The Musician Journal of the Musicians’ Union Summer 2014 theMU.org

Tom Robinson On rights, promotion and getting played on the radio Bullying at work Tackling the worrying rise of workplace bullying Looking for a manager? Insider advice on how to find the right one for your band FIM conference A global gathering of orchestral musicians and managers contacts Union HQ Regional Offices

General Secretary Head of Government Relations London John F Smith & Public Affairs Regional Organiser: Naomi Pohl Isabelle Gutierrez 33 Palfrey Place, London SW8 1PE Assistant General Secretary t 020 7840 5504 Horace Trubridge (Music Industry) In-House Solicitor f 020 7840 5599 David Fenton e [email protected] Assistant General Secretary David Ashley (Finance & Administration) Legal Official East & South East England Dawn Rodger Regional Organiser: Paul Burrows National Organiser 1a Fentiman Road, Bill Kerr (Orchestras) Communications Official London SW8 1LD Keith Ames t 020 7840 5537 National Organiser f 020 7840 5541 Diane Widdison (Education & Training) Recording & Broadcasting Official e [email protected] Michael Sweeney National Organiser Midlands Ben Jones (Recording & Broadcasting) Royalties Official Regional Organiser: Stephen Brown Phil Kear 2 Sovereign Court, National Organiser Graham Street, Dave Webster (Live Performance) Sessions Official Birmingham B1 3JR Peter Thoms t 0121 236 4028 f 0121 233 4116 Live Performance Official e [email protected] Kelly Wood Wales & South West England Orchestras Official Regional Organiser: Paul Westwell Danny Longstaff 199 Newport Road, Cardiff CF24 1AJ Music Education Official t 029 2045 6585 Fran Hanley f 029 2045 1980 e [email protected] Education & Equalities Official Union HQ Bindu Paul North of England 60—62 Clapham Road Regional Organiser: Morris Stemp London sw9 0jj 61 Bloom Street, Manchester M1 3LY t 020 7582 5566 t 0161 236 1764 f 020 7582 9805 f 0161 236 0159 e [email protected] e [email protected] w theMU.org Scotland & Northern Ireland @WeAreTheMU Regional Organiser: Sheena Macdonald 1 Woodside Terrace, Glasgow G3 7UY t 0141 341 2960 f 0141 332 8709 e [email protected] report John Smith on the value of live music in our theatres The Musicians’ Union is battling to save the War Horse band and to keep music live in theatres across the UK, says the MU General Secretary John Smith.

the Union has to compromise to ensure that our members are kept in work. One such compromise was reached with the producers of War Horse that meant that a live band would be used in addition to of a season commemorating the centenary pre-recorded music. This has worked of the outbreak of the First World War. The extremely well and the presence of live puppets will star in a concert featuring musicians playing live music has surely music from the hit musical [my emphasis] enhanced the audience experience of alongside a Military Wives choir…”. “Music this prize-winning production. from the hit musical” indeed – a description

Not so, according to the management “What an outrageous statement of the RNT… In his witness statement for one of the leading figures in

© Katharyn Boudet Katharyn © 3 provided to the Royal John Smith, Courts of Justice the UK’s theatrical world to make.” General Secretary when we sought an injunction to save our members’ jobs, that will surely have resonance with the Nick Starr, the Executive Director of the vast majority of the public who have seen RNT, said: “The National Theatre’s this great production, but now is to be (if artistic judgement, made by those with they get their way) a hit musical without the expertise to assess such matters, is live musicians. Members will know that the Musicians’ that a live band does not provide the same Union has been involved in a protracted quality and impact of performance as can Turning to more pleasant matters, the legal case against the Royal National be produced through the use of recorded International Federation of Musicians Theatre. Details can be found elsewhere music and professional actors.” (FIM) held its third International Orchestra in this issue of The Musician, but I just Conference (IOC) in Oslo back in February. wanted to emphasise the commitment of What a truly outrageous statement for one It was a truly memorable occasion and the Union in supporting the War Horse band of the leading figures in the UK’s theatrical provided a rare opportunity for orchestral members through, what has been, a very world to make! And now we have irony of musicians from Europe, North and South difficult time for them. ironies: on 3 August at the Royal Albert America, Australia, Asia and S Africa to Hall the great British public will be treated debate the main matters of concern and to When the Union takes on this kind of battle to the War Horse Prom. As the London network and exchange information on an it does so on a number of levels: first, and Evening Standard reported, “the much-loved individual level. probably most importantly, it is to seek puppets from the National Theatre’s War true justice for our members. Secondly, we Horse are going on a new adventure – to the The team from the British MU played a must be seen to be upholding musicians’ BBC Proms… They will make their debut at full part in the exchanges as did the two rights whether they are contractual rights, the world’s biggest music festival as part representatives of UK orchestra managers intellectual property rights or human and Paul Hughes of the BBCSO and Mark social rights. Pemberton of the ABO. This event takes place every three years and we are already Then there is the massive matter of principle planning for the fourth IOC, which will be that we have to defend – the value of live hosted by our Canadian friends in Montreal. music. It is the latter that I would like to To hear more from dwell on for a moment. On many occasions John, visit theMU.org John Smith

The Musician • Summer 2014 “It’s vital to join the MU… if you want to get the issues that concern you looked at and addressed and fought for with some kind of solidarity.” Tom Robinson 18

4 Contents Summer 2014

The Musician • Summer 2014 22

This issue... On the Frontline Inbox Advice 6 The MU fights to save 12 Emails, tweets and letters 36 Managers – how to find one the War Horse band that will best suit you 7 New alliance calls for 50/50 Features 40 Choosing a band name streaming royalties split 14 Bullying at work – an insidious 8 Olivier Awards success problem within orchestras Reviews 9 MU live rates for 2014 22 Lost Arts – an update on the 43 CDs and downloads pan-union campaign Reports 30 The FIM IOC 2014 Union notices 3 MU General Secretary 33 PRS for Music centenary 2 Key contacts 10 Business developments 34 FAQs on term extension 42 Ask Us First at South by Southwest 46 Tributes 35 Focusing on the Support My Profiles 48 Summary accounts Music Teacher campaign 18 Tom Robinson 50 Expenses insurance 5 26 Clara Sanabras 51 Member benefits

Front cover: cellist Daisy Vatalaro, London, April 2014 Find out more at MU Contributors musiciansunion. org.uk/join-the- Katie Andrew Simon Tait mu/benefits/ Nicholls Stewart Simon is the Katie is a Andrew writes former arts freelance journalist for The Times, The correspondent for and editor whose Guardian, Classical The Times, writes features and reviews Music and BBC Music now for The Times, have appeared in Magazine, among The Independent titles such as MOJO, others. He is also and The Stage and is Top 5 benefits The Guardian and Director of Southwark the president of the l Kerrang! p26 Voices. p14 & p30 Critics’ Circle p22 Insurance schemes l Legal assistance l Nationwide network Neil Tracey Will l Rights protection Crossley Kelly Simpson l A journalist and A singer- Will has Career and editor who has written songwriter, one half contributed to a range business advice for The Guardian, The of jazz duo Tracey of music magazines, Independent and The & Jason and an MU including Total Guitar, Daily Telegraph. Neil is member. Tracey Guitarist and Mixmag. also an MU member has also written for He recently published For more and fronts the band books on pop, jazz his first book, Freedom on benefits Furlined. p18 and rock. p36 Through Football. p40 see page 51 On the Summer 2014

frontlineThe latest news, views and e vents from the world of music.

The NT has replaced live musicians with a recording, made outside of the UK

6 APRIL 28

The MU is fighting to save the War Horse band and keep music live in theatres across the UK.

The National Theatre (NT) has Lewis/Alamy Geraint © attempted to terminate the contracts of the five members contract that it made with them. threatens the livelihoods of the course, only true of the musicians’ of the War Horse band engaged The NT removed the band from individual musicians concerned performances since the National to perform in the West End the show in March and replaced but undermines the principle of Theatre lost in their attempt to production of the show, which them with a recording, made live music in West End theatre. dismiss the musicians when the continues to run at the New outside of the UK, without the A live performance should be issue was taken to a SOLT/MU London Theatre. Union’s agreement. just that – live – and any move to Conciliation board in 2013. replace the live music element of a The War Horse band is pursuing a War Horse is a musical production show with a recording significantly Prior to this decision, which claim for breach of contract. This and the band has been an integral devalues the theatrical experience. agreed with the MU that the claim is fully supported by the part of its success since it started musicians had a contract until the Musicians’ Union. Their individual in 2007. This decision not only The NT has been trying to show closes, the musicians were agreements with the NT guarantee discredit the MU’s fight to save the playing live from start to finish. that they will be engaged until the band by claiming that they were Please sign the petition to save the show closes and they are seeking only playing live for two and a half War Horse band here: change.org/ a remedy that holds the NT to the minutes in the show. This is, of organizations/musicians_union

The Musician • Summer 2014 f erontlin

MARCH

april Live music fans will benefit 05 from the Play Fair on Ticket may 26 Fees campaign 06

N ew alliance calls for 50/50 MU backs music split on streaming royalties campaigns o ctober AMP (Artists, Managers, @WeAreTheMU The MU is supporting Performers) is a recently-formed Good to have campaigns by music alliance between the Musicians’ teachers in Cornwall 24 you with us over Union, the Music Managers’ and on the Isle of Forum and the Featured Artists’ the weekend Wight to oppose Coalition. The alliance is calling representing both council cuts that for streaming royalties to be split the MU but also would lead to the loss T eachers’ event equally between the artist and as a supportive of 92 teaching jobs Morris/Alamy Keith © set for October the label in a submission to the and impair the quality friend. Thank you. The MU is pleased EU consultation on copyright. AMP of music teaching for MU backs ticket price petition to announce that argues that streaming is not a sale #KeepMusicLive young people in rural The MU is backing the Play Fair on it is hosting the in the traditional sense and does @BristolFolkFest areas. On 26 April the Ticket Fees campaign, launched MU Teachers’ not involve any of the associated MU joined up to 250 by consumer group Which?. Their 7 CPD weekend costs for the label. Here for protestors in a rally petition has gathered over 48,000 (formerly known and open-air concert signatures and seven major ticket as the Teachers’ The alliance believes that paying @WeAreTheMU’s in St Thomas’ Square, agencies have agreed to amend Conference), which streaming royalties on a sales panel ‘Pack Your Newport, Isle of their online ticketing, allowing will be held at the basis – the current standard Suitcase’ about Wight. The gathering consumers to know the charges Royal Welsh College practice – makes no sense and is British bands was organised after before they try to buy. of Music and Drama unfair to the artists, as Musicians’ touring abroad councillor Richard on 24-25 October, Union General Secretary John Priest’s comments The Play Fair on Ticket Fees 2014. The event will Smith explained: “It is no longer @unsignedguide that he would be, campaign is calling for agents to encompass valuable necessary for a record company “looking for musicians clearly explain their fees and to debate, workshops to pay to manufacture, store and in the area to teach set them at a fair level. Kelly Wood, and networking distribute physical product. In the our children as MU Live Performance Official, said: for MU members pre-digital era, artists understood volunteers as there “It is important that the ticket- who teach. The that these costs went some way are many people who buying process is clear, fair and cost of attending to justifying the low royalty rate. can play instruments”. consumer-friendly.” To sign the the conference for There are none of these costs To access the Isle of petition and for further details, MU members is associated with streaming, so Wight and Cornwall go to which.co.uk/mufees £80 per delegate. why are the labels paying a royalty petitions visit This cost includes based on a physical sale?” bit.ly/1lUIhoV and accommodation and For more information visit chn.ge/1imTV6q meals from Friday themmf.net and theFAC.org lunchtime until Saturday afternoon. april The closing date for application forms “There are none of these costs is 31 July 2014. To book, go to associated with streaming, 15 bit.ly/1iqNr6J so why are the labels paying a royalty based on a physical sale?”

The Musician • Summer 2014 may APRIL 02 11

Share your Music in Scotland stories of being The MU hosted a Tiny Phillips on stage at APRIL debate in April at the Night & Day Cafe – a asked to work Glasgow City Hall on breeding ground for for no fee & join the issue of Scottish musicians for 23 years independence. © Marc Byram the campaign 13 Chaired by Bill for fair pay Sweeney, the forum worknotplay. featured keynote co.uk #Work speeches by Pete Wishart MP, John APRIL NotPlayMU Robertson MP and @WeAreTheMU O livier Awards success Jean Urquhart MSP. The MU congratulates those Panels discussed members who were recognised themes of live 15 at the 2014 Olivier Awards on 13 performance and April. Particular acknowledgment subsidised arts, goes to the musicians from The copyright and 8 Book Of Mormon, named Best broadcasting.

© Lucas Smith New Musical; Les Misérables, The debates and which won the Radio 2 Audience questions raised are Venue fights abatement notice Award and Merrily We Roll Along, to be discussed by Guy Garvey and Johnny Marr are named Best Musical Revival. The the Scotland and among the artists lending their Merrily We Roll Along orchestra N Ireland Regional support to the Night & Day Cafe was also nominated for the new Committee and the in Manchester, which launched Outstanding Achievement in Union’s Executive a petition and campaign after Music gong. Les Vêpres Sicillienne Committee to inform receiving a Noise Abatement received the award for Best New future policy. Notice, following a complaint Opera Production and English from a local resident. The Touring Opera won Outstanding venue is appealing the notice Achievement in Opera for its in court and raising awareness challenging touring productions. of national measures that could olivierawards.com be introduced to protect music venues. This includes the Agent of Change principle and Deed of Easement agreements (as used in conjunction with the Ministry of Sound venue in London). The MU is supporting Night & Day Cafe’s campaign. For more information and to sign the petition visit nightnday.org/news.php

“The MU congratulates those

Les Misérables members who were recognised won the Radio 2 Audience Award

at the Olivier Awards this year.” Pictures/Alamy City Copson Alan ©

The Musician • Summer 2014 ferontlin

april

15 Creating Without Conflict: @ WeAreTheMU report on bullying, harassment & T eachers fight back with the launch of Milton Keynes discrimination Music Co-operative in performing Music teachers in Milton Keynes arts workplaces launched their own co-operative Ivor Novello bapam.org.uk/ Award nominee, in April after the town’s council Laura Mvula

made nearly 100 instrumental news/creating- Webb/Alamy Karolina © teachers redundant. Previously without-conflict MAY part of the Milton Keynes Music @ukbapam Service, the highly-experienced, self-employed teachers now work 22 in partnership with the Milton I just joined @ Keynes Music Education Hub to WeAreTheMU! maintain delivery of high-quality 9 lessons to children in the area. Get involved at Ivor Novello themu.org/join Awards As a member of the umbrella #WeAreTheMU april London Grammar group Co-operatives UK, the MU and Arctic Monkeys strongly supports the move. Diane @davebronsmusic were among the Widdison, MU National Organiser artists shortlisted for for Education & Training said: sign @Create_CC 01 the 59th Ivor Novello “We applaud these teachers petition get Awards, which took who, while facing redundancy place on 22 May and all the stress this entails, political parties after The Musician devoted huge energy and time to to address went to press. The finding a way for teachers to stay copyright theft awards honour together and not be cast out into Live rates 2014 excellence in music a landscape, where increased in 2015 election Members can now access writing, and this competition tends so often to lead manifestos the latest live rates for 2014 by year’s nominations to undercutting and a gradual theMU.org logging on to the MU website and for Best Song erosion of teaching standards.” visiting Advice and downloads Musically and She continued: “Their commitment @GlueStandyOuty > Playing Live > Live rates. Lyrically included to being part of a collaborative These rates include the National Best Of Friends by body, sharing resources, Gig rate, the Casual Stage rate, Palma Violets and developing good practice and the Accompanists rate, Casual Strong by London offering consistency to schools is Seasons of Opera and Ballet, Grammar. Nominees typical of the vocational drive we Organists and Ceremonies rate for the album award find among music teachers.” and Residency rate. The MU/ included Arctic UK Theatre Agreement Rates Monkeys for AM, Nick The launch adds to a growing applicable from 1 April 2014 are Cave for Push The presence of music co-operatives also available, plus the Opera Sky Away and Laura around the country, joining and ballet touring allowances Mvula for Sing To The long-established counterparts in have increased for the period Moon. For details of Newcastle, Swindon and Grimsby. 24 March 2014 to 22 June 2014. the winners, visit mkmusiccoop.com theMU.org theivors.com

The Musician • Summer 2014 m ore than a glimpse of the future MU Assistant General Secretary Horace Trubridge travels to Austin, Texas to meet the people who may hold the key to a bright new future for the music industry.

