M63

julian cope Madcap laughs

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New frontiers

Members Music Magazine Issue 63 March 2017

UK AMERICANA nigel elderton

marika hackman

rag ‘n’ bone man

fiona bevan

SPITFIRE AUDIO

digital edition

contents

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COVER FEATURE

AMERICANA Country to country: the British songwriters laying claim to a new ‘UK Nashville’ sound.

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PUBLISHERS How the industry is squaring up to streaming.

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NIGEL ELDERTON

PIRACY

JULIAN COPE

Tackling the bandits on their own turf.

The lucid rantings of a true pop provocateur.

The new PRS Chairman on his fight to protect the value of music.

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GETTY

60 SECONDS

JENNIFER MCCORD

‘I’ve finally arrived’: Marika Hackman on her watershed year in music.

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SOCIAL @m_magazineprs @m_magazineprs /prsformusic /prsformusic /m_magazineprs

cover photo: yola carter by john morgan

I WROTE THAT

PICTURE THIS

How a very special co-write transformed Fiona Bevan’s career.

Remembering Rag ‘n’ Bone Man before he went stratospheric.

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EDITORIAL

PRODUCTION

Editor Paul Nichols

Production & Design Carl English

Associate Editor Anita Awbi Senior Writer Jim Ottewill

Membership Advisors Simon Aldridge Myles Keller

CONTRIBUTORS Faye Ducker, Amy Field, Maxie Gedge, Liam McMahon, Stefania Pavlou, Cerian Squire, Alex Sharman, Alice Thornton.

PRS for Music, 2 Pancras Square. London N1C 4AG T 020 7580 5544 E magazine@prsformusic.com W prsformusic.com The printing of M Magazine is managed on behalf of PRS for Music

by Cyan Group Ltd, Twickenham. cyan-group.com Advertising T 020 3225 5200 E orla-tickton@media-ten.com Advertising does not influence editorial decisions or content. The appearance of advertising in M is neither a guarantee nor an endorsement by PRS for Music of the product, service, or company or the claims made for the product in such advertising.

ISSN 0309-0019© PRS for Music 2017. All rights reserved. The views expressed in M are not necessarily those of PRS for Music, nor of the editorial team. PRS for Music accepts no responsibility for the views expressed by contributors to M, nor for unsolicited manuscripts, photographs or illustrations, nor for errors in contributed articles or advertisements. Reproduction in whole or in part without written permission is strictly prohibited.

M is printed on paper manufactured using chlorine-free pulps and the raw materials are from fully managed and sustainable forests.

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andy c Few producers, DJs or artists have done as much to lead the charge of drum ’n’ bass out of the underground as Andy C. For almost 25 years, this rave veteran has spearheaded the bass bin crunching sound, ever since it was a mere glint in the eyes of jungle, old school breakbeat and hardcore.

mario grigarov Bulgarian-born screen composer and concert pianist Mario Grigorov has been a musical powerhouse since an early age.

A musical prodigy from the age of five, he became one of the youngest students ever admitted to the Sofia Conservatory and went on to study music in four different countries, becoming an accomplished concert pianist and improviser in jazz, classical and electronica.

While his classical music skills are in no doubt, it’s as a film composer where Mario’s work has arguably made the biggest impact. In 2014 he struck up a collaboration with Harry Potter director David Yates, providing a striking score for the huge hit Fantastic Beasts and Where to Find Them as well as co-writing an original song with Harry Potter author J.K. Rowling.

Other Hollywood flicks have had their soundtracks provided by Mario; the composer’s creative relationship with Academy Awardwinning director Lee Daniels proving to be particularly fruitful. Hit scores have included music for Shadowboxer, the Academy Awardwinning Precious and The Paperboy. mariogrigorov.com

Find out about more of our new members on m-magazine.co.uk

Andy’s underground roots are without question – he first came to attention as a teenager in the early nineties with Valley of The Shadows, an iconic track released as Origin Unknown alongside collaborator Ant Miles. Unleashed on his own RAM Records, also set up with Ant, it proved to be a key ingredient in the primordial soup of drum ‘n’ bass, with its musical heart of darkness and rolling b-lines making it an immediate fixture in raves across the UK and beyond.

RAM has since gone from strength to strength as a label, not only nurturing talent such as Chase & Status, Sub Focus and Wilkinson, but evolving into a huge draw in clubs and on international festival stages. With recent artists releasing via RAM including the likes of Loadstar, DC Breaks and Mind Vortex, it shows that Andy and his team’s A&R skills are as on point as his work as a producer and DJ. It’s arguably in this latter mode as a live force that Andy is most loved. Behind the decks he’s notorious for his technical skills, utilising at least three turntables and a bewildering collection of gadgets and software to ensure his sets are as roof-raising as possible.

