’s (Self-titled) ALEX SEEL a fledgling project into magnificent alt- Spell On A a fully-formed group country songs are After five years touring Tin Drum in a matter of months, borne along by a a bluesier sound, this duo sound like tremendous voice, Pete’s joined here by Seel matches long-established dextrous guitar the Wildwood duo: thoughtful lyrics to a songsmiths. Their rich strumming, and some velvet vocals float well-travelled voice, harmonies, traditional tight playing from her gentle as wood-smoke accompanied by his finger-picking and trio. Dark, devastating above Pete’s slide much-admired finger- winning melodies will lyrics reveal their guitar. You can almost picking guitar style. have you captivated. wisdom gradually. smell the pines. Written, we’re told, in a theemptypages.co.uk veravanheeringen.com pistolpetewearn.co.uk caravan and recorded under a bed. And none the worse for that. singer/songwriter alexseel.com

ANDREA BLACK STEVE ASHLEY ÚNA QUINN Harvest Gold One More Thing Inside Out

A quirky and typically Ashley’s last album This beguiling album genre-defying sees the British recounts Quinn’s AMY 45 album. Syncopated folk-firebrand turn experiences working PAPIRANSKY bossa and flamenco his gaze once more with social care Read Me Write rhythms blend with on the burning issues and the homeless. layered strings, of the day. As ever it’s Found sounds – an An accomplished flute and café full of dazzling guitar air-raid siren, children debut, rooted in the accordion, all united playing and biting playing, a church Scottish folk scene by Black’s trademark lyrics which take aim bell – accompany but with a jazzier teasing vocals and at fake news, the 1% her breathy, world- edge. Amy is joined expansive keyboard. and Trump. weary vocals. here by folk royalty andreablack.com steveashley.co.uk uquinn.bandcamp.com Phil Cunningham and a host of her talented contemporaries. jazz amypapiransky.com

LEON BOSCH THE JOHN AARON AND THE 21st Century DONEGAN ARGONAUTS Double Bass SEXTET Live And Direct A Kite For Kate This CD is devoted The garage band duo SUNTRAP entirely to the The fourth of a have blossomed into Northern Lights dizzying variety series dedicated a full-on international of 21st century to each of his jazz-fusion collective. Full of intelligent, compositions for the family in turn, pianist There are delightful original songs this bass and covers an John Donegan’s changes of pace and comeback album impressive amount refined modern mood, so expect the is an immensely of ground, from jazz sextet blends unexpected – jazz- satisfying listen. The spiky modernism in brass, double funk, bossa, drum ‘n’ ‘in the round’ style to jazz-inflected bass, drums and bass, gospel – often ensures the supple waltzes. It is a sax for an authentic within the same tune. vocal harmonies are spellbinding listen. bebop flavour. aaronandthe to the fore. leonbosch.co.uk johndoneganjazz.com argonauts.com suntrap.org