At this year’s South by South West (SXSW), one of the buzziest places to hang out was the Spotify House. The queues to get in stretched right round the block, and there were impromptu sets by Snoop Dogg and Blondie as well as stand-out performances from Jungle and St Paul & The Broken Bones. There was also a genuine air of excitement at being a part of what has become a true revolution in the way that music is enjoyed and consumed. Streaming services, 10 particularly Spotify, have offered the public

a genuine legal alternative to file sharing and © Getty Images. pirate download sites, and have opened up a new income stream for the industry. But I won’t dwell on that as I seem to remember that I’ve had that particular rant in Much has been written about the tiny royalty these pages before. No, what I want to address that an artist receives for a single stream on is the fact that the record company is keeping Spotify – most of it ill-informed and short most of the money that it receives from a sighted. I have also seen comparisons to the stream is only part of the reason that your payments from PPL for a radio play which, streaming royalties may look disappointing. again, misses the point. You might get £50 for The most significant difference between a a play on BBC Radio 1, but Radio 1 broadcasts stream and a sale is that an individual to literally millions of listeners every day. If you invariably only buys once, whereas the music had the same amount of fans streaming your fan who streams a track and likes it will keep track on Spotify then the royalty would look a on streaming it, they will tell their friends about bit more impressive. it and they will also then stream it and keep streaming it till they don’t want to listen to it Spotify, we know, passes on roughly 70% of anymore. This will keep on happening for Did you know? the money it makes from advertisers and months and years to come and the more the Horace writes a monthly column for The subscribers to the rights owners. If your individual listens to the track, the more Huffington Post at huffingtonpost.co.uk/ royalty on streaming is low then that is royalties are generated. horace-trubridge/. Follow the Union on probably partly to do with the fact that your Twitter @WeAreTheMU record label is paying you your share of Eventually, if the track is listened to enough streaming income as if it’s a CD sale – in other by an individual over a long enough period of words somewhere between 10% and 15% of time, the money generated could exceed the “Streaming services the money they receive from Spotify. This is label’s share of, for instance, an iTunes blatantly unfair, as, unlike a CD sale, there are download. Particularly if Spotify can continue have opened up a none of the associated costs of manufacture, to grow their premium subscriber base at the storage and distribution. rate that it is currently growing. The streaming new income stream business model needs to be judged over time and not dismissed as the result of a knee-jerk

for the industry.” reaction to a poor royalty statement. © Getty Images.

The Musician • Summer 2014 report

The news that Spotify had acquired the data-mining company Echonest broke a few days before the SXSW music convention started and I was pleased to be able to arrange a meeting with a representative of Echonest while I was out in Austin. Their website carries the banner: “Our music intelligence platform synthesises billions of data points and transfers it into music understanding to power smarter music applications for our customers”. Wow! What does that mean? It means that in the case of a CD or download sale, no-one has any idea whether it’s played once, twice or a hundred times, and if it’s an album, which tracks are played the most and in which order. “There are so many ways that Likewise, no-one knows who bought it, how old they are, their gender etc. However, with streaming services can lead to streaming services, data-mining has become much more sophisticated and Echonest know a better music business.” all of that information and much more. 11

Yes, it does sound a bit scary, but think about Performances from Dan the Automator, Damon Albarn the massive advantages of being able to know and Snoop Dogg (above) and exactly what your fans thought of, for instance, punk pop veterans Blondie the slightly edgy and experimental bonus track (left) made the long queues on your latest album release. Echonest can tell for the Spotify House at this year’s SXSW worthwhile you how many times the track has been streamed, by how many listeners, what time of day they streamed it, the amount of repeat listens, whether they have beards – no sorry, I made that bit up. This information will give a clear indication of exactly which track to single release, and which songs to put in the live set. There are so many ways that streaming services can, in time, lead to a better music business for artists and a better music experience for consumers. All we need to do now is get the labels to play fair on royalties. Don’t hold your breath on that one.

The Musician • Summer 2014 Follow us on Twitter @WeAreTheMU soundcloud.com/ inboxThese pages reflect the diverse range of multi-channel musicians-union communications between the Union and its members. Find us at theMU.org Email us TheMusician@ We welcome your contributions via email, Twitter or letter. TheMU.org

Spruced up The redesigned Loving the new look for journal with its wrap-around cover The Musician, @WeAreTheMU! Mrs Perry @KathrinaPerry Spring forward Loving the new glossy Spring edition! Some really interesting topics especially #sexism. Your Editor Great read! 12 Charlie Savigar Band Welcome to the @CharlieSavigar Summer issue of The Musician. Bring the noise Many thanks to Thanks for featuring everyone who @NoiseSolution1 in The Musician’s wrote to us to say Branching Out article (p34). Just signed @WeAreTheMU Work not play how much they Music as a tool for social change. petition to keep live music in War Just got asked to do some singing appreciated the Noise Solution @NoiseSolution1 Horse and not replace it with a work with: “No fee, but catering Spring issue, the recording. #KeepMusicLive provided”. Directed them to this first in the new Saxy mover BECTU Young Members website – worknotplay.co.uk format for 2014. Excellent interview with Dave @bectu_ym Laurel Neighbour @prima_donut O’Higgins in @WeAreTheMU Your feedback and magazine. Sax fans check his Educate the landlords Busking buddies... advice is important music out, superb player. Gonna download a copy of your We agree @WeAreTheMU: in developing our Alison Diamond @Adsaxist Live Music Kit for yet another Busking is the perfect communications. publican who hasn’t even soundtrack to any city. We Increasingly, we Save the War Horse band HEARD of the Live Music Act! support #BackBusking! receive comments Disgusted to see an orchestral Sandy Renton Parachute Reg Band via Twitter or email @WarHorseOnStage listed @3amRockingBlues @ PARA_Band and we endeavour @bbcproms after the show cut to reflect the range all their live musicians. Download dismay ...and folk friends of these in our Inbox @WeAreTheMU thoughts? Appalling news… Young UK @WeAreTheMU Good to have feature. So please Phil Meadows @PMeadowsMusic musicians to miss out after you with us over the weekend stay in touch and government scrapping of EU representing both the MU but also good luck with Recorded tracks should never download levy. as a supportive friend. Thank you. all your musical replace live music in any show. Stephen Budd @stephenbudd #KeepMusicLive activities. @NationalTheatre @EquityUK BristolFolkFestival @WeAreTheMU #KeepMusicLive @BristolFolkFest Keith Ames Barnaby Southgate TheMusician@ @Barny_Southgate theMU.org

The Musician • Summer 2014 letters

Loving the new look Sexism in music I’ve been an MU member for @WeAreTheMU cites about 20 years, but this is the Charlotte Church as a woman first time I’ve ever actually musician in charge of her enjoyed the magazine. Great own creativity and resisting job on the new look! sexist industry pressure. Adrian Place, Bristol #TUCwomen2014. Scarlet Harris @ScarletHarris Just a quick note to congratulate you on a great Role models onstage need to be job with the magazine revamp! representative of society. “You Excellent design, lively format, can’t be what you can’t see.” upbeat graphics, cool photos. @WeAreTheMU. Well done – nice one! JoLiveseyBECTU @jo_livesey Editor Director of Bill Kyle, Edinburgh Keith Ames (MU) FuturePlus UK Keep music live Consultant editor Jayne Caple I have just received the Spring Save the George Tavern – historic Neil Crossley Senior account manager 2014 issue of The Musician. What East London music venue. Art editor David Parker Mark Bradley Group account director a relief – at last I feel like I can pick Mark Webber @markwdwebber Writers Fiona McDaniel up an exciting, modern, full-colour Katie Nicholls Editorial director magazine again. Delighted you Spreading the word Andrew Stewart Mark Donald have gone back to colour, I am Musicians’ Union has made a huge Neil Crossley Art directors Tracey Kelly Stuart Hobbs now going off to read it. contribution to #LGBT visibility. Keith Ames Dermot Rushe Steve Heap, Matlock Caroline Murphy @C_Murphy Simon Tait Repro Will Simpson Future Pre-Press I can only imagine that your Thanks, MU! Joss Hutton Printed at Production editors Precision Colour Printing inbox is full. What a delight to see @WeAreTheMU Thanks to the Katie Nicholls See page 02 for the the new version of the magazine. NW MU office for all their help in Roy Delaney contact details of 13 I never really took to the last one. the past few weeks for various Production and Musicians’ Union offices. Long may this continue. Well done things. Can’t recommend being a procurement manager Matt Eglinton to all concerned. Great job! member enough! Client production Callum Wallace, Scone Lucy Zirins @lucyzirins co–ordinator Tracy Nugent Diary date Swinging review I have just got a free diary Made the MU magazine with from the Musicians’ Union! a really nice review of the new Now I just need some more swing album! @petegill stuff to put in it… Hmm… @MartinMitchell6 Robert Bearsby JoeMartinMusic @JoeMartinMusic @RobBearsbyMusic Taking on the bullies Good to hear @WeAreTheMU All information contained in this journal is for informational purposes All-party party only and is, to the best of our knowledge, correct at the time of going to After @CAFOD reception am now are talking bullying and press. This journal is published by Future Publishing Limited on behalf of Musicians’ Union. Neither Future Publishing Limited nor Musicians’ at APPG for Folk Arts listening to harassment #YWC14. A Union accept any responsibility for errors or inaccuracies that occur the great Martin Carthy. practice not to be tolerated. in such information. Readers are advised to contact manufacturers and retailers direct with regard to the price of products/services in @WeAreTheMU Sarah Ford @SarahSassyFord the journal. Publication of an advertisement does not imply any form of Mike Gapes MP @MikeGapes recommendation. Organisations offering financial services or insurance are governed by their relevant regulatory bodies and problems with such services should be taken up with those bodies. Neither Future Publishing Limited nor Musicians’ Union accept any liability for the Spotify the difference quality of goods and services offered in advertisements. We do our Read a fantastic article about best to avoid inaccuracies, but if you believe that an error has been Spotify in the @WeAreTheMU made, please contact the editor straight away before taking any other “Gonna download a copy of action and the Union will take appropriate steps. If you submit material magazine. Now firmly in the pro- to this journal, you automatically grant Future Publishing Limited and Spotify camp. PS Dear record Musicians’ Union a licence to publish your submissions in whole or in your Live Music Kit for another part in any edition of this journal that is published worldwide in any format labels: DIE ALREADY. or media throughout the world, and you grant Musicians’ Union a licence to publish your submissions in whole or in part in any format or media for Craig Reynolds @reynlord publican who hasn’t even the purpose of promoting any products or services referred to in your submissions. Any material you submit is sent at your risk and neither Future Publishing Limited nor Musicians’ Union nor their respective HEARD of the Live Music Act!” employees, agents or subcontractors shall be liable for any loss or damage. © Future Publishing Limited and Musicians’ Union 2014. All rights reserved. No part of this journal may be used or reproduced without the Sandy Renton @3amRockingBlues written permission of Future Publishing Limited and Musicians’ Union.

The Musician • Summer 2014 Following a rise in reported cases of bullying 14 in the workplace, The Musician investigates the causes and effects of an insidious problem ­­– and the possible solutions. Feature by Andrew Stewart © Jan Stromme

The Musician • Summer 2014 F EATure

Platitudes about music’s power to uplift the human spirit will come as cold comfort to THE UNION professional musicians on the receiving end of workplace bullying. Think of the seasoned APPROACH orchestral player who becomes the target of snide comments after a few below-par ‘cre ating without performances, or the session musician conflict’ ignored because her “face doesn’t fit”. “We’re working with the Federation of Entertainment In recent years the Musicians’ Union has seen Unions (FEU), which includes a disturbing rise in the number of members our colleagues at BECTU, seeking support as victims of bullying. The Equity, the National Union of worst cases appear to rest on a bedrock of Journalists and others, to tackle insidious behaviours, many of them sufficient A growing problem workplace bullying,” says Bindu to shatter a musician’s confidence. Whatever Jo Laverty, MU Regional Official, notes that Paul, the MU’s Education & the problem’s root causes, its effects can cases of bullying reported by members Equalities Official.Creating “ be devastating for victims and toxic for the in the capital’s freelance orchestras have without Conflict, the FEU’s general wellbeing of performing arts groups. soared since the financial crisis hit in report examining bullying, 2008. She believes that many orchestral harassment and discrimination “Gender-related bullying was common when I managements are too busy chasing work in the entertainment and media was a musician in the 1980s,” says MU General to recognise bullying. “It makes no sense if industries, contains a survey of Secretary, John Smith. “My impression now highly-experienced players feel threatened 4,000 arts and media workers. is that most bullying is not sexist but ageist. or undermined,” she comments. “Some Over half (56%) of respondents It’s about psychological pressure imposed by managements are unwilling to work with us had experience of bullying, experienced players on new faces or by young to settle interpersonal problems involving harassment or discrimination, players on older colleagues.” Conductors, he players. That suggests they fail to see the while almost three-quarters of adds, often exploit this sense of ‘them and us’ value of improving the working lives of their the survey’s musicians (74%) by picking on perceived weak links in the band. musicians.” Jo Laverty criticises managements reported being bullied by other 15 “But I’m afraid most bullying is perpetrated for creating conditions in which musicians musicians. The FEU’s Creating by musicians on other musicians,” comments are obliged to commit to every date in the without Conflict campaign is John. “The lack of modern, sympathetic diary. Such approaches do little to promote about standing up for the rights human resource managers in orchestras only harmonious working relations. of every worker to do their job magnifies the problem.” without being bullied or belittled by managers or colleagues. John Smith points to an ongoing discussion “There’s no excuse about workplace bullying within the General “The aim is to encourage Federation of Trade Unions (GFTU). Remedial for ineffective employers to receive advice proposals include an online training course around dealing with bullying, in management and human resources skills, managements standing to discuss the problem and which could be tailored to the needs of by while conductors or begin the process of change. orchestra section leaders and principals. Managements need to realise “Although training musicians could help, players act like bullies,” that freelancers are particularly bullying is a big dilemma for orchestra vulnerable to bullying managers,” says John. “The best take this John Smith, behaviours. There are examples problem seriously; many, though, don’t want of best practice that should to know. There’s no excuse for ineffective MU General Secretary be shared and introduced managements standing by while conductors to managers early in their or players act like bullies. Other industries are According to Naomi Pohl, London Regional careers. The FEU has published much better at dealing with bullying behaviour Organiser at the MU, concerns about job cuts guidelines for managers and and its causes. We need to look at humane and falling incomes may have contributed to for freelance members working ways to help players who are having technical the spread of bullying. Orchestral salaries, she in live performance, recorded difficulties or coming to the end of their notes, are around 15-20% lower in real terms media and entertainment. We careers. Allowing them to be bullied out of than when public spending cuts began in 2010. want employers to sign up to the workplace is totally unacceptable.” “People understandably feel insecure. That the FEU’s Code of Conduct and transfers into the working environment and for everyone to understand can trigger bullying. Additionally, what may be what constitutes bullying.” tolerable in an easier climate may have a major psychological impact when times are tough.

The Musician • Summer 2014 losing experienced musicians because of a poisonous working environment.”

The culture of bullying Performance psychologist Andy Evans defines workplace bullying as a social phenomenon. Musicians, he says, rarely experience physical violence at work; they are, however, prey to more or less subtle forms of psychological abuse. “Most common is bullying around not If you’re playing in a cramped stage pit, for belonging, which is synonymous with making example, and your desk partner refuses to someone feel they’re outside the group.” He talk to you, it’s not very pleasant.” recalls seeing several musicians, referred to him by the MU, who had been ostracised Naomi Pohl’s analysis acknowledges the and forced out of their orchestras as a competitive nature of professional music- consequence. “They may have been a string making and its tendency to intensify as player pushed down the seating to make work opportunities fall away. The desire to room for a younger musician who’d just won keep a regular job, she says, can become so a competition. That in turn has led colleagues great that individuals are prepared to suffer to shuffling feet when the demoted player bullying in silence rather than be seen as a makes a mistake, rattling stands, turning troublemaker. “We want to bring this issue pages a fraction late, ostentatiously heading into the open. If MU members raise complaints off as a group for a pizza without inviting the with us, we can address the problem with bullied person. It’s behaviour that can go their managers or engagers. It’s much harder undetected for years but which makes hell of with freelance extras and deputies who could an individual’s life.” fall out with a contracted player and never be 16 booked again. That has a direct impact on our Evans notes that the problem is usually members’ ability to make a living. But we’re beyond repair by the time a bullied player ready to help in every case.” seeks help from a mental health professional. “Bullying behaviour is a problem that has to be The Musicians’ Union is able to provide legal rooted out at source,” he says. “How orchestra advice and practical support, including the preparation of grievance notices, to any member who feels bullied. Managements “If you place top players who happen to be bullies in turn have a legal duty to investigate the substance of formal complaints about bullying, ahead of the rest, bullying will be part of the gather witness statements and, if required, take disciplinary action. “We sometimes find orchestral culture,” Andy Evans, performance psychologist that bullying touches on aspects of workplace discrimination,” comments Naomi Pohl. “The managements and others deal with this is not An insidious problem victim may be an older player, for instance, simple. There will inevitably be personality Personal rivalry and competition, commonly or is being bullied because of their gender clashes within groups and people who have perceived as positive motivators, are career- or sexuality. That relates directly to dignity stopped communicating because they can’t long constants for freelance musicians. Morris and respect issues. We want to see healthy stand one another. But that can be managed Stemp, the MU’s North of England Regional working environments and a more positive and contained before it encourages others to Organiser, notes that it can be difficult to draw group culture, where players feel able to take sides and bully. a clear distinction between the relentless discuss problems with managements. At the pursuit of artistic excellence and gratuitous moment, we hear from outstanding players “Orchestral managements must place the bullying in the freelance workplace. “It’s who are ready to quit their orchestra because human element ahead of an orchestra’s difficult in some freelance settings to see the job pressures are too great. Putting up prestige. For example, if a top player, however where people are bullying or simply being with bullies is not going to be on their list good, is bullying others and making the demanding of the highest standards,” he of reasons for staying! It’s ridiculous to risk orchestra a sick place to work, then there’s a observes. “Bullying tends to be most obvious case for helping that person to leave. People’s happiness and wellbeing must always come first. If you place top players who happen to be bullies ahead of the rest, bullying will be part of orchestral culture until the end of time.”

