TABLE OF CONTENTS: INTRODUCTION, by Andy Heath MBE ........................................................................................2 FOREWORD, by Feargal Sharkey ..............................................................................................5 In 2008, a huge spectrum of Historically the notion of sustainability has al- EXECUTIVE SUMMARY .................................................................................................................7 most exclusively referred to creativity, finance the commercial music sec- and commerce. But in an age that has now tor united together to form awoken to climate change, sustainability has UK Music. had to take on a much broader, more pro- RECOMMENDATIONS .............................................................................................................. 11 found interpretation. UK Music is the umbrella organisation that Formed in 2007 as a not-for-profit company, represents the collective interests of the UK’s Julie’s Bicycle has enabled the music industry commercial music industry – from artists, mu- to commit itself to embedding environmen- Recommendation ONE .......................................................................................................... 13 sicians, songwriters and composers, to major tal responsibility into the heart of the business, and independent record labels and music ensuring that not only are we pre-empting publishers, to music managers, studio pro- inevitable regulations, but also understanding ducers and collecting societies. the nuts and bolts of climate responsibility. This commitment should be taken as implicit in all Recommendation TWO .......................................................................................................... 15 The coming together of organisations with of the recommendations we make through- such a wide range of interests heralded a out this document. new chapter of unity and focus for the UK’s commercial industry. UK Music fully supports and applauds the work Recommendation THREE ........................................................................................................ 19 of Julie’s Bicycle. As a small step towards our The current members of UK environmental responsibility, UK Music is pub- lishing the full Liberating Creativity document Music are: on our website rather than as a printed docu- ment. It is available freely to all at: Recommendation FOUR ........................................................................................................ 25 Association of Independent Music (AIM) www.ukmusic.org BPI British Academy of Songwriters, Recommendation FIVE ........................................................................................................... 29 Composers and Authors (BASCA) Music Managers Forum (MMF) Music Publishers Association (MPA) Recommendation SIX ............................................................................................................ 33 Musicians Union (MU) PPL PRS for Music Recommendation SEVEN ....................................................................................................... 39 UK Music champions our industry’s creativity and commercial interests through public pol- icy and lobbying, communications, research and analysis, and industry relevant education, Photo: Tom Oldham THE POWER OF MUSIC ............................................................................................................ 41 skills and training. Our artists have made an immense contri- Photo: Tom Oldham bution to the culture and fabric of British life. In turn, the music business infrastructure has served them, the audience and the Exche- quer very well. Every ounce of my being is convinced that for this to be sustained, it is vital that an artistic and commercial environment is established that works for both music maker and audi- ence in the digital age. The industry has lived through ten years of huge disruption. Inevitably, mistakes have been made. Some very significant ones. But now is the time to look forward and look up. ANDY HEATH’S MUSIC CAREER When I first started working Our new partners are tech, hardware and media companies – ranging from innova- With the digital market com- • Tea boy at Strike Records, a small independent record company. in music 45 years ago, the tive, cash-poor start-ups to multinational, ing of age, it is clear that business was hugely excit- corporate giants who dwarf us in size, scale, • General Manager, Planetary Nom, the publishing arm of Roulette Records. resources and influence. music industry and technol- Worked with Tommy James and the Shondells in 1966 with Mony Mony his ing, very small and embry- ogy sector, governments and first association with a Number One record. onic. While diversifying, competing and licensing in consumers all need to step such a shifting and fragmented market, we • Head of A&R at the publishing division of The Stigwood Organisation. Worked with Bee Gees, Cream, Blind Faith, John Mayall, and many others. For all intents and purposes, the music in- still love distributing CDs and vinyl to record up to a new era of partner- dustry existed between a few streets around stores and serving “old media” such as radio ship and harmony. All must Set up Gaff Management with Billy Gaff. Soho. Yes, there were colourful characters (no and TV. • Co-owner and CEO of GH Music, the publishing arm of Gaff Management. names, sorry) and the industry was still discov- adapt and work together. Worked with Rod Stewart when Maggie May went to Number One. ering how to run and organise itself. But all However, amidst the maelstrom of digital that was offset by the explosive thrill of new disruption, the fundamental focus of music It’s the only way that the music will continue MD of Gaff Management. Five artists made the US Hot 100: Rod Stewart, Faces, music and an unprecedented wave of cre- companies remains, strangely enough, on to play. • Long John Baldry, Atomic Rooster and Rory Gallagher. ativity. music. To uncover, nurture, support and in- Also worked with Status Quo. vest in new, cutting-edge talent. To create a One of the first records I worked on was Mony platform where artists, composers and musi- Formed Heathwave Music. Mony by Tommy James and the Shondells, cians can express themselves and fans can • Worked with Chas Jankel (co-writer of many Ian Drury hits). which went to number one. discover them. Andy Heath, MBE Instigated a successful jingles company. For a 19 year old music fan and entrepreneur, It is an essential role, and thankfully this coun- CEO of Beggars Banquet Music. what an amazing experience. A privilege. A try is blessed with strumming hands and tap- • Worked with Gary Numan whose Are Friends Electric? topped the UK singles chart. thrill. There was nothing like it and there still ping feet. isn’t. Went into partnership with Martin Mills and set up Momentum Music. • The UK is known and ad- Worked with Cocteau Twins, Bauhaus, St Etienne and many others. The “industry” might be all grown up now but, for fans and entrepreneurs, that thrill remains. mired around the world for Since early 1990s served on the Boards of PRS, MCPS and MPA. It’s what drives us. That someone, somewhere its music. It defines who we • on this planet, is creating the greatest piece Since 1990, a director of Beggars Group working with Adele, Dizzee Rascal, of music that you’ve never heard. are. What an amazing gift • Vampire Weekend and many others and MD of the publishing arm, Beggars Music. for a nation to have! Yes, ours is a global and, increasingly, digital Currently a consultant to one of the UK’s leading private equity groups, chairman of MSP, business of multi-territorial and multi-platform • a leading digital music provider and chairman of UK Music. deals. • Awarded an MBE in 2009 for services to music publishing. 3 4 It places equal demands upon industry and those around us; yet is simple, direct and eas- ily implemented. At its core sits the act of creativity itself – the intangible, eureka-like spark of imagination that shapes our tomorrows and provides the foundation upon which a huge range of busi- nesses stand. I would argue, and with some justification, that today’s talent is just as vibrant, ex- citing, experimental, cutting edge and brilliant as it has ever been. Photo: Timothy Cochran It needs to stay that way. Somewhere right now, in this country, a young person is scribbling on a scrap of paper or FEARGAL SHARKEY’S BIOGRAPHY Somewhere in Ireland, a For all of us, it brings flavour, colour and mean- tapping on a keyboard, composing a song ing to our everyday lives. young man by the name of that will resonate far beyond the page. • Feargal was born in Derry, Northern Ireland, in August 1958, the second youngest of seven children. O’Neill scribbles on a piece And, without being jingoistic, it is something This industry may change, but that simple act that the inhabitants of these islands have ex- of paper: “Teenage dreams, of creativity, remains, and will always remain, Twenty years later he combined a promising career delivering televisions for Radio Rentals hibited a quite unique and remarkable talent immortal and timeless. • so hard to beat…” for. with fronting local punk rockers, The Undertones. However, his day job was rudely interrupted by a BBC request that the band perform their first single, Teenage Kicks, live on For many, even after thirty years, that simple From Elgar, Britten and Adès to Donegan, Len- Top of the Pops. Never one to