Legendary outings have seen him sell out Alexandra Palace and Brixton Academy while he’s drawn huge crowds at the likes of Glastonbury and Creamfields. Now coming off the back of a sold out residency at London’s XOYO and remixes for Sigala, Major Lazer and London Grammar, a packed festival season from Lovebox to Bestival awaits… ramrecords.com

charlotte raven Working out of a new West London studio, Charlotte Raven is a TV and film composer freshly graduated from the University of Bristol after majoring in composition.

Charlotte’s experiences so far have seen her work at some of the biggest studios such as Air and Abbey Road for a range of clients and composers. She’s not only helped out on live sessions, but has immersed herself in the world of composition, production and recording.

Her most recent session work saw her recording music in the latter’s iconic Studio 1 for Bear Grylls’ live tour – Endeavour. She was also instrumental in organising the musicians for live performances at the campaign launch of the Paralympics 2016.

When not in the studio, Charlotte has been on tour with the Thompson Twins’ Tom Bailey as his keyboard player, taking in live dates across the US and supporting Chic’s Nile Rodgers. charlotteraven.com

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members & music

sixty seconds

marika hackman London-based singer-songwriter Marika Hackman released her folk-infused debut album We Slept At Last in 2015. Its crystalline melodies and unfettered acoustics were met with widespread critical acclaim and marked her out as a new artist worth watching.

Fast forward to 2017, and Marika has swapped her ethereal soundscapes and oblique musings for something much more direct. Her new record, I’m Not Your Man, carries all the hallmarks of an artist in her stride. With The Big Moon drafted in as her backing band, and all amps turned up to 11, the record sets out her stall as a brave new indie-pop force.

What’s the thinking behind your new album I’m Not Your Man? I knew I wanted to go in a new direction, so it was about seeing what, naturally, I’d evolve into. I didn’t want to force anything, but I did spend some time figuring things out. It’s certainly a lot more frank than anything I’ve ever written before, and I’m happy with that. It’s opened a new door for me lyrically.

How did The Big Moon come to be involved?

I’d written a bunch of songs that definitely lent themselves to a live band sound. I’d met The Big Moon girls before and had become friends with them, but I was too shy to ask. I was terrified because it’s such an awkward thing to ask your friends. What if they weren’t up for it? Luckily they really were, which I was completely blown away by! It was so much fun. As a band, they are incredible. They were the perfect fit for the songs, they brought loads of energy. We had a total hoot.

How do you feel about the record now it’s ready for release?

It’s a lot more open and stripped back than We Slept At Last. I’m using less metaphors and nature references to hide certain aspects of myself and my emotions. I think I’m speaking in plain English now. Musically, most of the tracks are upbeat and fun but with a few dark twists – because I can’t help myself!

Did you suffer from ‘the difficult second record’ syndrome?

Not at all. I left my management and label at the beginning of last year. Having to go through a complete overhaul of my team – and my safety net for five years – felt like the scary stuff. I used music as an escape and let it flow. I was too busy focusing on who was going to fight my corner to be worried about the second album cliché.

It sounds like 2016 was a watershed year for you?

Definitely, I felt quite empowered. I made a lot of bold decisions and I had to follow those up. You can hear it on the record – I feel like I’ve finally arrived.

Like I’m properly putting my stamp on stuff. Before, I wanted to create something beautiful but now I feel I have more of an artistic voice and vision, which is great. I’m very happy that I’ve reached this point.

How did your past music industry experiences feed into this change?

I came into the industry as an 18-year-old and I didn’t know what it was like to Marika Hackman #fundedbyprsf

work in a recording studio or go on tour, and have my work picked apart in the public domain. Your confidence grows the more experience you have. I know more now about the industry and about myself as a musician, and what I want to do. I’m more secure and confident to say no to things.

You contributed to Laura Marling’s Reversal of the Muse podcast – why did you get involved?

I think it’s good for us to have conversations about women in music. It’s important to share ideas and experiences on a platform that people will engage with. It’s also nice to hear from a range of people who work across the music industry who have had different experiences. My experience has been incredibly positive. I’m not here to shame men. But I think it’s very important that we keep talking and those who have had bad experiences can share them and get support.

I know sometimes people say we talk about the issue too much now, but actually I think we need to push the pendulum all the way to the other side before it lands happily back in the middle.