The Musician • Winter 2019 tributes

with the LSO and the RPO, and Ray Swinfield recorded albums with his own A brilliant musician and an group, Argenta Ora. He worked © ITV / Shutterstock inspirational man of integrity with greats such as Tubby Hayes and George Shearing and played As a teenager in Australia, jazz with artists such as Peggy Lee, was Ray’s focus and he would Ella Fitzgerald and Bing Crosby. practise clarinet, saxophone and flute for hours. He became He was a member of The Don a sought-after player on the Lusher Big Band for years and Barrington Pheloung Sydney scene and highlights there were dozens of TV shows Prolific composer of popular cryptic clues, including anagrams included a TV special with Nat from Top Of The Pops to Strictly music, including the theme of the killer’s name and other King Cole. In 1964, he arrived in Come Dancing. Ray’s mastery to Inspector Morse things just for fun,” he recalled. England where his versatility and of his instruments received skill as a woodwind player was numerous accolades. As Dave Barrington (Bazz) Pheloung, Bazz had been given his big soon recognised. Work included Gelly said in Jazz Journal, it was who has died aged 65, was best break two years earlier, when he sessions, film soundtracks, “a brilliance lightly worn”. To known for his BATA- (now BAFTA) was asked by Anthony Minghella, commercials, TV shows, Royal those who knew him, Ray wasn’t nominated theme and incidental then one of the show’s writers, Command performances, BBC just a brilliant musician but an music for ITV’s Inspector Morse to score TV crime drama Boon. 46 Radio broadcasts and West End inspirational man of integrity (1987-2000), but had a host of It was Boon’s producer, Kenny shows. He also played on many and generosity, endowed with a dance, digital media, film, theatre McBain, who would commission 60s pop recordings, such as great wit and sense of humour. and TV credits to his name. Bazz for Morse. Penny Lane by The Beatles. Ray made regular appearances Lindy Swinfield Born in Sydney, he took up the guitar aged six, later gaining a “I used to put in all kinds scholarship to the Royal College of cryptic clues, alto and session musician, in London, where he studied including anagrams of Peter Hughes working and recording with guitar under John Williams and the killer’s name and Sought-after lead alto sax who Frank Sinatra, Nelson Riddle, Julian Bream, with composition played with some of the greats Henry Mancini, Robert Farnon, under John Lambert. other things just for fun.” John Williams, Benny Goodman Peter was the last of the fine and top American artists when His first commissions were for Film work followed TV success. lead alto players who graced they toured the UK, such as Tony dance, touring with the London Among his many credits, our big bands in the post-war Bennett, Andy Williams, Ray Contemporary Dance Theatre Bazz contributed music for era. Born in Rochdale, Peter Charles and Sarah Vaughan. in the 70s while still at the Royal Minghella’s 1990 hit Truly, was given his first clarinet in his The top TV shows he played on College. He went on to write Madly, Deeply (in which he also early teens and studied at the included Morecambe And Wise, more than 50 such works, often appeared as part of a ghostly Royal Northern College of Music Sunday Night At The London brilliantly bold and experimental, quartet, playing double bass) in Manchester. After college Palladium, Opportunity Knocks, weaving influences from and the 1998 Jacqueline du Pré he worked locally at the Tower Michael Parkinson, Wogan and Stockhausen and musique biopic Hilary And Jackie. Ballroom, Winter Gardens and all The Benny Hill Show where he concrète with blues, jazz and three piers in Blackpool where played tenor sax on the show’s electronica. Bazz also charmed he started to play alto sax. iconic signature tune Yakety Sax. audiences as an after-dinner He was typically modest about speaker. In one anecdote, he Following National Service in the Peter’s good company and his most famous theme. “We recalled being bowled first ball RAF band, he joined the Henry immaculate playing will be sadly came up with the obvious idea by West Indies legend Curtly Hall Orchestra, then moved to missed by his numerous friends – his name is Morse and we use Ambrose in a charity cricket London to join Cyril Stapleton. and colleagues. Morse code.” The incidental match in Barbados. What followed was a glittering music was equally intriguing: career as a sought-after lead Dave Willis “I used to put in all kinds of Clive Somerville

The Musician • Winter 2019 TRIBUTES

Barrie Masters Ted White Roger Sutton Frontman with iconic Saxophonist, composer, Fretless bass guitar and punk progenitors arranger and copyist double bass player

For more than 40 years Peter Craen Ted, who played clarinet Besides being a swift Barrie Masters was the Oboist, fixer and and sax, was interned and accurate music voice of Eddie and The freelance musician in Austria during the reader, Roger was Hot Rods, the group war, where he formed a capable of playing that, perhaps more than Peter came from an band, The Swingternees. comfortably in a number any other, bridged the oboe-playing family: The most famous of widely differing styles gap between pub rock his father, two uncles detainee was probably which got him involved