The Musician • Summer 2014 FEATURE

Jo Laverty Musicians’ Union Regional Official

“While we see some examples of bullying conductors, most of the cases that reach

© Getty Images. us involve musicians either individually or collectively bullying help should be the first – not the last – action other musicians. We’ve also of management.” Morris advises anyone who seen rank-and-file players bully feels bullied to keep a detailed record of their section leaders because they experiences; meanwhile, he calls on orchestral covet their jobs. We understand managements to take bullying seriously and that orchestras are competitive raise awareness of its consequences. “I’ve workplaces – but that’s no excuse seen some awful things take place that should and pastoral care is definitely have been nipped in the bud by management.” absent in some orchestras. Tensions are likely to run high Creating a harmonious workplace among highly-skilled musicians Orchestras, like other businesses dependent who may spend more time on highly-skilled employees, are unlikely together than with their families. to thrive or even survive if their musicians There’s a big difference between associate work with intimidation, personal well-functioning orchestral insecurity and anxiety. Andy Evans suggests managements, who have dignity that only musicians with psychopathic and respect policies and take tendencies, who are fearless and lacking human resources seriously, and in empathy, could sustain working in those who treat their musicians 17 environments where bullying, backbiting and like machines.” nastiness are a part of everyday life.

“The people most likely to stand the pressures Andy Evans of life as an orchestral brass or percussion Performance where there’s a fixed workforce of musicians. player, for instance, are likely to be the psychologist That’s where we see the worst cases of least sensitive. But there has to be a way of people’s lives being reduced by one or more managing musicians that allows room for “Anxiety is built into of their colleagues. Needling remarks or the the wide range of personality types to work a musician’s life. Tension typically silent treatment are common. Over time these together.” He recalls counselling players who builds up over the working day are bit like Chinese water torture, dripping felt so undervalued and demoralised that before a concert and doesn’t away until somebody reacts. If every time they were ready to quit long-held posts. In unwind until past midnight. One you make a mistake another player clears many cases, a course of music lessons was of the greatest stressors is self- their throat to signal disapproval, it amounts sufficient to revive their passion for playing, imposed by individuals aiming to subtle bullying. But such behaviour can be although this often takes gentle persuasion. to reach the highest possible very hard to spot and difficult to prove.” “I’ve seen people transformed by lessons,” standards. A bully will play on says Andy. “Their worst fantasy is that they another’s insecurities about With hindsight’s help, Morris Stemp admits can’t play like they used to. But when they no longer being able to meet that he may have contributed to the bullying go to a teacher, they’re usually told, ‘You play those standards. People are of a colleague during his time as an orchestral beautifully’. That allows them to return to work now more aware of the damage musician. “I know now that how I behaved with renewed confidence.” caused by stress at work and undermined their confidence. But I didn’t far less tolerant of bullying. New know it at the time. I used to say, ‘Look, “Managements stand to see big returns ideas from developments such you’re playing that wrong, could you get it from investing in their players’ long-term as positive psychology and right?’. Although I said it because I wanted development,” comments John Smith. mindfulness training are entering the orchestra to play better, that person “Wellbeing at work could be about simple the workplace. It will take time effectively left their job because of being things like paying for lessons, providing human for these to have an effect on the undermined by the players around them. I resources training or helping a musician move macho culture that is still common was also on the receiving end of bullying. towards retirement with dignity. It’s not about in orchestras but gradually Management did nothing to encourage allowing resentments to grow into animosity that culture will be replaced by dialogue or resolve these problems. Offering and turning blind eyes to bullying.” something more compassionate.”

The Musician • Summer 2014 18

© BBC champion The Feature by NeilCrossley shares hiswealthof knowledgewithTheMusician... broadcaster andanadvocate ofnewmusic.Here,he music industry under hisbeltasasinger-songwriter, Tom Robinsonhas four decadesofexperience inthe people’s pro file

It’s almost 40 years since Tom Robinson rose to prominence with the Tom Robinson Band (TRB) and a clutch of intelligent, acerbic songs that were as hook-laden as they were political. Emerging amidst the groundswell of the UK punk never been a better time for genuine talent to Tom Robinson movement, Robinson championed pro- on stage get through and be heard without having to get gay and left-wing causes, was a founding in 1978 the approval of ‘gatekeepers’. Until recently, member of Rock Against Racism and became unless you got played on the radio, nobody a vociferous opponent of Margaret Thatcher. outside your gigs would hear your music. Even His stomping breakthrough hit 2-4-6-8 YouTube only dates from 2006, so if you’ve Motorway in 1977 was followed by Glad To Be written the next Please Please Me or Creep – Gay, arguably the band’s defining moment you have a better chance now of being heard and an anthem for Britain’s gay community. than you did at any time in the last 50 years.

After TRB split, Robinson briefly moved to On your website, you include a resource on Germany, re-emerging in 1983 with the Top how to do your own plugging and send tracks 10 hit War Baby before making a transition to DJs. So do you still need a plugger? into broadcasting in the UK. He now presents If you want to get on to the Radio 1 playlist you three nights a week on BBC 6 Music and don’t have an earthly chance without a plugger. can be heard on Radio 4 as an occasional But if you want a spot play on Mark Riley’s show presenter of Something Understood. As a on Radio 6 Music, or from Lauren Laverne on her

broadcaster, Robinson has been proactive Getty Images/WireImage © morning show, you don’t necessarily need one. in helping empower new artists via his A plugger will charge you at least website tomrobinson.com and in his show, a four-figure sum to promote BBC Introducing, the showcase for unsigned, “There’s never been a your single or album and there’s self-signed and emerging talent. He took better time for genuine no guarantee that you’ll get any some time out to talk to The Musician about airplay. You could devote a week 19 songwriting, self-promotion and getting of your time to doing it and get your tracks heard by the right people. talent to get through...” exactly the same result.

What led you to be so proactive in promoting TRB songs You presented a BBC Introducing Masterclass resources and initiatives for new artists? were as hook last year to an audience of young musicians. I was on the other side of the fence for 30 -laden as they One thing you advised was for artists to were political years, vainly banging on the doors of Radio 1 up their standards regarding promotion hoping they’d play my latest single. Suddenly, but lower them when it comes to songwriting. people are banging on my door and it made What did you mean by that? me see things from another point of view. The The one thing songwriters do the very least second factor was the death of John Peel. He of is writing songs. It’s so hard being faced was the one figure from the 1960s to the early with the blank page and so easy to get on the noughties who let a ladder down over the side phone and book gigs or to organise a band of the music establishment and let people rehearsal or to do the washing up instead. clamber up it. Once he was gone it seemed If you look at all the truly monumentally important for as many of us as possible to successful songwriters they have all been take up some of the slack. stupidly prolific. The Beatles used to record, release and promote two albums a year at With piracy eroding sales, live music revenues their height. Elton John – two albums a year. eclipsing recorded revenues and ongoing Prince has written over a thousand songs, concerns over streaming royalty rates, some 40 of which have been in the Top 20. wonder if they can ever make any money out of music – yet you remain positive... Think about the Brill Building, where Gerry Having lived through the 50s, 60s, 70s, 80s Goffin and Carole King used to turn up for five

and 90s as a working musician, I think there’s © Getty Images/Denis O’Regan years doing a day job writing songs nine-to- five, Monday to Friday. But how many awful songs must they have written during that time? The key to quality is quantity and unless you’re prepared to lower your standards and write absolute rubbish, but lots of it, you will never allow yourself to get to the nuggets.

The Musician • Summer 2014 Tom Robinson on the MU

My advice would be to join all the bodies that represent your interests against the entrenched interests of the establishment. As copyright becomes chipped away at and, as the first batch of copyrights begins to expire, it’s important to defend your rights. For songwriters, it’s vital to become members of PRS for Music, BASCA and, as musicians, it’s vital to join the MU. If you want

to get the issues that concern © BBC you looked at and addressed Tom Robinson at the BBC Introducing and fought for with some kind Masterclass in Salford, 2013 of solidarity then it’s important to put your name on the dotted line. It isn’t cripplingly Is there any benefit to finishing a song that expensive – you just need to you don’t think is any good? show solidarity. Absolutely, it’s essential to finish the awful songs because you get artistic constipation 20 past achievements otherwise. Finishing rubbish songs is the key People who criticise the role to coming up with great ones. We all have a that the Union had, for instance, cupboard full of half-finished songs that we’ve in restricting needle time in the got bored with. We’ve let them lie there and 60s, 70s and early 80s, should they’re a reproach going, ‘You’re no good really, look at the BBC’s stock of you couldn’t even finish us’. (Laughs). sessions. If it hadn’t been for the MU holding out for live music In your BBC Introducing presentation you to be properly paid for, we talked about holding off sending a track to a What really gets the imagination, though, is an would never have had the huge radio show until you know it’s your best work. interesting story. There’s a band called Sea wealth of the Peel Sessions. It’s so frustrating when someone takes the Stacks who’ve made an entire album with a It’s enriched the culture time to get your attention on Twitter, or write double bass, drums, a wind section – but no enormously that musicians did you a handwritten letter. You think, ‘Well they keyboards or guitars. Fantastic. The music stand up for their rights. clearly care about this’. You listen to the tracks, sounds fresh and original. In terms of getting write them a tactful email saying, ‘It’s very interviews, you must have a decent biog – ao uni n for all promising, man’. And they reply, ‘Oh, those are which is where 50% of the artists we come If you are in your teens, you old songs, we’ve changed drummers since across fall down. You hear an amazing track, might look at what the MU then and we’ve got a load of new demos we’re you decide to put it on air and then you go to represents and the majority recording next week’. And you think, ‘Well why look up the sleeve notes so that you can say of the membership and see the **** did you bother me with second-rate something about them afterwards and there’s them as a certain age group material? I’m not going to listen to them a nothing there – nothing on the page, nothing and think, ‘There aren’t enough second time. No, go away, **** off’. under ‘biog’ on Facebook... no story to give us. people like me for me to want to So it’s important to get that story available to support it’. Well the reason If you like the sound of a band, what might people. Don’t tell us how great you are, for that is because you need prompt you to invite them for an interview? tell us how interesting you are. to bloody well join! If they have two or three amazing songs that have grabbed you in different ways then it’s There’s an assumption that if you can perform clear that this is an artist with real substance. onstage you should be able to give an assured interview. What mistakes do people make? I once had the Black Keys come in. They did a live session and I tried to extract some kind of conversation out of them. I said, ‘Was it great

The Musician • Summer 2014 profile

It was like stopping being a chef in a small-time restaurant and becoming a restaurant critic. So now I’m experiencing the very best – I’m dining out at the Four Seasons and going, ‘Radiohead – must try harder,’ (Laughs). Now if I play a gig working with Danger Mouse on this album?’. it’s because I feel like playing. I can recruit really ‘Yup.’ That was it. ‘Are you touring the UK after great session players. We do a high-quality Ready to go? this? ‘Huh huh.’ They don’t need any exposure show, pack up and get on with our lives. from the likes of me – but if they had been an how to prepare for indie band that had needed it, they wouldn’t It’s 36 years since the release of Glad To Be a radio interview be welcome back. The other thing is swearing. Gay. How far has society come in terms of Work out what you want to tell We’re trusting you not to say ‘****’ on air. It tolerance towards the gay community? the world. Include whatever it may feel big and rebellious but what happens is I never thought we’d have a Conservative is that you want those listeners the show’s producer gets disciplined and their government bringing in gay marriage, and to know about your band and career path in the BBC gets blighted by some have the Rufus Wainwrights of this world. The what you’re going to be doing. little ******’s coming in and deciding to talk big. point isn’t that he’s a gay songwriter, he’s If you’ve got a gig coming up a famous songwriter who happens to be in London next week – make Nerves can also be debilitating. What advice gay, which is a great move forward. The era sure that whatever question could you give to minimise nerves on air? I grew up in, I would rather have died than let they ask you, that fact gets in Preparation will help a lot. It’s not a stress to anybody know that I was in love with another there. Be prepared for the stock get up and sing a song because you wrote the boy at school. And that’s the option I chose. I questions (below) and practise song and you know the words. Also remember tried to kill myself because of the shame. You being interviewed. Get a friend it’s not the private ‘you’ they want to hear about. were taught to ‘hate queers’ long before you to ask you the questions and They want a cartoon version of you, so you’re knew you were one. We’ve come a long way. record it. Keep the answers acting a part. The other thing that’s useful is – short and pithy, because your prior to going onstage or into interviews – to sit Was it frightening to release Glad To Be Gay? air time’s going to be limited, and focus on your breathing. Just 30 seconds I went though my teens and early 20s in a particularly early on. to close your eyes and notice the air going in therapeutic community where I learnt to just and out. All that shortness of breath, you can be myself and not worry about what other So t ck interview 21 just let it go and be in the zone. Trust that your people thought of me. When I came to London I questions unconscious brain – the same part that wrote discovered gay liberation, a serious movement l Where are you from? the songs – will see you through. that was trying to push forward people’s rights l How did you meet? and I embraced it. I went from one extreme l Why did you form? to quite literally making a song and l What was the first record “The more of us in the music dance about it. you bought? l Who inspired you musically? industry that can connect Do you sense there is less l What are you currently homophobia in the UK music listening to? musicians with listeners, the industry? l What’s the best moment There’s much less now than there or the best gig? more healthy music will be.” ever was. Bizarrely, back in the 70s l What’s the worst moment a lot of the music industry was run or worst gig? In July 2013, you did a gig at the Tabernacle in by closeted gay men. They were the people l What’s the most west London performing TRB’s classic album that wouldn’t touch us with a barge pole embarrassing moment? Power In The Darkness. What was that like? because of our song. On the other hand it l What are your future plans? I do one or two gigs a year and what’s lovely was thoughtful, sympathetic heterosexuals l If you could have one wish about it is that I don’t have to. If you were to who said: ‘Well that’s a brave stance worth what would you have? ask me that stock question, ‘What was your supporting, yeah we’ll play that’. worst moment?’ It was quite late in my forties, being booked to play the Wheatsheaf pub in What do you think the music industry will be Stoke-On-Trent – a solo gig to an audience of like in 10 years time? 50. A drunk starts shouting, ‘Sing Martin,’ so I I have a dream that in 10 years’ time, artists sang Martin and then he starts shouting, ‘Sing and audiences will once again be truly it again,’ (Laughs). I got to thinking, ‘I really connected as they were before the music don’t need to be doing this’. industry even existed. The more of us in radio, those of us in record companies and in the I was quite glad to let that go as a way of music industry can get out of the way of that earning a living and take a job that allowed me process and the more we can help connect to sleep in my own bed every night and know listeners with musicians and musicians with where my next pay cheque was coming from. listeners, the healthier music will be.

The Musician • Summer 2014 Arts

LWith fundingo falling across the stboard, what future is there for the arts in the UK? The Musician explores how the Lost Arts campaign is recording the losses...

Feature by Simon Tait

Sir Richard Eyre, the former artistic director “The Lost Arts campaign and website in of the National Theatre, was in euphoric mood particular has proved to be a vital hub for the 22 at the recent Olivier Awards. He had every collation of funding lost to the arts,” says the right to be: his production of Ibsen’s Ghosts at MU’s General Secretary, John Smith. “It has the Almeida Theatre had just won three been a valuable touchstone in evaluating the statuettes. “There is something emancipating impact of current government policy.” about doing a show outside the West End where you don’t have to hit the jackpot every Growing threat time. You’re not panicking about whether you Maddy Radcliff is the MU’s Campaigns and can fill the theatre.” Public Affairs Officer, and she has managed the Lost Arts campaign for the last two years. “We Unfortunately, this is not the experience of are facing an unprecedented attack on our everyone who’s involved in the theatre. Barely artistic and cultural life,” she said. “Central a month beforehand, Nottingham Playhouse – government is cutting arts funding as well as where Sir Richard cut his teeth as a director local authority funding that supports arts and – was told that Nottingham County Council culture where we live. With less money, arts was scrapping all of its £94,500 annual grant, organisations are cutting down what they can despite a well-supported online campaign. do and hiring fewer people to do it. It’s proving This one example gives a sense of the tough for them to survive. The big ones might challenge facing Britain’s culture and the have the money and the time to hire magnitude of the fight to keep the loss of fundraisers or re-train staff, but that’s not true arts to a minimum. of everyone. Smaller organisations are struggling and some have already closed. Lost Arts is a campaign set up in 2011 by eight Right now, the creative economy accounts for unions, including the MU, whose members are one out of every 12 jobs in the UK. Arts and directly affected by the cuts in cultural funding. culture businesses make up about half of that. Its aim is to inform the next government by cataloguing the projects, events, initiatives, “These aren’t just statistics – it includes all of performances, organisations and companies us as artists and musicians. That’s why that are being lost because of cuts in funding. feeding in to Lost Arts is so important, so that we can make a collective case for the value of arts and culture, to us and our communities, before government.” © Hayley Madden Hayley ©

The Musician • Summer 2014 feature

The Lost Arts website gives the latest reports of where the cuts are being felt (lost-arts.org), starting with just over £14m from the British Library and nearly £5m from the V&A, both directly funded by the Department for Culture, Media and Sport (DCMS). Many of the staff at the British Library are members of Prospect and PCS (who also represent the museum and archive workforce). Cuts have seen staff numbers reduced by a third, salaries frozen for four years and acquisition and conservation budgets severely slashed. Meanwhile, the British Library contributes £4 to the economy for every £1 in funding it receives, said Prospect’s National Officer Sarah Ward. “Our research demonstrates that Prospect members are absolutely passionate about the work they do. They’re committed to their museums and galleries, to archaeology and to heritage,” she said. “However, these years of government cuts have had such a detrimental impact that motivation is at an all-time low and members are genuinely concerned about what the future holds.”