You’ve talked before about the industry turning an artist’s creativity into product. How does that effect the final output?

I think, as an artist, if you’re too aware of that, or are playing up to that fact, it can get dangerous. The point of being an artist is to make the best music you can and say what you have to say. Like all art, it’s about having a connection with the person viewing or listening to it. I don’t get too wrapped up in the fact that people are paying money for it.

Then, when it comes to the way you’re put out there, it’s about having the confidence to stand up and say, ‘No, fuck off, this isn’t me’ if they put you in a mini skirt and lipstick and shove you in front of a camera. In the past, I’ve definitely been uncomfortable with the clothes I’ve been given but I didn’t have the confidence to say anything. Now I’m annoyed those images appear in the world, but it’s just part of a big learning curve.

I’m Not Your Man is released on 2 June. marikahackman.com Marika Hackman is published by Transgressive Publishing, administered by Warner/Chappell.

Head over to m-magazine.co.uk for the full interview

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members & music

HIGH TIMES

AUSTIN ADVENTURES In March, scores of British acts made the pilgrimage to Austin, Texas, for the 2017 instalment of South by South West (SXSW), the planet’s largest new music showcase.

Sixties’ psych-folk trio the Incredible String Band are one of Edinburgh’s finest acoustic exports, influencing the likes of Bob Dylan and playing alongside Joni Mitchell and Leonard Cohen.

Formed by Mike Heron, Robin Williamson and Clive Palmer (above) in 1966, they experimented with Eastern and Western electric and acoustic instruments, going on to produce the cult album The Hangman’s Beautiful Daughter two years later. The Grammy Award-nominated LP hit the top five in the UK and propelled the trio into the Woodstock Festival line-up in 1969.

JOE BOYD

Original member Mike has since played alongside John Cale, Pete Townsend, Keith Moon – plus the great and the good of the contemporary UK and US folk scenes. Now preparing some new music with his frequent collaborators Trembling Bells, and with a brand new book documenting the Incredible String Band’s story, You Know What You Could Be: Tuning into the 1960s, we thought it was high time we caught up with him.

He remembers: ‘Back in the mid-sixties, everything was centred round a folk all-nighter we’d set up at Clive’s Incredible Folk Club in Glasgow. It was an amazing scene. We’d have 6_march 2017_m63

John Martyn and Bert Jansch along, everyone would come down. A lot of the beatniks were very active and hanging around there too. It was full of pre-hippies. Clive and Robin were both fully-fledged beatniks but I was still living with my parents and trying really hard to pass myself off as cool!’

Across its pages, and with help from longtime friend, award-winning author Andrew Greig, Mike pieces together a musical journey that would take them from central Scotland to Upstate New York, rubbing shoulders with the counterculture’s weirdest and most wonderful characters along the way.

From travelling in an open-sided military helicopter with terrified Ravi Shankar and catching Jimi Hendrix’s closing set at Woodstock, this book is a must-read for anyone looking for an insider’s view of the psychedelic sixties.

You Know What You Could Be: Tuning into the 1960s is published on 6 April via Quercus.

Read the full interview m-magazine.co.uk

with

Mike

on

We caught up with loads of them before, during and after the festival to get the full reveal on their American adventures.

Many were among the record 37 artists supported to attend via PRS Foundation’s International Showcase Fund, spanning all four corners of the British Isles and representing a string of genres, from jazz to pop, rock and electronica.

Through photos, videos and Instagram takeovers we garnered an intimate view of some of our favourite emerging artists tackling the festival for the first time, including Doe, Dream Wife, Fifi Rong and She Drew The Gun. We also gained some access-all-areas insight into the two PRS for Music, PPL and BBC Music showcases, featuring Marika Hackman, Slaves, Dave, Sweat and Jacob Collier.

Hop on over to m-magazine.co.uk and @m_magazinePRS on Instagram to get the inside track on how to get to an international showcase like SXSW and how to keep your head while you’re there.

members & music

SONIC SOURCERY Seventeen-year-old best mates Rosa Walton and Jenny Hollingworth are the sonic sorceresses behind Let’s Eat Grandma.

They released their debut album I, Gemini last year, offering up minimal electronics and foreboding ambience in abundance. The eerie soundtrack provided a perfect foil to their disjointed chanting, while incantations about starfish, shiitake mushrooms and cats only piled on the mystic eccentricity.

Now working on new material, and with a heady SXSW show under their belts, they’re gearing up for a slew of festival appearances this summer, kicking off with Live At Leeds on 29 April. With that in mind, we grabbed a few minutes with Rosa and Jenny to dip our toe into their wonky world…

You’ve had an amazing year, how was it? It’s been pretty exciting.