and punk. and brother were all Shutterstock / Messer Alan © the actor Henry Mollison, in some very interesting professional oboists. who produced plays for projects, including Formed in Southend in He joined the Welsh Ginger Baker the inmates, which Ted playing and recording 1975, the Hot Rods were Guards at the age of Supremely gifted wrote music for. with Ian Carr’s jazz-rock younger than their pub 18 and rose to the rank drummer with Cream band Nucleus. rock contemporaries, of Warrant Officer. His and Blind Faith On his return to Britain, playing a fast, raw R&B, Final Assessment of Ted joined Billy Ternent This was during the 70s, with Masters very much Military Conduct and Peter (‘Ginger’) Baker, & His Orchestra. Ternent but I had worked with the energetic focal Character, dated 1981, who died in October encouraged him to Roger in France, in the point. After a few minor reads: “…a military band aged 80, was one of the become an arranger, late 60s, at the Club hits, the band broke and orchestral oboist of most startlingly original and under his tutelage Saint-Germain jazz club through in 1977 with Do considerable experience and influential artists Ted gained experience in Paris, where we were Anything You Wanna Do, and ability he has built to grace a drum kit, playing a variety of literally rubbing a rousing Born To up a fine reputation. inspiring generations of music. On concert tours shoulders with the best Run-esque anthem that He is also an excellent rock drummers to follow. they accompanied of America’s jazz reached the Top 10. teacher with experience artists such as players. Roger went on However, they couldn’t of conducting.” But for an artist who Gracie Fields, Frank to tour America with 47 sustain that success. cut his chops on the Sinatra and Bob Hope. Mark-Almond (the band, They split in 1981, though In addition to being 60s Soho jazz scene, not the singer), and Masters reformed the principal oboe of the the ‘rock drummer’ tag Ted left the band in the worked with ex-Rolling group three years later Worthing Symphony infuriated him. “Oh for 1950s as demand for Stone Ian Stewart and with new members. Orchestra and the British God’s sake, I’ve never his writing work grew. his band Rocket 88. Concert Orchestra, he played rock,” he told Eventually he gave up The band, which was a busy freelance Jazz FM in 2013. “Cream playing in favour of As his family got older, originally featured player. He also played in was two jazz players arranging, adapting Roger got involved with former MU Regional the pit for several West with a blues guitarist and copying, as well as a printing company in Organiser Paul Gray on End shows, including playing improvised occasional conducting Streatham, initially bass, performed until The Sound Of Music and music… It was jazz.” and composing. He sweeping the floors and last August and in early Singin’ In The Rain. Ginger also taught became attached to the ending up as CEO. 2019 headlined a drummers to listen BBC TV Orchestrations Shortly before his death, celebratory night at Peter was a fine to the band. “I play to department under he had been admitted to the Islington Academy musician and a loyal what I hear, so… what Ronnie Hazlehurst hospital after a bad fall. named, brilliantly, friend with a great sense they play has a great and worked on Fawlty He was due to go home Done Everything of humour. His passing influence on what I play,” Towers, Steptoe & Son, when it was discovered We Wanna Do. at the age of 85 left a he said in 2013. “I’ve The Good Life and The he had advanced great void in the life of all never had a style.” Royal Variety Show. prostate cancer. Roger

© Ian Dickson / Shutterstock Will Simpson who were fortunate to was a very fine player, have known him. “Every rock drummer Ted was an active Union an extremely creative has been influenced in member and served on musician and a Stephen Nagy some way by Ginger,” the writer’s section for thoroughly nice man said Rush sticksman a number of years. His who is sadly missed by Neil Peart. “Even if 100th birthday in 2018 his wife and family, and they don’t know it.” was celebrated with a by all who knew him. It’s a legacy that few, party featuring musicians if any, can match. from all over the country. Edwin Sparrow