© Mark McNulty 23 The facts and figures Clockwise from left: The Royal Liverpool Philharmonic has From the national portfolio of Arts Council had £986,000 of revenue funding cut; England (ACE), English National Opera has lost Maddy Radcliff, MU Campaigns and £777,000, English National Ballet £581,014, and Public Affairs Officer; Lost Arts delivers Opera North £915,000. At the other end of the its message to Westminster spectrum, Manchester’s Castlefield Gallery has lost all of its £98,600 ACE funding, as has the women’s theatre company Foursight, whose £174,000 grant also disappeared. For the gallery it meant finding other ways of earning through capitalising on its city centre property. For Foursight it meant the end and the company closed after 25 years. Polka Theatre, the South London children’s company, has lost all of its £609,000 annual grant and is having to rely heavily on the support of its audiences; on top of its cut from the county council, Nottingham Playhouse has lost £61,000 from ACE.

Music suffers in the latest Lost Arts reports, too. The London Philharmonic Orchestra and Philharmonia – joint residents at the Southbank Centre – have each lost £92,000; the LSO £100,000; the North Music Trust, © Hayley Madden Hayley ©

The Musician • Summer 2014 which runs the Sage Gateshead and the Royal Northern Sinfonia, has lost £164,000; the London Sinfonietta £47,000 and the Orchestra of the Age of Enlightenment £19,000. The Royal Liverpool Philharmonic has had £986,000 of cuts to its revenue funding, but has been awarded £240,000 from ACE’s Catalyst Fund over three years to enable it The Lost Arts campaign has to raise its fundraising operation. been spreading the word since its formation in 2011

An uncertain future Madden Hayley © Collecting data on the impact of arts funding cuts is more important than ever. On 1 July, Arts “We’re trying to get the Labour Party to make Council England will announce details of how it will spread £271m of grant-in-aid and £60m in a manifesto commitment that arts funding in National Lottery funding for national portfolio organisations for 2015-2016 (the government local areas will be statutory – the same way has only confirmed ACE’s funding up to 2016, not for the full cycle to 2018). The investment as spending on schools is statutory.” has been £1.4bn between March 2012 and April 24 2015, and the projected settlement for 2015-16 Luke Crawley, Assistant General Secretary, BECTU represents a further cut.

Since 2011, national arts subsidy has fallen by to protect the budget for funded organisations in more detail, however, we find that funding 33%, meticulously meted out by ACE to avoid and we will instead reduce our strategic by councils on arts development went down in major casualties. But casualties there have budgets – the investments we make to support the period by 5%, on theatres and public been. In 2008 the Arts Council had 880 the wider development of arts organisations entertainment by 7%, on archives by 10% and regularly-funded organisations on its list; and audiences across the country.” on museums and galleries by 15%. from 2011, there were 696 after a 30% cut to its grant-in-aid. In 2014/15, ACE will also be able to use £28.3m Seeking protection of lottery money as revenue for the priority BECTU, the UK’s media and entertainment Since then, claims ACE, the arts have been areas of touring and young people. But the arts union, is fighting for a change in the law to resilient under the pressure of cuts. They have been squeezed by a pincer movement of protect local funding. “We’re trying to get the have been inventive, open and consultative, national funding cuts and local authority Labour Party to make a manifesto prepared to make partnerships with other reductions and the future in that quarter is commitment (and it seems to have some arts organisations to save money and expand even more uncertain. Business sponsorship traction) that arts funding in local areas will be operations. It has, says ACE, been a hard but and philanthropy has also failed to be the 7th statutory – the same way as spending on uplifting experience. From now though it is cavalry. According to the latest figures, arts schools is statutory – so that local authorities going to be much tougher and the uplifts and business trusts and foundations such as will have no choice but to spend money on the more difficult to identify. Larger organisations the Paul Hamlyn Foundation, the Pilgrim Trust arts,” says Assistant General Secretary Luke and projects are likely to find themselves and the Esmé Fairbairn Foundation, have Crawley. “We think that would go some way to without Arts Council revenue funding, but increased their support to a point where some heading off the most vicious cuts, and to stop ACE will not confirm that any of the eight are seriously depleting their endowments. threats of 100% cuts.” major symphony orchestras it has funded for decades will lose national portfolio status. Local authority funding has traditionally been Martin Brown, Assistant General Secretary of at least the equal of the national subsidy for Equity, points to “extremely alarming” ACE had another cut for 2014/15 of 1.7%, and in the arts, but between 2010/11 and 2012/13 the developments, such as Cardiff Council 2015/16 it will lose a further 1.3%. Since the Arts net expenditure for cultural services went substantially withdrawing from funding its Council itself was compelled to take a 50% cut down £3.378bn to £2.9bn, or 10%. Looking at it theatres. Newcastle City Council was last year to its operations, these cuts will have to be forced to back down from a total arts funding passed on – as sensitively as possible, cut after a high profile, ‘No to 100%’ campaign according to its spokeswoman. “We will look spearheaded by local arts organisations, arts

The Musician • Summer 2014 feature

leaders and concerned local residents. A concerted effort that had some success, although a 50% cut will still go ahead. “We fear Arts Council we may be seeing a backing out of arts funding by local authorities that can never be England’s arts has been steadily falling from 20p per reversed. The structural shift to the way live grant in aid head two years ago to 16p per head now. The arts are funded is really alarming. The funded NCA co-commissioned Ipsos MORI to carry theatre sector is an important generator of 2009/10 444m out a poll of the general public that showed employment, not just on stages, but because 2010/11 449m that, even in these difficult times, local the work of funded theatres goes into film and 2011/12 338m authorities should be investing at least 50p per television as well as the commercial theatre, 2012/13 360m head in arts, museums and heritage. It showed creating more employment again. I’m not sure 2013/14 352m that nearly 90% of those polled wanted some the government has got that.” 2014/15 350m funding for the arts at a time when several councils contribute nothing and others Lobbying for change are considering 100% cuts, following the The Writers’ Guild’s Assistant General examples of Somerset and the London Secretary Ellie Peers fears a freezing of Get involved Borough of Westminster. playwrights’ careers because subsidised theatres (for so long the breeding ground for “Over the last 12 months we’ve The NCA’s chair is the actor and director new work) are cutting their development been doing lots to highlight Samuel West. “Because investment levels are programmes and putting on standard funding cuts in meaningful so small – less than half a penny in every repertoire. She points to the up to 25% tax ways, most obviously by pound – cutting them won’t balance the breaks the government is offering for theatre tweeting losses and asking MPs books,” he said. “Instead, it will make production coming into effect in September – where those losses take place independent cultural organisations but how it will work is still unclear. “It may help to support arts funding,” says unsustainable and could make the UK’s the theatres that remain to stay afloat, but for Maddy Radcliff, MU Campaigns cultural desert spread.” those that have closed it will be extremely and Public Affairs Officer. difficult to revive.” “We’ve had some encouraging Working harder for less 25 responses from MPs. The more Last year the NCA published its Index – an “The money the creative industries bring to the members get involved, the annual health check – which showed how economy is massive. If you have a scenario more pressure we can put on much harder arts organisations are having to where people can’t be paid for going into that politicians to represent us, so work to get the funding they need. While industry – because they simply can’t afford it please do follow us @LostArts­_ subsidy has been sliding from both national – it’s a false economy. New writing is how our and help spread the word. Last and local sources, business sponsorship and theatre flourishes.” year, over 200 people joined our individual giving are both falling, despite the human chain and rally under the government’s ambitions for philanthropy as a In April this year the National Campaign for the banner ‘Don’t Go Breakin’ Our major source for cultural funding. The index Arts (NCA), the lobbying group founded in 1985 Arts #LinkUpForArt’ outside also found that while employment in the arts is by Melvyn Bragg and Joan Bakewell, launched London’s National Gallery. It down, earning by the cultural sector is up. a 50p campaign, following the revelation that was an incredible atmosphere “This could suggest that arts organisations are the contribution of local government to the and great to get so many people working harder to produce great art with fewer – actors, musicians, writers, people,” the report says. poets, journalists and museum and gallery staff – involved. The cultural sector has become adept at Bottom 10 areas Organised with colleagues at making its financial case for subsidy and for Local authorities at the bottom of the table PCS, we’re looking into taking private funding but it will only become harder. for funding in pence per person, per week this outside London in the While the economy appears to be coming out future. Plus, we’re in constant of the dark age of recession, the Arts Council Rank Area £pppw contact with members across warns that the cultural economy is three years 309 Wealden 0.01 our partner unions, educating behind the national situation so that, in 309 Adur 0.01 them about the impact of cuts practical terms, the arts are where the country 319 Selby 0.00 across sectors and learning was in 2011. It means the campaign’s message 319 Bath and North East Somerset 0.00 how cuts are affecting us all.” is even more urgent, argues Samuel West: 319 Forest of Dean 0.00 “It’s difficult to put figures on the value of the 319 Isles of Scilly 0.00 arts to us, because the government will have 319 North Somerset 0.00 us talk in economic terms. But what’s at stake 319 Wigan 0.00 is not money, it’s not even art, it’s something 319 Wokingham 0.00 more fundamental than that. It is our identity”. 319 Huntingdonshire 0.00

The Musician • Summer 2014 26 Taking

With her innateflight curiosity and an ability to span the genres, Catalonian musician Clara Sanabras writes music without boundaries. Feature by Katie Nicholls © Hill & Aubrey

The Musician • Summer 2014 pro file

deliver emotion through song regardless of the genre. From the ethereal ambience of new single Scattered Flight to the Kurt Weill-tinted ditty Hopetown House to the medieval gravitas of For Whom The Bell Tolls, Clara never fails to Singer-songwriter, classical composer, folk bring meaning and feeling to her songs. musician, soundtrack performer: Clara Sanabras can boast a multi-faceted career Her most recent album, El Vol Dispers (Songs Clara on that defies classification. Her seamless Of Spanish Exile), sees the now London-based the MU transition across disciplines, or instruments, multi-instrumentalist singing in her mother and from genre to genre is reflective of her tongue of Catalan, alongside Spanish and “I’ve been a member for at multi-cultural upbringing. Born in France, with English. The album – inspired by a poem least the last 10 years. I had Sioux heritage, Clara moved to Barcelona written by her great-grandfather Joan a bad experience with an opera as a young child where she was trained as a Llongueras, a celebrated Catalonian writer company who hired me without classical vocalist and pianist. Weaned on a and musician – touches on themes of identity, an audition and then sacked diet of Bach, the French poets, punk and the universality and diaspora, all of which have me without an audition! I’ve Cocteau Twins, Clara was primed to explore deep personal significance for Clara. had some very good advice, and experiment. Guildhall School of Music particularly with all this film and Drama tempted the young musician over On the eve of the debut of a new choral piece work. I’ve become more to these shores in 2002, since when she has based on The Tempest, called A Hum About My interested in how things work played with a variety of musicians, from The Ears, Clara spoke to The Musician to share her in the music industry rather Jazz Warriors International to Nigel Kennedy. insight on her musical flexibility and being than being blind to it and the She has recorded four albums and guested “a citizen of the world”. Union is absolutely essential on movie soundtracks including The Hobbit, as a point of reference. There Hunger Games and For Greater Glory. How has your upbringing influenced you? are so many obstacles for the It has been confusing in my life not to modern musician.” Clara can boast a vocal that carries strength subscribe to one identity. To feel like I have and delicacy in equal measures. It’s a constant different nationalities. I was born in France 27 in her varied repertoire, as is her ability to and I had a French education but in Barcelona. A ny advice for They taught me French geography, I read young musicians the French poets and yet I have no direct entering the “It’s what I wanted. I reference to it geographically because I was industry? in Catalonia. I always wondered where that “Imagine you’re a promoter wanted the variety. would lead. Later in life, I find I make all the or the person who’s making it connections and it enables me to be a citizen difficult for you. Don’t think they Like a chameleon. of the world. Not to be afraid of categories and hold the answer. Analyse the different cultures. It’s instinctive. The Sioux situation and get advice and I never do what’s blood comes from a great-grandfather, so I make an informed decision. have no direct link but I remember going to a When you’re young, you tend expected of me.” museum in America with all this Sioux imagery to think, ‘It’s me. I’ve done and I felt an instant connection. something wrong’. It can dent your confidence as a musician.” You originally trained on piano, how did you come to play such a variety of instruments (Indian harmonium, lute, Baroque guitar)? I have a curiosity for lots of things and I always have had. When I was at Guildhall there was a shortage of accompanists, so I decided to start accompanying myself. The school’s lute was available so they lent it to me and I started learning it. Then I couldn’t stop learning unusual instruments. Hearing the way they complimented the voice with different sounds. I wouldn’t say I was a virtuoso on any of my instruments but I like writing songs on them. The spirit of the song comes from the instrument on which I wrote it.

The Musician • Summer 2014 that yet, but so long as the songs are sincere, that’s a good starting point.

There’s a strong storytelling and performance aspect to your songs? Is there one instrument you feel closest to? I’ve worked a lot at The Globe and the National I have a Baroque guitar that was made for Theatre and I was exposed to Shakespeare me a few years ago and it’s come with me early on when I arrived in London when my everywhere. I love it and I’ve learnt how to English wasn’t at all up to scratch. I could hear strum it so that it works in a particular way it as music rather than language. I remember for me. I was also given an Indian harmonium performing at The Globe in a play called Two a couple of years ago and that’s been really Noble Kinsmen and on the same season there great for singing. It breathes with you. It’s a was The Tempest with Vanessa Redgrave fantastic physical experience when you’re as Prospero. My cue for getting ready was performing to it. It adds a whole dimension. her soliloquy at the end, so I used to listen through the tannoy. I didn’t understand half As well as performing classical repertoire, of it but it was just so musical the way she you’re also a songwriter... said it, I could hear a song in it. When I was in Songwriting changed my perception of Barcelona and studying classical singing the performing. Before I was an interpreter. I main impediment to me performing opera, played the music of the past. Then I started for instance, was that I found it impossible to writing and I could never be the same person make the words clear. It was a contradiction. – it changed me for the better. It made me I’m more of a folk singer at heart – but then, appreciate classical repertoire so much more. what music isn’t somehow ‘folk’. Writing something simple is the most difficult thing in the world. Whereas before I just took it Tell me about the inspiration behind your new for granted and thought about the perfection album, Songs Of Spanish Exile… From top (clockwise): Clara 28 or the imperfection of the performance. When This was my perfect excuse to sing in all my performs her new album Songs I started writing it gave me a huge freedom languages and make sense of it because up Of Spanish Exile at The Forge in to put it in perspective. I don’t stop writing. until then my songs were primarily in English Camden on 23 April (see box-out It’s become part of my expression. I use a lot with diverse influences. The theme of Spanish right for full details of Clara’s supporting band); Clara pictured of symbolism and the themes of coincidence exile came up because my mother sent me a with her beloved Baroque guitar and fate and stuff that I dream, which is quite poem by my great-grandfather called Scattered Flight. It was all about birds who have flown and find themselves “I’m more of a folk singer without a place to land. This appeals with an orchestra and when the space doesn’t to me because I’ve been away from allow for a string quartet, I’ll do a solo version, at heart – but then, what my roots for a long time and yet or a duo or a trio – it’s got many possibilities. London is my home. I’ve learned music isn’t somehow folk?” more about Spanish exile in England How did you first start singing on then I have at home because people film soundtracks? abstract. When I perform or record I use all my don’t talk about it. Here there was so much I sing with the London Voices, led by Terry influences in early music, Arabic music – all the involvement with the International Brigades and Edwards. I got a solo recommendation for the genres I have performed. My songs are very Hemmingway and Orwell. There are endless film For Greater Glory with music by James personal but I try to make them as universal as literary references in this album. Most people Horner. They needed someone to sing in possible. That’s my passion and I can’t stop! have an experience of exile. If not directly, then Spanish so the choirmaster suggested me. I in the lives of their ancestors. It seems to met up with James at Abbey Rd and it was Do you find songwriting difficult? resonate and spark the imagination. one of the musical highlights of my life. He’s a It’s not easy. I have a tendency to start off wonderful guy and one of the few remaining by writing songs that are unnecessarily You have some rather distinguished composers who works directly to picture, not complicated or I think they need to be clever or guests on Songs Of Spanish Exile… to a click track. We performed the title track sophisticated and then I realise that they need From London there’s the Elysian Quartet and live with a 60-piece orchestra to the picture. to be simple and immediate and that really is an amazing oud player, Attab Haddad. I had He gave me complete artistic licence to sing one of the hardest things. I haven’t achieved a guest vocalist Eliseo Parra and also a wind to the image. He’d written the words and band from Barcelona, Cobla Sant Jordi, who someone had translated them into Spanish. play these ancient instruments, very archaic shawms and flugelhorns called tenoras and fiscorns. We’ve performed it with string

quartets all over the UK and we’ve also done it © Hill & Aubrey

The Musician • Summer 2014 profile

Meet the band...