Having the opportunity to be creative all the time makes us feel really lucky. Travelling to different countries was great and it was really fun playing on Jools Holland.

FRANCESCA ALLEN

How do your songs normally start life? Often we write a loop and start putting stuff over the top. Or sometimes it’s just a chord sequence. Technology has a big influence on the way we write music so if we use certain gear then it gives us different capabilities.

We’re also restricted by what

we can physically play, because there’s only two of us. We only have a limited amount of hands – which has actually been really helpful!

It’s meant we have a lot of space in the songs, which has become a characteristic of our sound.

Your lyrics and song titles on the last album were often very surreal – where did that come from? When we wrote it we were quite a bit younger – 13 or 14. I think we were very interested then, and continue to be, in how the different senses interlock and how they affect the way we experience things. A lot of the lyrics are very visual. We’d write the music first and we’d think about what we saw visually for the song and based lyrics around that.

You recently went to SXSW for the first time, having successfully applied for funding from the PRS Foundation to attend – what was that process like? Our manager suggested we could apply. It was really straightforward. PRS Foundation are just great, generally! They look after musicians and we’re really grateful we got that help.

It would have been a big struggle without it. We’ve received funding before for previous projects and it’s definitely been make-or-break for us.

Read the full interview m-magazine.co.uk

on

HULL HAPPENINGS Brian Irvine, Jennifer Walshe, Daniel Elms, Mica Levi, Anne Martin and Jason Singh (right with Joe Harrison) are among the composers selected for this year’s New Music Biennial.

All 20 commissions will receive public performances throughout the UK in 2017, culminating in two celebration weekends in Hull on 1 and 2 July and at London’s Southbank Centre on 7 to 9 July.

As part of Hull UK City of Culture 2017, the composers will create work across all genres in response to the New Music Biennial’s aim to create a pop-up, interactive way for audiences to discover new music.

New Music Biennial 2017 is a PRS Foundation initiative, presented in partnership with Hull UK City of Culture 2017, London’s Southbank Centre and BBC Radio 3. newmusicbiennial.co.uk m63_march 2017_7

members & music sound effect

WE’RE HERE TO HELP

The song I wish I’d written is…

Glory and Gore by Lorde. I love her writing style, it’s so effortless. All her songs come from a very pure place.

The song that makes me cry is…

Ain’t Got No, I Got Life by Nina Simone. Sometimes you cry because you’re sad but this one makes you feel strong.

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The song I want played at my funeral is…

I chose my own song Time. It was the first thing that came into my head. I remember I made it in one day. It’s not sad, more dreamy and groovy. I’m really proud of it. fifirong.com Fifi was a recent guest on our monthly Soho Radio show. Listen to her selections at m-magazine.co.uk

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IDE A TI ENTS ERED NT T L E A M H

· WELFARE V P I L HE AL CARE· A· CRCOYALTY SI

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HLY FINA N C ONT S IA · M TREAT · RESI L

The last great record I listened to was…

Villagers’ Memoir. I saw him live and was in love with the great songwriting and performance. It’s like a good massage, it gets me right there.

The song that I know all the words to is…

James Blake’s I Never Learnt To Share. I’m a big fan. I could go on forever about his production and musical ideas. He’s revolutionary and a whole generation has followed in his footsteps.

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The first record I ever bought was…

Naked by Zheng Jun. It’s an early influence which I perceive as Chinese but actually sounds quite American.

The song that makes me want to dance is…

DJ Narrows’ Saved Soul. He is one of the founders of UK garage and started me out on my production path. If he hadn’t pushed me, I wouldn’t be here.

· D OMMODATIO N

DE E G R EALTH ASSESS N E H NTAL HEALTH

The first music I remember hearing was…

Mum singing Wine and Coffee by Teresa Teng. She used this as a lullaby to get me to sleep.

C AN BILITY · ER CO V CO D ISA N

ENCY GR ERG · SONGW ANTS R EM ING

Fifi has collaborated with the likes of Tricky, pioneering electronic heroes Yello and lent her seductive vocals to grime artist Skepta’s Mercury Prize-winning album Konnichiwa. She played SXSW this year thanks to support from the PRS Foundation and has a debut album due in 2017.

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INTER HEATING W · ES · CARE

IT H N AC LESCE CE · FR IN VA · ILLNESS · M E

As a producer, vocalist and songwriter, few channel the same musical intimacy as Fifi Rong. Born in China, now based in London, her music is a hybrid of bass-heavy soundscapes and her Chinese heritage, topped off with a show-stopping voice.