Clive Somerville David White

The Musician • Winter 2019 Denis Edwards Jonathan Duncan Lamont Trumpet player who Goldstein & Saxophonist, composer toured the globe Hannah and jazz soloist Marcinowicz Denis Edwards was born Composer and Duncan Lamont, who on 25 February 1930 and Julian Piper saxophone player died in July just hours played the trumpet from Respected blues after performing a the age of seven until he guitarist and singer Jonathan Goldstein and concert to celebrate was in his early eighties Hannah Marcinowicz his 88th birthday, was and Parkinson’s disease Guitarist, producer, died alongside their a saxophonist, jazz got the better of him. promoter and writer seven-month-old baby soloist, composer and Julian Piper, who has in a plane crash in songwriter, perhaps He was taught by the died suddenly at 72, was Cyril Horne Switzerland in August. best known for the great trumpet player a highly respected figure Well-known Midlands Marcinowicz, 36, an MU music for Mr Benn George Swift who on the blues scene, not violinist and teacher member, performed a and The Sweeney. He became a friend. He least for the way he solo at the BBC Proms performed alongside was in the army band brought so many of its Cyril Horne was born in 2005 while studying Frank Sinatra, Peggy at Knellar Hall and his African-American artists in Swindon in 1926 and at the Royal Academy of Lee, Henry Mancini career spanned many to wider attention. started learning to play Music. She went on to and Sammy Davis Jnr, the violin aged seven. perform with the LSO, and his songs – he said “He was taught “My teenage years He worked for Great Philharmonia Orchestra, he tried to write one a were spent thrilling Western Railway before BBC Concert Orchestra day – were recorded by the great to the sounds of Sam winning a scholarship and RPO. Goldstein, 50, by jazz greats such trumpet player ‘Lightnin’’ Hopkins and to Trinity College of was a music director as Cleo Laine and George Swift.” Muddy Waters,” he Music. On leaving, he and composer for Blossom Dearie. recalled. His band the took up a position with the RSC and National decades, in bands, Junkyard Angels, formed Yorkshire Symphony Theatre before setting up Andrea Ball 48 and on world tours on in 1975, graced many a Orchestra and wrote in a company specialising Cunard’s Caronia. music event over the his memoirs that he was in music for TV ads. A full tribute to Duncan years, not least the New paid the princely sum Lamont will be available He worked on many Orleans Jazz & Heritage of £10 per week. In 1953 Andrea Ball at theMU.org shows, including Evita Festival. He also played he went to the City of and Fiddler On The with and produced blues Birmingham Symphony Roof, and played for the veterans such as Tabby Orchestra where he English National Opera. Thomas, Silas Hogan played under Rudolf He made recordings at and Lazy Lester. Schwarz among others, TRIBUTES MOVING ONLINE The Savoy and for BBC and in 1958 he started I have been responsible for over 700 tributes during Scotland and worked on Blues From The Bayou, work at Worcestershire my time as editor of The Musician and it has been films including A Shot In Piper’s 2016 book Music Service, where he very rewarding to acknowledge so many notable The Dark and Reunion that documented his became head of strings. musicians’ careers in these pages. However, At Fairborough. He also experiences around increasingly in recent months, we have been taught, privately and in Louisiana’s Baton Cyril was an active sent texts significantly longer than the space we various schools. He will Rouge, followed his musician in the local can allow in this section. We edit the texts to fit, be greatly missed. engaging four-part area and leaves a however we are aware that this approach is far series on the subject musical legacy, having from ideal and can underplay the lives of the very Jane Edwards for Radio 3 in 1989. influenced pupils who musicians we wish to spotlight. have gone on to make He interviewed a music their career. He So the decision has been taken to move the host of major artists, will be remembered tributes to the MU website in 2020. This will permit including BB King for imparting his love publication of the tributes as they are received, and Jimmy Vaughan, of music on all those often in keeping with the wishes of the late for leading music who came into contact members’ family, friends and colleagues who publications, too, and with him. submit the obituaries. In addition, these will be he also promoted UK publicly available, which will allow members to gigs for Robert Cray, Liz Gill share the tributes online. among others. Keith Ames, Editor of The Musician. Clive Somerville

The Musician • Winter 2019 NOTICES Musicians’ Union Election Results Independent Scrutineer’s Report This report is issued in accordance with the Trades Union and Labour Relations (Consolidation) Act 1992 as amended. Executive Committee Elections

I am satisfied that there are no reasonable Scotland & East & SE England grounds for believing that there was any Result of ballot of members (2 to be elected) contravention of a requirement imposed Northern Ireland (1 to be elected) by or under any enactment in relation to Harriet Bennett 273 Elected the election. Andi Hopgood 373 Elected Alex Gascoine Elected Unopposed Sarah Tomlinson 253 I am satisfied that the arrangements made Peter Willson 223 In accordance with Section 53 and MU Rules, with respect to the production, storage, distribution, return or other handling of the ‘Nothing in this Chapter shall be taken to require Spoilt ballot papers 2 voting papers used in the election, and the a ballot to be held at an uncontested election’. Total ballot papers arrangements for the counting of the votes, The number of members nominated in the received 600 10% included all such security arrangements as election for the Scotland and Northern Ireland Total ballot papers were reasonably practicable for the purpose 49 Region does not exceed the number to be dispatched 6201 elected, and a ballot is therefore not required. of minimising the risk that any unfairness or malpractice might occur.

Wales & SW England I have been able to carry out my functions North of England Result of ballot of members (2 to be elected) Result of ballot of members (2 to be elected) without such interference as would make

it reasonable for any person to call my Andy Gleadhill 259 Elected independence in relation to the union Sam Dunkley 265 Elected Tracey Kelly 170 Vernon Fuller 233 Elected into question. Rachael Parvin 227 Elected Dave Pigott 219 Brian Pilsbury 167 I have inspected the register of members Spoilt ballot papers 1 and no matters were revealed which should Total ballot papers Spoilt ballot papers 1 be drawn to the attention of the union in order received 362 10% Total ballot papers to assist it in securing that the register is Total ballot papers received 493 9% accurate and up to date. I was not requested dispatched 3468 Total ballot papers by any member or candidate to inspect or dispatched 5264 examine a copy of the membership register. London Result of ballot of members (2 to be elected) The MU did not appoint an Independent Midlands Person under Section 51A of the Act. Rick Finlay 445 Elected Result of ballot of members (1 to be elected) Anne Hock Jacquelyn Hynes 422 Elected Managing Director, Popularis Ltd Nixon Rosembert 229 Millicent Stephenson 150 4 November 2019 Brendan Thomas 327 Dan Whitehouse 183 Elected James Topp 195 Spoilt ballot papers 3 Total ballot papers Spoilt ballot papers 10 Any member of the Musicians’ Union received 336 13% Total ballot papers requiring a copy of the Scrutineer’s Report Total ballot papers received 912 10% should write to David Ashley, Musicians’ Union, dispatched 2516 Total ballot papers 60-62 Clapham Road, London SW9 0JJ with dispatched 9096 such a request enclosing a suitable SAE.