With such a varied repertoire, It was an almost spiritual experience. Since it comes as no surprise that then I’ve been recommended to composers, Clara performs with a roster like Howard Shore, and I’ve been singing the of musicians or, as she calls music to Lord Of The Rings live to a projection.

© Jonathan Stewart them, “kindred spirits”, ranging I sing all the female voices, which includes the from Belgium fusion artist classical voices whenever the female elves Natacha Atlas to jazz composer come on the screen, Renée Fleming, Sheila Francesco Turrisi to modern folk Chandra, Elizabeth Fraser – as well as the singer Lisa Knapp. people who sang the title songs: Annie Lennox, Emiliana Torrini and Enya. There is, however, one constant in the band. “My musical Do you feel the pressure of a gig like that? director and partner Harvey Yes, I do! You just have to go with the moment Brough (harveybrough.com), and think they gave you the job for a reason who’s a composer, arranger and do your best. I said to someone when and producer extraordinaire I got hired, ‘There’s no way I can sing like without whom I wouldn’t be all of these people, I can only sing like me able to do what I do,” says Clara. with a reverence to what they did’. It’s a nice challenge for someone like me. I often think it At the recent launch of Songs serves me right getting this job because that’s Of Spanish Exile at The Forge what I wanted. I wanted the variety. Like a in Camden, Clara invited Ant chameleon. I never do what’s expected of me.

© Jonathan Stewart Romero (percussion); Peter 29 Hanson (violin); Fenella Barton What’s coming up next for Clara Sanabras? (violin); Tim Grant (viola) and I’ve got the premier of A Hum About Your Ears Daisy Vatalaro (cello) to share tomorrow with a local choir called the Chorus the stage with her. of Dissent, led by a wonderful lady called Ruth Whitehead. It was a commission to write a five-movement piece based on The Tempest. It’s being performed in St Mary’s church in Stoke Newington, which is tiny. We have a full orchestra and chorus and once the audience are in it will be like a tin of sardines. I’m up in the pulpit and it’s like, ‘I’ve created a monster!’. My neighbours are singing in the choir so there’s a real sense of community. I love that. One moment I’m dealing with Hollywood and the industry, battling for respect and recognition, but I’m famous in my street, which is what really matters. I’m hoping to take it further to celebrate the 450-year anniversary of Shakespeare’s birth. I want to make it a full folk opera and I’ve already invited some amazing people to be part of it. Lisa Knapp will be my guest for the launch. She’s the perfect Ariel. Hopefully, we’ll record that later in the year. I’m doing a lot of film work too. I’m doing Gladiator to projection in Moscow and Paris. It’s all very varied, which I love. Last night I did

© Jonathan Stewart a gig for the Jazz Warriors International with legends like Byron Wallen, Cleveland Watkiss. We did some improvising and it was an unforgettable experience. Completely out of the blue. I’ll probably just carry on like that!

The Musician • Summer 2014 The conference kicks off with a panel discussing the ‘Future of symphony orchestras: new concepts and working practices’ © Mona Askerød/Musikkultur Mona © FIM conference: 30 a global view Tackling pertinent political and cultural issues, the FIM International Orchestra Conference 2014 provided an open platform for musicians and managers to discuss the future of orchestras. Feature by Andrew Stewart

Orchestral musicians, union officials and into the working lives of orchestral players orchestra managers gathered in Oslo in worldwide. Over 160 delegates responded February for the third FIM International by airing frank views on present threats and Orchestra Conference (IOC), with a strong future opportunities. The conference covered contingent of MU delegates. The triennial, the themes of modern orchestra management, three-day event, held this year at the Oslo health and welfare and the role of trade unions Conference Centre, explored everything – all examined and debated in eight panel from the troubling rise of casualisation within discussions and two round-up sessions. “I’ve the orchestral workforce to the widespread been to each of the FIM conferences and this fall in real rates of pay for musicians. It was the best yet,” observes Alex Gascoine, addressed serious issues of workload-related violinist and MU Steward at the BBC Scottish stress, industrial relations and safeguarding Symphony Orchestra. “The great thing was musicians’ rights and interests. It also that you could find out first hand about what’s highlighted the need for orchestras to present happening in New Zealand, Brazil, Mexico and a united front against arts funding cuts and China. It’s so important to exchange ideas and challenge the blinkered cultural policies of discover how orchestras in other countries populist politicians. deal with problems.”

The International Federation of Musicians (FIM) While prominent examples of Dickensian presented an agenda designed to drill deep orchestral management have made news

The Musician • Summer 2014 feature

Bill Kerr Musicians’ Union National Organiser, Orchestras

Listening to people from around the world made me realise that the orchestral profession is not hopelessly beleaguered. This conference was both positive and realistic. That came across clearly in the final session on the balance between protecting jobs and raising rates of pay. We learned about Fernando Lozano’s work to boost players’ salaries in Mexico to the decimation of orchestras in the Netherlands where they’ve lost over 400 orchestral posts since 2012. We heard from Serbia, where industrial relations are in The Helsinki Philharmonic their infancy, and from Gerald Orchestra. The HPO’s Mertens from the German general manager, Gita Musicians’ Union, who reminded Kadambi, spoke at the delegates of the dissolutions and Health & Welfare debate

© Heikki Tuuli 2013 Tuuli Heikki © mergers that have caused the loss of 35 orchestras since Germany’s 31 headlines in recent years, the IOC provided reunification in 1990. room for encouraging stories about constructive dialogue and cooperation A platform for positive discussion between managers and musicians. Fernando Bill Kerr recalls how managers quit the building Eileen Lozano, music director of the Mexico City after the IOC’s first half, leaving musicians Spencer Philharmonic Orchestra, received applause in and union representatives free to discuss the First violinist, return for the story of his successful campaign sensitivities of re-auditions, labour conflicts Orchestra to boost musician salaries. Speaking during and industrial action. “Musicians weren’t of Opera North a lively session on the ‘Balance between scared of speaking their minds in front of protection of jobs and raising levels of pay’, managers, but it was useful to have space to This event was vibrant, even Lozano outlined what can be achieved when talk among ourselves. There was solid debate though the news was often an orchestra works together to lobby local and good interventions throughout.” downbeat. One positive story came from Norway. Rolf Lennart “The conference provided Bill’s colleague, MU Orchestras Stenso’s report about the recently Official, Danny Longstaff, notes formed Arctic Philharmonic room for encouraging stories how several debates ended in stressed the importance of the consensus. The global trend towards orchestra’s flexible repertoire, about constructive dialogue.” casualisation of orchestral labour community involvement and social was condemned outright; likewise, media networking, which may or politicians. “A conductor would usually be delegates rejected the idea of collective re- may not guarantee its survival. booed in this company,” comments Bill Kerr, auditions, infamously attempted recently by It was painful to hear from the MU National Organiser, Orchestras. “But orchestra managements in Brazil, Malaysia Cypriot delegate whose orchestra Lozano turned out to be one of the good and Korea. ‘Re-auditions: the wrong tool’ had been closed down overnight. guys! He was so appalled by the salaries and generated plenty of heat while casting light The IOC also explored ideas for conditions at his orchestra that he intervened on the subject. industrial action. We heard about personally. His orchestra’s campaign got the Stop Work campaigns where players a 60% pay rise and a new concert hall.” “There’s a massive gulf between re- 10-minute stoppages were made auditioning an individual player as part of at the start of a performance a capabilities procedure and a conductor and progressive media feeds announcing on a whim that they want to were released to emphasise an re-audition an entire orchestra,” comments orchestra’s precarious future.

The Musician • Summer 2014 Danny. He adds that collective re-auditions Bongani Tembe, CEO and artistic director of were roundly condemned as an unacceptable South Africa’s KZN Philharmonic Orchestra, practice, often illegal in terms of national explained how he was able to build an employment law and always divisive. “As “The theme that ambitious and demanding education project session moderator, I asked whether people by involving his musicians in every stage could foresee a time or circumstance when repeatedly came up of its development. The general manager this might be the right thing to do. The answer of Bucharest National Opera, Răzvan Ioan was a categorical, ‘No’.” was the need for good Dincă, meanwhile, offered a manager’s perspective on the need to protect musicians Welfare threats communication...” from prolonged workload stresses. “I believe Bill Kerr was among the panellists addressing long-term artistic planning is key to assuring ‘Ageing and performance: access to training Britain, Germany and France are somewhere in musicians’ comfort,” he noted. “[Their health], and adapted workload’. Bill spoke about the middle, while countries like Italy, Spain and both physical and psychological, is strongly the abolition of the default retirement age Greece, treat musicians poorly.” linked to their organisation of work.” in the UK. His analysis touched on the need for players to be able to discuss their Health and well-being Good communication and musician- personal and professional development with Diane Widdison, the MU’s National management was also tackled head on management in confidential career reviews. Organiser – Live Performance and Teaching, by Nicolas Papageorgiou, president of the He also addressed continuing professional moderated another health session looking Cyprus Musicians’ Guild. He spoke movingly development (CPD), health, income insurance at the ‘Organisation of the workload to avoid about the dire experience of working with schemes, retirement planning and the excessive strain and stress’. “The theme that autocratic managements in a country plagued importance of establishing and maintaining repeatedly came up was the need for good by financial problems and answerable to decent contributory pension schemes. communication between musicians and European Union and other foreign technocrats. managers,” she recalls. “So many problems The value of harmonious relations between “Reduced investment from national and that create stressful musicians and managers was subsequently local government and from private and workloads can be underlined by Paul Hughes, general manager corporate investors has caused orchestras avoided by sensible of the BBC Symphony Orchestra. 32 to reduce the level of assistance available to planning and looking ageing musicians,” Bill told the conference. at how concerts fit Cultural and political landscapes “Pension schemes are more at the mercy into the pattern of Other sessions charted the many other of the global markets and failing economies work across the year.” challenges bearing down on orchestras. David than their defined benefit predecessors, Morales, president of AMPOS, the with the risks now being taken by the (Above left): AMPOS discuss Spanish Musicians’ Union, stirred musician rather than by the employer. Not 2013’s Concierto Simultáneo. spirits during the penultimate only is the value of pension funds shrinking (This image): Delegates gather session on ‘Labour conflicts but the cost of an annuity that has to be in Oslo City Hall for the and industrial action’. He spoke conference reception purchased with it in order to receive a about last September’s Concierto pension income has risen sharply.” Bill’s Simultáneo, when around 1,400

call for the adoption of a support strategy © Mona Askerød orchestral players and choristers for ageing musicians in orchestras was took to public squares in 20 reflected in the FIM IOC’s conclusions. cities to perform and publicise their Union’s manifesto against The session also heard from Gita Kadambi, “indiscriminate cuts” to Spain’s general manager of the Helsinki Philharmonic orchestras and the government’s

Orchestra and Kristin Haagensen, vice Mikkelsen Maria Åsa © cultural VAT rise. The event president of MVO, the Norwegian Musicians’ attracted considerable support Union, about enlightened orchestra retirement sending a clear and loud message to procedures operating in Finland and Spain’s politicians. Scandinavia. “It was noticeable from the panel (which also included Christoph Stahl, general Conclusions, published online and widely manager of Cologne’s WDR Orchestras and circulated by FIM, comprised 31 points for Choirs) that European orchestra terms and action and good practice. John Smith, MU conditions and welfare work down from north General Secretary and FIM President, helped to south,” observes Bill Kerr. “The further gather the IOC’s recommendations during north you are, the better the pay, terms and an open discussion and presented them to conditions and the approaches to welfare. delegates for adoption at a final session. The Mayor of Oslo’s deputy Marianne Borgen and John Smith at the IOC reception © Åsa Maria Mikkelsen Maria Åsa ©

The Musician • Summer 2014 feature

annual competition, run in conjunction with the MU, for pubs to update their venues in order to host live music. It’s a campaign that aims, says Fletcher, to put “live music back at the heart of pubs and local communities”.

Challenges ahead Times have changed since viola player Eric Coates became the first recipient of a PRS payment for £50 in 1917. The paradigm shift in Gary Kemp, Cathy Dennis the music industry has meant PRS has had to and Guy Chambers at the PRS for Music photo re-evaluate the way it negotiates deals with exhibition earlier this year music services, such as YouTube. “Many

© Ben Pruchnie Ben © traditional income sources have declined and we all know the landscape provides a constant state of flux for songwriters, composers and music publishers who want to make a decent living,” explains Fletcher, who is confident PRS 100 is prepared to deal with the future of music licensing. “The music industry has changed years of Music beyond all recognition in the past five to 10 years but we are always evolving and licensing As PRS for Music celebrates its centenary, The Musician new services such as Google Play, YouTube and Deezer. Online revenues reached £61.2m in assesses how the collection society serves its members. 2013, an increase of 18.3%. Our independent publishers collective, IMPEL, keeps growing On 6 March 1914, music publishers William buoyant membership levels and a stable that too... providing a quality one-stop shop for Boosey and Oliver Hawkes opened up the ranges from songwriters taking their first licensees.” PRS for Music is currently investing 33 doors to The Performing Right Society to steps to big-name stars. The success of PRS in new technologies and initiatives in an effort welcome in solitary member – composer for Music is, in part, says Guy Fletcher, due to to remain as efficient as possible. and vocalist, Liza Lehmann. The turn of the the driving ethos behind the organisation.“Our 20th century was an era of change for passion for music and commitment to Centenary celebrations musicians. The Society was born out of the protecting music rights is at the crux of Festivities marking the 100-year birthday are 1911 Copyright Act and, with recording everything we do,” he says. “Since 1914, we already underway. In March, the Getty Images technology in rapid development, artists have been a music business run by musicians Gallery launched PRS’ 100 Years of Music needed a body that could license – songwriters, composers, publishers and exhibition with pictures of members old and organisations to play, perform or make music lovers alike. We understand all aspects new, from Sir John Tavener to Dizzee Rascal. available copyright music and then distribute of the industry whether you are a music The show attracted over 700 visitors, including the royalties in a fair and honest way. creator or a licensee.” Bob Geldof and David Arnold. The exhibition featured photos that are being Under Boosey and Hawkes’ watch, the “Our passion for music is at curated by Guy Fletcher into an art Performing Right Society, now PRS for Music, book, 100 Years Of British Music, due became a hugely significant organisation in the crux of everything we do.” for release later in the year. “We are the UK. Nevertheless, the entrepreneurial really busy at the moment!” says Guy. pair would be pretty impressed with today’s Branching out “We’re sponsoring The Ivors, then hosting a stats: “We collected £665.7m in royalties last The PRS for Music remit extends beyond gala dinner for international dignitaries in June. year, contributing to a music industry worth licensing and distributing royalties. PRS for Glastonbury takes place after that, where over £3.5bn,” says PRS chairman, Guy Fletcher. Music Foundation was formed in 2000. “The thousands of our members perform and later “We work in 150 territories worldwide, Foundation is the largest funder of grassroots in the year we are hosting a big concert at the collecting royalties for our members every music in the UK,” informs Guy. “The team plays Royal Albert Hall.” Details of celebrations can time their song is played on TV, radio, online, an integral role developing some the most be found at prsformusic.com/100years. in businesses or at a live event.” exciting and important artists in this country, and promoting them abroad. Since 2000 they For Fletcher, the centenary is as much about This is a significant year for PRS for Music as have awarded £19.5m to over 4,600 music looking forward. “Can you imagine a world the organisation prepares to mark its projects.” PRS has also joined forces with PPL without music? No, I can’t either. It’s our role centenary. There is plenty to celebrate with to run an initiative called MusicWorks, which to ensure that there is a thriving music campaigns to demonstrate the benefits of industry for another 100 years to come.” music within businesses. Other strings to the PRS for Music bow include Music Makeover, an

The Musician • Summer 2014 l Some performers (principally certain session musicians) will gain a right to ‘supplementary remuneration’ (the so-called ‘session fund’) in the extended term. l In the extended term, payments to performers can no longer be used to recoup monies from their advances.

5. What is supplementary remuneration? Some performers (principally certain session musicians) will gain a right to supplementary remuneration in the extended term. This means that the relevant record company will be under a statutory duty to pay these performers a share of revenues in the extended term of a sound recording. Please note that the amounts of supplementary remuneration, particularly in the early years of the new scheme, are likely to be relatively

© Getty Images small. The right to supplementary remuneration only applies to sound recordings from the relevant periods and to certain revenue streams for a recording. Copyright term 6. Will I benefit from that? You may be entitled to supplementary remuneration if you do not receive a ‘recurring 34 remuneration’ (ie a regular royalty payment) in respect of the rights that you assigned (to the extension FAQs record company). MU General Secretary John Smith answers some 7. Who will be collecting the money? The statutory system directs the copyright burning questions regarding copyright term extension. owner (or exclusive licensee) to pay a collecting society. In the UK, PPL will be After receiving a number of queries from 3. What has been happening recently? administering the distribution of this revenue members on this pertinent subject, MU We have been meeting with representatives by accepting the monies from rightholders and General Secretary John Smith clarifies the from across the various industry interest paying qualifying performers. implications of the changes to the copyright groups to discuss UK implementation of term of sound recordings. copyright term extension and have been 8. When will they pay out? engaged in a collaborative dialogue around The obligation to pay supplementary 1. What is copyright term extension? the various issues. remuneration arises for the first time in It refers to the extension of the duration of respect of revenues received by the sound recording copyright term from 50 “The extension applies to sound record companies in 2014 (for to 70 years. The additional 20 years is ‘the sound recordings in the extended term’. This extension only applies recordings released from 1963.” extended term). Record to sound recordings released from 1963. companies have to make the 4. As a performer, how might I benefit from appropriate payments to PPL by 30 June 2015. 2. When is it coming in? copyright term extension? PPL will only be able to pay you a revenue due The changes came into force on 1 November In addition to benefiting from the additional 20 once it has received the monies. Any new 2013. The relevant legislation is the Copyright years of copyright (which may mean further scheme is likely to take time to be and Duration of Rights in Performances years of PPL performer payments for you) the implemented efficiently and cost-effectively. It Regulations (see legislation.gov.uk/ extension is also accompanied by three new may be that the first payments of supplementary uksi/2013/1782/made). rights for performers: remuneration to performers are made in 2016.

l Performers can exercise a ‘use it or lose it’ 9. When will I get more information? right if the record company does not exploit We will be covering this issue in more depth in the recording in the extended term. the Autumn issue of The Musician.

The Musician • Summer 2014 report Support My Music Teacher With music education facing more cuts, the Musicians’ Union is launching a new campaign to help support the invaluable work done by music teachers around the UK.

By Fran Hanley, MU Music Education Official

In response to the growing crisis in music education the Musicians’ Union and the Music Industries Association (MIA) are jointly launching a campaign: Support My Music Teacher. 35

Music teachers across the UK are being affected by jobs cuts and a reduction in terms, conditions and pay resulting in a casualisation of the workforce. A generation of children and young people are at risk of losing out on the life-changing opportunities You can get involved in this campaign by: So, what do we want to happen? We want to that music education offers as the education stop music education becoming the preserve sector becomes increasingly fragmented. l Telling us and your Twitter followers what of only those with the means to pay. Whilst Music teachers working from pre-school to the issues are that are affecting music there are lots of music organisations in further and higher education are being teachers using #supportmymusicteacher existence, the actual opportunities for affected by the cuts to public funding children to learn to master an instrument in a across the whole of the education sector. l Telling us how your music teacher changed sustained way are diminishing. And, as we all your life and helped you achieve your know, mastery of an instrument and We are concerned that in future fewer ambitions. Encourage your students to do understanding of music only happens with a musicians will be able to sustain viable the same via #supportmymusicteacher first-rate musician and teacher. careers through music teaching. There are so many music teachers out there who In addition we will be asking schools who are Finally, we are always interested to hear what inspire their pupils and truly change lives for not currently offering music education to get is happening on the ground in your area. The the better and we want to make sure they involved. Hundreds of schools have already MU’s report Music Hubs Fail – the real story, feel supported and championed through downloaded a bespoke resource provided by released in February 2014, was based on these testing times. Music for Youth at mfy.org/evolve/infinity, an what our Hub Reps and members reported to initiative supported by the MU and NUT. Tell us about what was happening with music We want to raise awareness of the issues your schools about it and, if they join in, tell services in England. For us to report on the affecting music teachers everywhere but us about it. bigger picture we need your stories as to also to celebrate the inspirational work what really is happening on the ground. teachers have done, and are doing, to create Over the coming weeks we will be the musicians and music lovers of the future. announcing other ways you can get involved Please send these to the MU’s Education and support our campaign as we raise issues and Training Dept at [email protected] on a national and local level with politicians, councillors, head teachers and governors.

The Musician • Summer 2014 36

© Getty Images. manager for a looking start when to How and advice finding a manager... A good manager can make all the difference to your career and act as an ambassador between you and the music business, Tracey Kelly discovers.

real determination and an established and burgeoning fanbase. But if you satisfy these “If you’re at the point criteria, then you are in with a good chance. Whether you are approached by a manager, of a deal with a label, you are searching for one or you are going DIY, here are some key points to remember before that’s when you need a taking on a manager. manager...” Alistair Norbury, There’s an understanding amongst musicians that, ‘You When to start looking Bryan Ferry’s manager don’t find a good manager, a Given the fundamental role that a manager good manager finds you’. But just can play in terms of steering a band in the need a CEO/ambassador-type person who is as the landscape of the music right direction, the timing of your search for a the link between all of the different elements, 37 industry is a constantly changing manager can be crucial. Kat Kennedy is general the publisher, the label, the agent and so on.” vista, old maxims do not manager at Big Life Management, assisting necessarily still ring true. Bands director-managers Jazz Summers and Tim Parry Starting the search can now reach out to managers with a stellar client roster that includes Boy While we would all love to have respected via various mediums, or some George, Scissor Sisters, London Grammar and music managers banging on our door, the even choose to take on the Badly Drawn Boy. reality is that often bands and artists need role of manager themselves. to go on a search for managerial support. “If an artist believes in what they’re doing, it’s But where to start? “It might be good to find Alongside the shifting sands of not necessarily ever too early to look for a someone who does different types of things, the music industry, the role of manager,” Kat considers. “The first thing you because they can bring various expertise to the manager has also changed. need is great music. It is important to develop what you have already,” suggests manager Some basic requirements remain your songs and songwriting, but it’s not about Emily Watson, who handles artists such as Toy, the same: strategic thinkers with the quality of your recording. We’ll be able The Horrors and Telegram at Hall or Nothing finely-honed organisational skills, to hear if it’s a good song and you’ve got a Management. “Also, you are not competing for a vision for your artistry and great voice, if it’s got potential. A lot of bands the same slots with their other artists.” great connections in the music make the mistake early on of spending a lot of industry are definitely required. money to get an expensive demo recorded.” Alistair Norbury suggests a different approach However, cuts and changes in the when taking those first tentative steps in organisational structures of labels Alistair Norbury, manager for Bryan Ferry, the search. “I would look at the artists I like,” means that managers are often one-time lawyer for Island Records and says Norbury. “You may be attracted to Quest required to take up the slack, Blue Mountain Music’s publisher believes a Management, for example, because they from booking photographers to manager only comes into play when you are on have Arcade Fire.” However, he raises a note planning marketing strategies the cusp of a deal: “If you are at the point when of caution. “If you sign with a company, make – making a manager even more you’re doing a deal with a publisher or a label, sure that you’re going to be handled by the indispensable to a band’s career. that’s when you need a manager in the mix, person that you want to be managed by, and because the artist doesn’t want to be having not the company generally.” It’s worth noting that finding those conversations with companies. They a good manager is not easy. It’s a pertinent point. A manager is someone Any manager with a proven with whom you will have a close relationship, track record is going to want to so it makes sense that you need to get on hear outstanding material, see above all else. Emily: “When you meet a

The Musician • Summer 2014 “Your manager is your ambassador,” Alistair Norbury

potential manager, it’s really about personality – it doesn’t matter what sort of music they look after. If they like your music, can you get on with them and trust them? That’s important.” What about friends or family members managing your band? “Honestly? I think parents are the worst managers.”

“People skills are very important,” agrees Alistair, “because of the myriad of people that a manager deals with in one day. Your manager is your ambassador, Location, location they face all the different facets Where you live may not be of the industry for you; they often as important as where your face broadcasters for you, go with manager resides… you to TV and radio shows. It is 38 Logic might dictate that it a personal relationship – one of is best to go with a local total parity where the artist puts manager, so that you can meet absolute trust in management, up regularly. Alistair Norbury and the management respects refutes that idea, however. His the artist 100% as an individual, message is clear: if you want but also creatively.” to be a player, your manager you have plenty of decent songs. So many needs to be based where the Getting noticed people have just one good song, but a record action is. “Geography does Band management can be a lucrative company or a manager will want to know that play a part. For right or wrong, business and managers are on the look out there is potential for development,” she says. in the UK the music business for new clients, so getting yourself noticed “Figuring out who you are and what you want is centred in London. All is prerequisite to pairing up with the right to be is really important. Ultimately, it is the the booking agents, music partner. There are an incalculable number artist who should drive that.” publishers and record labels of musicians on social media clamouring for are in London as are all the big attention. Many bands operate under the belief The DIY route brands that you might want that, in order to attract management interest, With so much information and technology to work with: Toyota, L’Oreal, it’s all about how many Facebook friends, at all our fingertips, the self-management Vodafone. If I was an artist, I tweets or YouTube hits you accrue. Not so, route is an increasingly popular one – even if would want my management says Emily: “I don’t think it matters that much just for the short term. “An artist can now be to be in Los Angeles, Nashville, if a manager likes the songs. But if someone in business, in theory, without anyone else,” London or New York. It is new and exciting, you almost want to get says Alistair. “You can have a website, three shouldn’t be this way, but it’s in there before anyone else does to grab a or four great tracks, a web store, book your where the music business is, part of it.” own gigs…” Even if self-management is a and the media, so your manager temporary solution, the experience can give will be a lot more effective While Emily encourages a proactive approach, bands an understanding of the business that there. Of course, there are she cautions against overexposure. “Pick will help inform when it comes to choosing always exceptions to the rule – the shows you do carefully, don’t do loads. a professional manager. “I think the more the great management hubs in Be selective about what you do. Make sure the artist understands each element of the Manchester and Glasgow, and business, the more they’ll be able to ask, ‘Is the all-time legendary Principle this manager smart enough for me?’.” Alistair Management in Dublin.” agrees. “I am seeing a lot of young, savvy artists now who understand all this because

The Musician • Summer 2014 advice

Joshua Hayward and Faris Badwan of The Horrors. Emily Watson from Hall or Nothing Management has helped guide the band to commercial success T op 5 Tips 1. The agreement There are no ‘standard’ management Five fast tips to a) the information is readily available and b) contracts, so do not be afraid to dispute they like the DIY approach. They like having clauses in a draft agreement. If the person is finding the right a label they can promote through their own in a management company, ensure that their website, and get themselves to the point of name is specifically mentioned. management ‘pre-ignition’ before everybody comes calling.” 2. Commission A rate of 20% of gross income is more common than 15% today, but this is 1 Norbury is keen to sound a note of caution to negotiable. The manager should not take anyone considering this route. “The biggest commission on money advanced towards Self-management problem these days is that artists or musicians recording, promotional video costs or Many artists now manage themselves, can spend an awful lot of time running their tour support. at least in the initial stages of websites, updating Facebook and Twitter, 3. Length of contract A one-year contract their career. Go to themmf.net for booking their band and going round the local with two options to extend the deal for a information and resources. venues putting up posters. The whole DIY further year (three years in total) is fair, but thing is great, but every minute you spend some managers try to obtain a five-year term. 2 doing that, is a minute you’re not spending Contact the MU for advice. writing a song or recording,” he says. “The 4. Territory Artists in a very strong position Public profile freedom is great, as is the democratic way the can sometimes limit a manager to specific Compile a well-written biog, photos and industry is going: we can all make music and territories, allowing another to represent them pages on social networks. Having your videos and put them on the web, we can all in other markets such as North America. New own site is a prerequisite. Head to the be in the music business. However, this also bands may settle for worldwide representation MU Handbook for resources. means you’re spending so much time being by the same manager. 39 the label, the publisher, the manager, that it’s 5. Comprehensiveness 3 good to be able to just hand all that over to The agreement may comprise more than you someone and say, ‘I just want to concentrate realise. Session players or jingle writers, may Finding a manager

© Getty Images on writing and recording and touring’.” want to try to exclude these activities from the Trawl the web to find managers and management contract. search resources such as the Music “Figuring out who you are and what 6. Expenses Attention to Week Directory and Music Managers detail is very important. Forum’s The Music Management Bible. you want to be is really important. The manager must be allowed to spend small 4 It is the artist who drives that,” amounts of money on Emily Watson, Hall or Nothing Management behalf of the artist, but N egotiating contracts a ceiling figure should There’s no such thing as a standard be agreed. management contract, so do not be Checking the small print 7. Accounting Ideally, the MU would like to afraid to query any points. Email or ring If you do find a manager and are mutually see all monies paid directly to your own your Regional Office first. interested in having them represent you, the accountant, who would then pay the manager next step is to negotiate a contract. There their commission and expenses. are a number of factors to consider. Your MU 8. Right of audit clause This is an essential 5 Regional Office can help with all your queries clause allowing you to look at the manager’s C ontract Advisory Service regarding management contracts but here are books when required. Take advantage of free specialist advice some basic T&Cs to consider first: 9. After the agreement ends from the MU Contract Advisory Service. Management agreements generally provide View a sample Management for the manager to continue to be paid Agreement at theMU.org commission on records released or copyrights published during their term of office, but not on future records or songs, even if they fall under a record or publishing agreement that they E xperience is everything helped to negotiate. Before you look for a manager, try TOP doing the job yourself first. It will stand TIP you in good stead when you want to entrust the role to someone else.

The Musician • Summer 2014 What’s in a

name? Finding a moniker you’re happy with, that suits the music and sticks in the minds of listeners can be a tricky proposition, says Will Simpson.

Finding your doppelganger Having thought up a name for your act, how do you know if it hasn’t been used before? Well, your first port of call should bebandname.com This is an industry-standard website that lists The name you give your band, every name that has already been taken. After project or even yourself as an registering yourself there you should conduct 40 artist could have a crucial effect a thorough internet search to see if there are on your career. In some ways it’s any other groups that share the same moniker. the most important decision you will make as a musician. Finding There is no copyright in a band name. If you the right name is about more do stumble upon another similarly-named than not lumbering yourself with act, much depends on how much ‘value’ your something that doesn’t fit your name has accrued. “It’s not always about who music, or sounds stupid. It’s also came up with the name first,” advises MU about ensuring you haven’t given Regional Officer for London, Alex Mann. “So “Artists who have yourself a name that has already you need to build up value by using it. Touring, been used by someone else. selling records or building up a presence in the tripped up naming media – all of those things can count towards The stories of artists who have goodwill, which is the thing that adds weight themselves are part tripped up naming themselves and strength to that name.” have become part of music of music folklore.” folklore. Famously, 2 Tone heroes It also means establishing a presence on the The Beat became ‘English Beat’ internet. It is well known that many people in the US after running up against store up names by registering them on sites between us, management and the label,” a similarly-named group. Suede such as bandname, just as a quick way to explains Rob Cloakley of the band. “We’d had to switch to ‘London Suede’ make a buck. “It’s called cybersquatting,” noticed a few other Carousels both here and for the same reasons. The internet says David Fenton, MU In-House Solicitor, who in the States and thought it would be best to has made these cases rarer, yet advises registering a band name as a .co.uk, change it. Hopefully, fans won’t be confused.” in 2011 indie hopefuls Brother .com and .org, or any other widely-used suffix. had to add ‘Viva’ to distinguish If both acts are unsigned and are unlikely themselves from an Australian Facing your double to encroach on each other’s territory – group of the same name. What if your worst fears are realised and you geographic or stylistic – then it’s entirely discover someone has grabbed your name possible both may be able to keep their first? Up and coming London-based group names through a coexistence agreement. Carousel are signed to Invincible Records and were on the verge of releasing their third single when they decided to change their name to The Carousel Club. “It was a joint decision