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

50 ALIYAH WIGGINS ARIEL CUBRÍA JACK RENNIE “I’ve been a member of the MU for four “I joined the MU as soon as I knew about it. “I joined the MU after leaving university in years and I’ve been to many MU After having lived and worked as a 2015, and it has been central to my workshops, which have expanded my musician in different countries, and having operation as a professional musician ever knowledge of the music industry and my had to deal with some of the typical since. From contract reviews to legal rights as an artist. Earlier this year, the MU difficulties of this profession, it was very advice, networking events to car accident helped me to gain freedom from a contract good news to find out about the existence support, and the peace of mind brought I entered into aged 14. Through the MU’s of an organisation such as the MU. Knowing through fantastic public liability insurance, support service, I was able to receive legal that you can count on the advice of a group I’m sure that I wouldn’t be in the position I’m advice and assistance with the formal of specialists for each problem that may in now if it wasn’t for this fantastic wording to terminate the contract. I am arise is a guarantee that you can do your organisation. To know that there is a now happily working as an independent job without worrying about anything other political voice standing up for the views artist and continue to attend MU than the music. I don’t recall there being and needs of musicians in such tumultuous workshops, which are invaluable in terms anything like that in any of the other times is not only reassuring but critical for of furthering my knowledge on how to countries that I’ve worked in.” the survival of our industry.” market and manage myself.” Ariel Cubría is a guitarist, bassist, tresero (Cuban Jack Rennie is a London-based guitarist, singer Aliyah Wiggins is a 19-year-old singer/songwriter tres player), composer and producer based in and music teacher who is currently studying for a from Birmingham who started having classical London. He studied classical guitar at the Masters in Jazz Guitar Performance at the singing lessons when she was 10. Wiggins studied conservatories Adolfo Guzmán and Félix Varela in Guildhall School of Music & Drama. He has performing arts at Birmingham Ormiston his hometown of Havana. He has worked as a performed in big bands, at clubs and festivals, Academy and her professional music career musician and composer in Havana, Madrid, and taught at workshops and in schools. He plays began when she was aged just 14. She has Buenos Aires, Ljubljana and, since 2016, in with a number of bands including indie-rock performed at venues across the UK, including London. He has collaborated with artists such as five-piece North America and The Moonshine The Jazz Cafe, Indigo at The O2 and Birmingham Gloria Gaynor, Snowy White, Marta Sánchez and Band. He is the musical director for comedian and Symphony Hall. Her most recent performance Gema Corredera. He released his first CD, Lo que author Tony Hawks and also has a long-standing was at an international event in Geneva, vale de ti, in 2011, and is currently producing an relationship with Spike Edney, MD and keyboard Switzerland. Head to youtube.com/channel/ instrumental album for release in 2020. He has player with Queen. As part of Edney’s All-Star UC4riDeo-4Y9EAU8cfVPyNsQ or visit composed for theatre, films, documentaries and Band, he has worked alongside musicians such

@missaliyamusic for more information. television. Visit arielcubria.com for more. as Jeff Beck, Roger Daltrey and Justin Hawkins. © Nicola Wiggins; © Chris Patmore; © Ben Farman

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

Education Section Are you due a royalty payment from the Musicians’ Union for the use of any Diane Widdison of your recordings in television programmes, films or adverts? Are you the National Organiser Education & Training next of kin of a musician who used to receive royalties from us? 60–62 Clapham Road London SW9 0JJ The Musicians’ Union pays royalties to a growing number performed on the recording; or we do know the names T 020 7840 5558 of musicians for the secondary exploitation of their of the musicians but we have been unable to trace them E [email protected] recordings. In most cases we know which musicians or their next of kin. If you can assist the Musicians’ Union performed on the recording and already have their with line-up information or contact details, visit theMU.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 theMU.org/Home/Advice/Recording-Broadcasting/Royalties T 020 7840 5512 E [email protected]

The Musician • Winter 2019 #BehindEveryMusician 9000