The Musician • Summer 2014 advice

Suede at The 100 it and therefore neither can force the other to Club in 2010. The indie change it; often, agents/labels will play dirty heroes became London tricks to push a DIY musician out of the way. Suede when touring the US due to a name clash I was devastated – I didn’t have the money to reprint my albums and start all over again with a different name.” Ciara stood her ground. “I was encouraged by a few solicitor friends who said that it was telling that, six months on, I had not received a letter from the solicitor at her label asking me to change my name. I made a second album under my name, put everything on YouTube. I bought every web domain I could and a UK Limited Company under my name. A few years on, I discovered she had officially changed her name.” © Marc Broussely/Redferns Marc © Historic problems The situation with defunct acts isn’t PROTTI EC NG straightforward either. It’s not always a YOUR NAME problem: two separate Nirvanas have scored l Look at bandname.com and UK chart hits, as have two Enigmas and Mr research the internet to see if Bigs. But the promise of a pay cheque can someone else is using, or has tempt old musicians out of the woodwork. used, your name including other “Electronic musician Dan Snaith, who performs companies and organisations. under the name Manitoba, was pursued by 41 l Register your name under as Handsome Dick Manitoba of US punk band The many domains as you can: Dictators, disputing his right to use the name. .com, co.uk, .org, and so on. Despite the claim being considered somewhat l Registering yourself as a spurious by many, Snaith opted to change his trademark under Class 41 artist name rather than face heavy legal costs.” for live performance and “It can work out to the advantage of both entertainment costs upwards After checking, the safest way to proceed parties and they can coexist,” says Alex Mann. of £170. It might also be worth is to register your name as a trademark. “But if you make that initial phone call to the registering under a different “Buying up a domain name doesn’t protect other act then you’re declaring yourself to be class, say clothing, if you want you if someone has a company name that is out there and that has been known to backfire, to trademark your t-shirts. the same or if somebody has a trademark,” particularly if one of the acts is signed.” l If you are using a distinctive says David Fenton. “A trademark trumps all band logo, make sure that you and you might be prevented from using your If you’re a solo artist you have a right to use get the designer of the logo to domain name. You might even be treated as a your own given name as a performer as long assign the copyright to you cybersquatter yourself. It’s also worth noting as it, ‘is in accordance with honest practices in writing – otherwise they that a UK trademark will only protect you in the in industrial or commercial matters’. What remain the first owner. UK, a US one in the States, and so on.” happens when two singer-songwriters with the l Use the name and establish same name emerge at the same time? Again, a as much of a media presence Think carefully before you decide on a name coexistence agreement. The other alternative as you can. It will count in your and work hard to protect it. “Imagine your is for both artists to see who blinks first. favour if another group with album is about to go and another band your name surfaces contacts you saying, ‘We’ve This is what happened to Ciara Considine, a at some point. already put three albums out under folk singer who had operated under her name that name’,” says David Fenton. for over a year. Then she discovered another “Do your research; don’t spend Ciara Considine – an Irish author who had anything until you’re sure that no decided to turn her hand to music – was about one else is using your name and to release an EP on a major label. that you can protect it.” Alex Mann: “I was told by the MU that, as we both have MU London Regional Officer the same birth name, neither can lay claim to Madden Hayley ©

The Musician • Summer 2014 ASk us first It is in the interest of all MU members to read this list carefully.

If you are offered any work or agreements by anyone listed below, before you accept, please consult either the contact shown here, your Regional Office, or MU Legal Official Dawn Rodger (tel 0161 233 4007, email: [email protected]).

— Big AL Entertainment Group / — Hemming’s Leisure — P tarmigan Productions Ltd / Big AL Entertainments Ltd Mr Brian Willets / Ptarmigan Scotland & Northern Ireland — Isle of Wight Jazz Festival Promotions Ltd Office on 0141 341 2960 Limited / Isle of Wight Folk Dave Webster on 020 7840 5512 & Blues Festival Limited / — Bigfoot Arts Education Philip Snellen / Geri Ward — R oyal Shakespeare Company Fran Hanley on 020 7840 5544 Paul Burrows on Productions in London 020 7840 5536 Naomi Pohl on — Brian Soundy / UK Jazz Radio 020 7840 5532 & Now — Keko Promotions London Dawn Rodger on 0161 233 4007 Emily Stewart 020 7840 5540 — Speckulation Entertainment or Scotland & Northern Ireland Limited Office on 0141 341 2960 — Leo Alexander Jo Laverty on 020 7840 5535 — Wayne Maughn / Maughan — Celtic Music / CM Distribution Horace Trubridge on — Live & Unsigned 42 020 7840 5512 Kelly Wood 020 7582 5566 Foreign claims When undertaking activities — Classical Festival Company Ltd / — Music Management (UK) with a contracting party abroad, Serenata / Anthony Malpas / Limited; Sally Civval members are strongly advised Lesley Malpas to ensure fees are paid up Paul Burrows on 020 7840 5536 — The Music Practice Ltd front before the contract is Scotland & Northern Ireland performed and that an advance — Craigholme School for Girls Office on 0141 341 2960 is obtained against any future (Glasgow) royalty payable. Scotland & Northern Ireland — Online Music Ventures Limited Members are reminded of Office on 0141 341 2960 /Andrew Smales Rule XI.3, to “submit written contracts for professional — D avid Shepherd and — T he Orion Orchestra activities abroad to the Brian Daniels t/a D and B Management (Jan Cassidy) Musicians’ Union before they Productions Ltd Dave Webster on 020 7840 5512 are entered into”. Members Dave Webster on 020 7840 5512 should note that requests for — O rchestra Europa Limited legal assistance in relation — E nglish Martyrs Roman to claims abroad must be Catholic School — Pamela Aird at The Unicorn considered against the Union’s Fran Hanley on 020 7840 5544 Theatre in Abingdon criteria for legal assistance. Such claims are often not — E uropean City Guide — P lay Recording Studios Ltd cost-effective to pursue and Jo Laverty on 020 7840 5535 Naomi Pohl on if no up-front payment 020 7840 5532 is obtained, members may — Expo Guide remain completely unpaid Scotland & Northern Ireland for their services. Office on 0141 341 2960

— Grubser’s Limited The latest edition of the Ask Us First list can Naomi Pohl on 020 7840 5532 be obtained from the ‘Advice & downloads’ section by logging into theMU.org

The Musician • Summer 2014 reviews To get your CD reviewed Reviews, The Musician, or photos (minimum and public. We try to send recordings, full 60-62 Clapham Rd, 300dpi resolution) to: help as many members contact info, biog and London SW9 0JJ. [email protected] as possible, and PR material to: Copies of the recording preference is given You should also forward must be available to MU to members not your cover artwork and/ members, the industry previously reviewed.

Reviewer: Keith Ames reviews A look at some of the new albums, EPs and downloads released by MU members for 2014, together with links for more information on the featured artists.

43

Happy ending Clifford Danny ©

lenn is rightly recognised as a fine singer, writer and performer – Glenn Tilbrook whether with Squeeze, in partnership with Chris Difford or as a Happy Ending solo performer. He has forged a long career and has had a major influence on numerous artists who have followed in his footsteps. A relaxed, sunny vibe permeates this acoustic G album on which many The combination of an instantly tunes and understated wordplay, all of the songs boast identifiable voice, creative hook-ridden packaged in a beautifully-illustrated single-name titles, such top lines – plus his hugely underrated album cover. The wide choice of as opener Ray. Several guitar playing – has earned Glenn a instruments on this album (Moroccan upbeat numbers also legion of fans worldwide. His latest hand drums, harmonium, sitar, kazoos, feature Glenn’s children release and fourth solo album, Chinese drums, Minimoog et al) and are ideal family Happy Ending, is a wonderful trip infused lends an eccentric, playful ambience. sing-alongs. A summer with English idiosyncrasy, catchy glenntilbrook.com soundtrack for 2014.

The Musician • Summer 2014 folk classical jazz

Jacquelyn Mis haped S ue Addison Hynes Pearls Elgar’s Trombone Silver and Wood Thamesis A founder member of This leading folk flautist, Formed in 2009 by the Orchestra Of The multi-instrumentalist and songwriter Ged Flood Age of Enlightenment, Edison composer has graced and mezzo soprano Sue is now a professor Herbert the stages at QEH Manuela Schuette, at the RCM and a My Favourite and the Barbican and this latest album by leading exponent of the Tunes Vol.1 supported the likes of Mishaped Pearls draws trombone and sackbut. A highly-skilled guitarist Lúnasa and Martin Hayes. on the poetry and music This terrific collection who has played at Ronnie This solo debut offers of a myriad cultures of 18 classics shows Scott’s and arranged a a set of remarkable from Ireland to China. the range and beauty of West End musical. His recordings with She Refreshing, modern the instrument through fluent style is a delight Moved Through The Fair folk that’s destined outstanding versions for the jazz aficionado and Greensleeves as for mainstream radio, of Chanson de Nuit and and the casual listener. standout tracks. especially Cornish Girl. Land Of Hope And Glory. soundcloud.com/ hobgoblinrecords.com mishapedpearls.org calarecords.com edison-herbert

Megson A llan yn Y fan Liz Liew In A Box Cool, Calm & Snapshots Debbie and Stu Hanna’s Collected Liz’s debut solo album, sixth album builds on After 18 years of treading released in February, their status as rising the boards, Allan Yn Y is a fine example of BEJE stars in the folk scene. Fan are one of Wales’ British classical piano Live at The Fringe 44 This is a captivating premier traditional bands. laced tastefully with Recognised for their album, from the first Known for their vocal and oriental flavours. The explorations in jazz cut (Clifton Hall) to the instrumental prowess, combination of strings improvisation, this time-honoured roots Cool, Calm & Collected and keys make for a talented quintet, led by style of Bet Beesley & features original and wholly satisfying aural trumpeter David Mowat, Her Wooden Man, to the trad folk performed with experience and this steps out with its latest contemporary closer passion and superior album demonstrates pilgrimage in ear- and title track, In A Box. musicianship. Liz’s undoubted twisting, incisive soloing megsonmusic.co.uk ayyf.co.uk prowess as a composer atop the dynamic group and a performer. playing of David’s lizchiyenliew.com exceptional tunes. stand out bigbromo.word press.com We’ve picked out two albums that have taken the pole position on our playlist and just get better every time we press ‘play’...

9Bach S ax Appeal Tincian Funkerdeen Edward Leaker Led by the haunting vocals Derek Nash’s jazz fusionists’ Portrait of Lisa Jen, 9Bach return sixth album is a masterclass Combining a successful with a second collection of in arranging and features freelance and teaching emotionally-charged Welsh guest appearances from career, this prodigious folk. Guitarist Martin Hoyland, Jools Holland and Alan sax talent also leads Ali Byworth (drums), Dan Barnes. A top-notch rhythm various jazz outfits. This Swain (bass), Esyllt Glyn Jones section provides the equally solo album carries a (harp) and Mirain Roberts stellar saxophone line-up wonderfully smooth tone (vocals) complete the line up plenty of improvisational and features his takes and the result is inspirational. space to soar. on material by Mike 9bach.com jazzizit.co.uk Mainieri, amongst others. edwardleaker.com

The Musician • Summer 2014 reviews contemporary rock

Intercepter Matn t Gu trip Halo Blind Silverline First Cut Occupying James Shrive and Jamie Matt’s Stone Roses Forces McCusker are the duo influences, arching Described by Classic who together trade as guitar tones, relaxed Rock as, “nothing P oanic Ro m Intercepter and create vocals and commercial short of a UK prog Incarnate ethereal synth-dance sensibilities are blended supergroup”, Halo This latest release pop. There’s plenty of throughout this mix Blind (formerly Parade) confirms the prog- commercial potential of original songs forge guitar-driven rockers as a bona fide here, thanks to the and instrumentals. soundscapes that are homegrown talent. grounded melodies, Seductive, Mancunian- replete with thoughtful Layers of guitar and keys swathes of delicately inflected melodies make lyrics and an epic are overladen with Anne- layered sound, for a retro feel but also intensity all with a tip Marie Helder’s soaring filmic orchestration give it immediacy. An of the hat to Radiohead. vocals and each of the 10 and classic beats. enjoyable ride. Ones to watch. tracks of this, their fifth, intercepter.org mattguntrip.com haloblind.com album rise and fall with passion and precision. blues panicroom.org.uk

Steve Hey Bulldog R avi Rajani Morrison and Oh My Soul Mass Production Alan Glen Named after the Ravi’s first-rate jazz and From South of last song that the rock playing provide the River Beatles recorded in the foundations for this Mic hael Lee 45 Recorded live in a room together, this 10-track outing from the Blown Away Kennington, this Manchester trio play highly-regarded guitarist. This talented multi- hardcore trad blues edgy rock and blues and Weekend Blues kicks instrumentalist plays album highlights the have raised sufficient off in blues rock riffing most of the instruments timeless joy of slide dust to have Steve mode, Sidran introduces here, including on the guitar, harmonica and Lamacq name them as a measure of jazz and excellent New State Of gritty vocal. Folk classics his Unsigned Band of the funky wah wah of Mind. With an ear for a and R&B standards the Week on his BBC 6 The Change reveal Ravi’s hook and a talent for make for an uplifting set. Music show. depth and artistry. crafting riffs and chord stevemorrison.eu hey-bulldog.com ravirajanimusic.com structures, Michael is a star in the making. singer/writer/guitarist michaellee.co.uk

R ab Noakes A lbert Lee Hannah Scott Red Pump & Hogan’s The Space In Special Heroes Between A singer and guitarist of Frettening Having spent time in real class, this reissue Behaviour Tuscany, Hannah credits I ain James & celebrates the 40th A big name in fingerstyle, her fragile folk/pop to her The Sound anniversary of its initial Lee has garnered Italian influences, yet her One Up release. The original rave reviews for his material also boasts classic This promising six-piece recording featured work with Eric Clapton, English melodies. Produced from Glasgow quote Gerry Rafferty, Joe Egan, amongst others. This in collaboration with multi- Hendrix, The Who, Led Ray Jackson and The latest release features instrumentalist Stefano Zeppelin and The Doors Memphis Horns amongst marvellous takes on Della Casa, this set of songs as influences. A handy a line-up of prime The Time Of Your Life, has received praise from aesthetic pointer to the Nashville musos. Packed Spellbound and When MOJO, The Guardian and style of this is hyper- with bonus tracks and Elvis Broke The News. on BBC 6 Music. tight melodic rock outfit. outtakes. Lovely stuff. albertleeandhogans soundcloud.com/ iainjamesandthe rabnoakes.com heroes.com hannahscottuk sound.com

The Musician • Summer 2014 tributes

drew a select but ever-growing clientele eager to soak up the cutting-edge sounds of its two house bands, with Joe taking his place in the John Dankworth Seven ensemble.

In 1949, during the Paris Jazz Fair, Joe was invited to sit in with two Ron Marlowe had a great breadth of sound. of his heroes, Charlie Parker and Long-serving piccolo player for Our current music director, Sir Max Roach – a career highlight Manchester Hallé Orchestra Mark Elder, realised the fire had for Joe alongside the invitation gone out and has rekindled it.” to play with Hoagy Carmichael Born in London in 1948, Ron took on his British tour. Despite his up the flute after a family friend Ron reminisced about the hard

© Julie Rose increasing profile in the jazz elite, gave him a spare piccolo. times the Hallé faced in the late Joe found it difficult to support 90s: “We got people to stand at his young family playing mostly His moment of inspiration the exits of Bridgewater Hall with Joe Mudele modern jazz. He left the John came in 1964 at a concert by buckets. On the first night we Pioneering British bebop Dankworth Seven in 1950 – the the Bournemouth Symphony got £5,000 plus a couple of brass 46 bassist, session great, same year as Club Eleven closed Orchestra. It gave Ron the idea washers and a Polo mint! That and co-founder of Club Eleven its doors – to take up a job at the that he could forge a career as an was enough to keep us going Coconut Grove nightspot. orchestral musician. He did “with for a while.” London-born jazz bassist and never a moment’s regret” until his bandleader Joe Mudele started His reputation was assured death in February, aged 66. “His constructive, his musical career as a singing after giving the first modern jazz calm representations page boy at his local cinema, concert at the Royal Festival Hall In 1968 Ron entered Trinity aged just 14. He has passed and he was named Best Jazz College of Music studying of the players’ views away at the age of 93. Bassist in Melody Maker’s 1952 flute with Harold Clarke and were highly valued.” annual poll. Joe subsequently piccolo with Lowry Sanders. He Joe served in the RAF during the enjoyed a lengthy career as the subsequently joined the BBC Ron was the players’ nominee Second World War, playing with first-call choice for a huge range Welsh Symphony Orchestra as to the Hallé Concert’s Society several bands when not on duty. of artists on stage and in the second flute for three years and Board. Representatives recall He took double bass instruction studio. As a session player he was appointed principal piccolo how he contributed enormously from James Merrit, a principal notched up credits with Sophie with the Manchester Hallé and his constructive, calm of the Philharmonia Orchestra, Tucker, Judy Garland, Barbra Orchestra in 1974, where representations of the players’ before turning professional and Streisand and The Beatles. he stayed for 40 years. views were highly valued. joining fellow bebop proponents Ronnie Scott and saxophonist Joe continued to play jazz, taking When asked how the Hallé It is the wider Hallé family John Dankworth in the popular over the Bexley Jazz Club in 2004 had changed, Ron said: “When who will recall his loyalty, Tito Burns Sextet. while an octogenarian, and until I joined, the orchestra was professionalism and dedication the end of his fruitful life. under the influence of Sir John to the organisation. Many In 1948, alongside Scott, Barbirolli, who was excellent at recount his little kindnesses, Dankworth, drummer Tony Joss Hutton shaping lines but not so good words of encouragement, Crombie and several other at making the orchestra play often delivered by the use of bebop enthusiasts, Joe founded chords together. It was a gutsy puns or Churchill quotations the pioneering jazz venue Club “Joe enjoyed a way to play, but very much an and his great pleasure in Eleven. Considered to be the lengthy career as the orchestra of the 1950s. Technical listening to the orchestra, cradle of British modern jazz, standards had risen since the when not playing himself. and initially situated in Great first-call choice for a 50s and perhaps the Hallé had Windmill Street, Club Eleven huge range of artists.” lagged a little behind, but they Bea Schirmer

The Musician • Summer 2014 Tributes

Roger Smith Duffy Power Stan Barrett Seasoned cellist and A fine English rock’n’roll One of the most choral conductor and blues singer recorded musicians of our time Roger Smith began his Born Ray Howard in orchestral playing in the Fulham in 1941, the Born and brought up in Kent Youth Orchestra singer was discovered Hampshire, Stan started under Bela de Csillery. by impresario Larry playing the pots and He was an Associated Antony Hopkins Parnes as a teenager pans when very young. Board Scholar, studied Revered composer, Brian Herbert and renamed Duffy At 17 he joined the army at the Royal Academy lecturer and popular Jazz man and multi- Power, recording a as a young drummer of Music with Muriel broadcaster instrumentalist number of rock’n’roll in the Shropshire Light Taylor and later with cover versions for the Infantry and the Royal Maurice Gendron in As presenter of stalwart A great jazz musician, Fontana label. Engineers at Aldershot. Karlsruhe. He was a BBC Radio 3 programme, renowned for his charm, member of the Menuhin Talking About Music, intellect, infectious After failing to gain the Military Bands at that Festival Orchestra Antony Hopkins was, for laughter and sunny chart success of many time were wonderful and the Academy of St many, the voice of smile has died, aged 70. of his stablemates, he training grounds where Martin-in-the-Fields. He classical music. left Parnes in 1961, and many players learned also made recordings Heavily influenced soon became entranced their trade. On leaving with the Academy of Hopkins’ prodigious by blues and rock, by the 60s London the army he quickly St Martin’s Chamber talents as a pianist Brian brought these blues movement. He established himself in Ensemble and the earned him a place at two genres into the went on to record some London. His big break Serenata of London. the Royal College of repertoire of a wide great blues material for came in 1958 with My Music where he won array of jazz bands. Parlophone throughout Fair Lady at Drury Lane In later years, Roger was two of the top awards, He performed and the 60s, both in his own Theatre. This proved to invited to join music the Chappell Gold Medal recorded with many right, and as a member be a springboard into colleagues in the South for piano and the Cobbett artists and guested at of Alexis Korner’s Blues the world of a session 47 of France, where he Medal for composition. gigs and festivals in Incorporated. Sadly, musician, where Stan met his wife, Fiona and the UK and abroad. his sales didn’t match played his part in the began conducting a He went on to apply his his critical acclaim, 60s pop explosion. choir in Cotignac, ‘La musical prowess in Brian was a deeply-loved which led him to turn During a 10-year period Chorale Classique’. many guises: as a writer, son, brother, husband, to session work, a key player like Stan Roger had a wonderful broadcaster, composer, father, grandfather and most notably on the could have played on sense of humour and lecturer and author. He friend. He was fabulously soundtrack of the 1969 something like 34,000 a good word to say for is best known for hospitable, fun and a film, The Italian Job. tracks, which would everyone. He will be Talking About Music, loving man whose family have included many sadly missed by close which ran for 36 years was at the centre of his Duffy will perhaps be worldwide hit records. friends and colleagues, and was a platform for life. He was devoted to best remembered for his Soon the world of film who offer their sincere Hopkins’ passion, his children Martin and brooding, slowed-down became a large part of sympathy to his family, humour and knowledge. Catherine, his partner version of I Saw Her his core business – the Fiona, Charlotte, Roger Wright, controller and wife, Giselle, and her Standing There with The James Bond series and Annabelle and Guy. of BBC Radio 3 told BBC daughter Francesca. Graham Bond Quartet. many of the big films of news: “His influence the 70s, 80s and 90s, © Chris Laurence Chris © Andrew McGee was immense and it was His rousing farewell was © GETTY/HULTON ARCHIVE Roy Delaney as well as TV shows a privilege to have been a moving tribute to how and commercials. able to hear him... I shall he’d touched the lives always remember that of all those who knew As a close friend and generosity of spirit and him, with hundreds colleague it is an honour desire to spread the celebrating his life and to write this tribute as word about the joy music. A host of jazz a representative of all and magic of musicians formed a who knew Stan and classical music.” fantastic parade to send recognised his immense Roger him off in style on his talents and personal Smith, cellist and He is survived by his final journey. He will be charm. He enhanced our choral wife, Beatrix Taylor. greatly missed. fantastic world of music. conductor Katie Nicholls Giselle D Herbert Eric Allen

The Musician • Summer 2014 Statement to members 2013

Statement to Members as required under the Trade Union and Labour Relations (Consolidation) Act 1992 (Amended) for the year ended 31 December 2013. Political Fund Summary financial information extracted from the full accounts. Summary Income & Expenditure Account for the year ended 31 December 2013

Main Fund and 2013 2012 £’000 £’000 Benevolent Fund Total Income 87 86 Summary Income & Expenditure Account for Total Expenditure (61) (87) the year ended 31 December 2013 Surplus/(Deficit) for the year 26 (1) 2013 2012 £’000 £’000 Subscription Income 4,765 4,709 Other Income 2,160 2,740 Balance sheet summary as at 31 December 2013 Total Income 6,924 7,449 2013 2012 Total Expenditure (7,472) (6,868) £’000 £’000 Current Assets 87 61 Operating (Deficit)/Surplus (548) 581 Current Liabilities — —

48 FRS 17 Items 347 289 Net Assets 87 61 Investment Operations 528 551 Taxation (194) (235)

Surplus for the year 133 1,186 Collection and

FRS17 Actuarial loss (209) (292) Distribution Summary Movement in Monies Held for (Deficit)/Surplus (76) 894 Distribution. For The Year Ended transferred to reserves 31 December 2013

2013 2012 £’000 £’000 Balance sheet summary Total Receipts 1,392 1,743 as at 31 December 2013 Total Payments (1,512) (2,243) 2013 2012 £’000 £’000 Net Movement For The Year (120) (500) Fixed Assets 1,388 1,209 Investments 10,423 9,152 Monies Held for Distribution Brought Current Assets 3,844 5,358 Forward 1,119 1,619

Current Liabilities (1,892) (1,742) Monies Held for Distribution Carried Net Assets Before Forward 999 1,119 FRS 17 Asset 13,763 13,977

FRS 17 Pension 434 296 Scheme Asset

Net Assets 14,197 14,273

The Musician • Summer 2014 notices

S tatutory declaration We are required by the Trade Union and Labour Relations (Consolidation) Act 1992 (Amended) to include the following declaration in this statement to all members. The wording is responsible for the preparation of financial is as prescribed by the Act. statements which give a true and fair view. Our responsibility is to audit and express an opinion ‘A member who is concerned that some on the financial statements in accordance with irregularity may be occurring, or have occurred, applicable law and International Standards in the conduct of the financial affairs of the union on Auditing (UK and Ireland). Those standards may take steps with a view to investigating require us to comply with the Auditing Practices Salaries and benefits further, obtaining clarification and, if necessary, Board’s Ethical Standards for Auditors. Summary of Salaries and Benefits securing regularisation of that conduct. The for the year ended 31 December 2013 member may raise any such concern with S cope of the audit of the such one or more of the following as it seems financial statements John Smith, the General Secretary received a appropriate to raise it with: the officials of An audit involves obtaining evidence about gross salary of £109,866 a pension contribution the union, the trustees of the property of the the amounts and disclosures in the financial of £26,291 and benefits of £5,074. The General union, the auditor or auditors of the union, the statements sufficient to give reasonable Secretary is reimbursed for any expenditure Certification Officer (who is an independent assurance that the financial statements are free incurred by him in the performance of his officer appointed by the Secretary of State) and from material misstatement, whether caused by duties on behalf of the Union. the police. Where a member believes that the fraud or error. This includes an assessment of: financial affairs of the union have been or are whether the accounting policies are appropriate The members of the Executive Committee are being conducted in a breach of the law or in to the Union’s circumstances and have been reimbursed for any expenditure incurred by breach of rules of the union and contemplates consistently applied and adequately disclosed; them in the performance of their duties on bringing civil proceedings against the union the reasonableness of significant accounting behalf of the Union. They are also reimbursed or responsible officials or trustees, he should estimates made by the Union’s Executive for their loss of earnings whilst on Union consider obtaining independent legal advice.’ Committee; and overall presentation of the business and this is listed below. In certain financial statements. 49 cases these amounts are reimbursed directly Report of the Independent to the employer of the Executive member. Auditors O pinion on financial Set out below is the report of the independent statements Name Amount Name Amount auditors to the members as contained in the In our opinion the accounts give a true and £ £ accounts of the Union for the year ended 31 fair view of the state of the Union’s affairs as B Heywood NIL A Gascoine NIL K Dyson NIL G Newson NIL December 2013. at 31 December 2013 and of its income and J Edney NIL R Noakes 1,465 expenditure for the year then ended. T Edwards NIL A Hopgood NIL We have audited the financial statements of the R Finlay 115 E Spencer 152 Musicians’ Union for the year ended 31 December M atters on which we are A Gleadhill NIL L Worsley NIL 2013, set out on pages 3 to 25. The financial required to report D Pigott NIL D Longstaff NIL reporting framework that has been applied in We are required by the Trade Union and Labour P Hartley 600 H Bennett 20 their preparation is applicable law and United Relations (Consolidation) Act 1992 (Amended) A Seabrook NIL J Pullman 2,514 Kingdom Accounting Standards (United Kingdom to report to you by exception in respect of the S Levine 5,470 D Lee 1,827 Generally Accepted Accounting Practice). This following matters if, in our opinion: B White NIL report is made solely to the Union’s members, as a body. Our audit work has been undertaken — A satisfactory system of control over so that we might state to the Union’s members transactions has not been maintained. those matters we are required to state to them — The Union has not kept proper accounting in an auditor’s report and for no other purpose. records. To the fullest extent permitted by law, we do not — The accounts are not in agreement with the accept or assume responsibility to anyone other books of account. than the Union and the Union’s members as a — We have not received all the information and body, for our audit work, for this report, or for the explanations we need for our audit. opinions we have formed. We have nothing to report to you in respect of the R espective responsibilities above matters. of the Union’s Executive Committee and auditors H W Fisher & Company, As explained more fully in the Statement of Chartered Accountants, Statutory Auditor Responsibilities of the Executive Committee Acre House, 11/15 William Rd, London NW1 3ER. on page 1, the Union’s Executive Committee Dated: 8 May 2014

The Musician • Summer 2014 by the HMRC, you will be covered for many legal and accountancy expenses up to a limit of £25,000. Such investigations can be long and time-consuming affairs. It’s highly advisable that you seek representation from a dedicated tax investigation professional who understands how the HMRC operates rather than try to represent yourself. Such investigations can become a minefield of © DPA/Jafza/ N Otty complicated legalese, and you could quite easily find your costs escalating to thousands of pounds.

MAKING THE MOST OF YOUR UNION Help when you need it But with MU’s Professional Expenses Insurance you will receive assistance with these costs as part of your subscription fee. The scheme will provide help with the costs for: income tax enquiries – both full and aspect; IR35 disputes; employer compliance disputes; VAT disputes; employer compliance visits; VAT visits; real time record Tax advice reviews; business inspections and written requests for The MU offers a benefit to aid members if they information under S36 legislation. 50 are subject to a tax investigation. The Musician The MU’s Professional Expenses Insurance policy will provide for an Abbey Tax protection consultant to represent explains what assistance you are entitled to… members in the event of a claim being accepted under the insurance policy. Aspect enquiries are subject to a limit Working for yourself as a musician has a wide range of Is there something of indemnity of £2,750, while all other claims have a limit benefits. You are doing a job that you love and for the most that we do within of indemnity of £25,000, after a £250 excess. The policy part you are your own boss. But as a large proportion of the MU that you holder is the Musicians’ Union and all of its current fully paid musicians work as self-employed freelancers they have would like to know up members, and as a member you are responsible for to voluntarily declare their tax returns and, on rare a little more about? notifying claims if one should arise. If a member occasions, this can also make them liable to a tax Or perhaps there is believes that a claim should be made, they must call investigation by the HMRC. an element of your Abbey Tax on 0870 166 6271. Alternatively, members can professional life email [email protected]. These investigations typically take around two years and that you need a little can prove to be a costly operation if you are hiring an advice on? Either Fee reimbursement is provided in the event of one of the accountant or legal advisor to help you along the way – and way, we might be above-listed HMRC investigations or disputes occurring in that’s before any fines or charges that may accrue from an able to help. Drop connection with a member’s activities as a musician trading incorrectly filled-in return. Indeed, anybody found to have us your questions as a sole trader or partnership. It’s important to remember, fraudulently filed their tax return to avoid paying what they to the appropriate however, that insurance of this type also relies on you being owe will be subject to criminal proceedings. On very rare address at the front a conscientious taxpayer. In order for your cover to be occasions this can lead to a custodial sentence, but more of the magazine valid you must complete and submit the relevant returns usually to a raft of hefty financial penalties. or via Twitter properly, and on time. You should also understand that @WeAreTheMU any such tax protection will not cover any underpaid tax, Support from the Union penalties, fines, or interest. Instead, it is there to help you But the MU is here to help. Another incredibly useful benefit deal with the costs of an investigation. of MU membership is that paying members have automatic access to a tax investigation insurance benefit. This means But that said, with yet another great free Musicians’ Union that should you be selected for tax return investigation benefit you will no longer have to fend for yourself should the tax man come knocking. For more information on the insurance benefits offered by the MU, go to the Insurance section of the MU website at theMU.org or consult the relevant section of your MU Members’ Handbook.

The Musician • Summer 2014 member benefits

MU Sections 2014 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 F 020 7582 9805 there are a number of benefits that you need to register or apply for. E [email protected]

Music Writers’ Section Ben Jones MU website Motoring service National Organiser – To fully access our website — The MU Family Motoring and Accident Recording & Broadcasting theMU.org — you will need to register on your Aftercare Services provides 24/7 cover. 60- 62 Clapham Road first visit using your membership number. — Register now via telephone or the web. London SW9 0JJ  w mu.freerecoveryplus.co.uk T 020 7840 5557 F 020 7793 9185 E [email protected] Instrument and equipment insurance Contract advice — Orchestra Section For £2,000 worth of free musical instrument before you sign Bill Kerr and equipment cover, register for the scheme Receive professional advice on the terms National Organiser – by calling Hencilla Canworth on and implications of any complex agreements Orchestras 020 8686 5050. via our Contract Advisory Service. Contact your 61 Bloom Street Manchester M1 3LY Regional Office to find out more. 51 T 0161 233 4002 F 0161 236 0159 Partnership advice E [email protected] If all the members of your group are Recording Are you due a royalty already MU members, or decide to join, & Broadcasting Section we can offer free partnership advice and an Ben Jones payment from us for the use agreement. Contact your Regional Office National Organiser – of any of your recordings in television for more information. Recording & Broadcasting programmes, films or adverts? Are 60 – 62 Clapham Road you the next of kin of a musician who London SW9 0JJ Medical assistance T 020 7840 5557 used to receive royalties from us? The British Association for F 020 7793 9185 E [email protected] The Musicians’ Union pays we do know the names of the Performing Arts Medicine royalties to a growing number musicians but we have been delivers specialist health support to Teachers’ Section of musicians for the secondary unable to trace them or their musicians. Visit bapam.org.uk Diane Widdison exploitation of their recordings. next of kin. National Organiser – In most cases we know which Education & Training musicians performed on the If you can assist the Musicians’ Musician’s Hearing 60 – 62 Clapham Road recording and already have Union with line-up information Services (MHS) London SW9 0JJ their contact and payment or contact details, visit MHS offer a top range of T 020 7840 5558 details, so the royalty income musiciansunion.org.uk/ hearing related services for MU F 020 7582 9805 can be distributed straight advice-downloads/royalties members. For an appointment, E [email protected] away. However, there is a Here, you will be able to find call MHS on 020 7486 1053. Theatre Section certain amount of income more information on the types w musicianshearingservices.co.uk Dave Webster we have collected that we of royalty income we collect, National Organiser – cannot distribute as we have as well as lists of musicians Live Performance not been able to identify who and recording line-ups we are Full details of all the 60 – 62 Clapham Road performed on the recording; or currently trying to trace. benefits of membership London SW9 0JJ T 020 7840 5512 musiciansunion.org.uk/ can be found in your MU F 020 7582 9805 advice-downloads/royalties Members’ Handbook. E [email protected]

The Musician • Summer 2014 9000