Members Benevolent Fund For more information call us on..

0203 741 4067 Email: fund@prsformusic.com Supporting songwriters and composers Registered charity No 208671

members & music

we love indie venues...

Keith Ainsworth.

And so do you! We asked a range of songwriters, bands and performers about their favourite indie venues…

AADAE: ECHOES, LONDON

Since its refurbishment five years ago, it’s become one of the best venues in Manchester. Before it was a Wesleyan chapel built in 1910.

I remember seeing it in its abandoned state on the TV show Most Haunted with Derek Accora because staff from the pub below had reported ‘poltergeist activity’. @Alberthallmcr

Playing at Echoes in Haggerston, London, has been my most enjoyable show to date. The venue’s intimacy made it easy to connect with the audience on a personal level. Also, the staff were super helpful and the sound and acoustics were amazing. I’d play there again in a heartbeat. @ECHOESLdn

HACKNEY COLLIERY BAND: WILTON’S MUSIC HALL, LONDON

HORSEBEACH: THE DEAF INSTITUTE, MANCHESTER

Wilton’s Music Hall is a really special place. We launched our latest album Sharpener there in 2016, and there’s so much history. It feels truly inspiring to perform on that stage; like you’re connected in some small way to the history of British entertainment.

The Deaf Institute is an interesting space to play; the stage is really high up, there’s a dome roof and gallery seating. We also played one show when our drummer Matt couldn’t make it so we used a drum machine and skyped him on stage so he didn’t miss out.

Alberto Pezzali

JANE WEAVER: ALBERT HALL, MANCHESTER

@DeafInstitute

@WiltonMusicHall

SPINNING COIN: THE OLD HAIRDRESSER’S, GLASGOW

LAUREN KINSELLA: UNTERFAHT, MUNICH

A great place to hear music as it was intended to sound. It’s a pretty stripped back set-up but it sets a nice balance. A gallery and function room as much as a venue. It’s great to play and it’s always been good to us.

I love this great jazz club in Munich called Unterfahrt. That’s me and trumpeter Laura Jurd having a quick chat about a tune pre-set! It was a great night and the atmosphere in the venue was amazing.

@OldHairdressers

@JazzclubUnterfa

Jane Weaver, Spinning Coin, Lauren Kinsella #fundedbyprsf

m63_march 2017_9

money & business MAPPING THE PIRATES

This figure, based on 2016 comScore/ Nielsen data, only applies to desktop computer users, and omits the emerging threat of mobile piracy and new app technologies. But these days, copyright infringement isn’t limited to desktopfocused unlicensed streaming websites, peer-to-peer filesharing networks, cyberlockers and aggregators. Illegal ‘stream-ripping’ and mobile applications are mushrooming, threatening creators’ livelihoods in more complex ways.

Instead of sharing files (‘torrenting’) via sites like the Pirate Bay and MP3 New Releases, internet users are increasingly exploiting YouTube, using stream-ripping applications which allow them to illegally download music without the middle man.

A brand new study commissioned by PRS for Music and the Intellectual Property Office, and conducted by Kantar Media, reveals that more than half the UK population (57 percent) have used or are aware of these services, with the majority of stream-rippers likely to be male, under 25 and affluent.

In its first year, PRS for Music’s Member Anti-Piracy System (MAPS) has traced a whopping five million URLs for websites illegally linking to or hosting members’ repertoire.

The system, which celebrates its first anniversary in March, has also sent more than 275,000 links to Google for delisting, issued 136,000 take down notices to infringing websites and overseen the closure of 220 pirate domains.

MAPS works by tracking member repertoire on unlicensed and infringing sites and enabling users to request the removal of their repertoire. It also allows users to send take down notices directly to Google, which has the power to remove URLs from its search results.

Sharan Ghuman, Manager of PRS for Music’s Anti-Piracy Unit, which oversees MAPS, told M: ‘We are extremely proud of MAPS’ achievements since its launch. Our aim was to provide a user friendly tool to our members to protect their rights and preserve the value of their repertoire.

One year on and with its impressive results, 10_march 2017_m63

MAPS has proved to be a success not only for the Anti-Piracy Unit’s operations, but for many members who have incorporated the tool in their own content protection work. MAPS is an evolving system and we have some exciting updates in the pipeline which will add to the effectiveness of the technology.’

It is currently available to the larger publisher members who were first involved in testing the system, with more and more members being invited to use the system. Those who don’t yet have access can contact the AntiPiracy Unit on maps@prsformusic.com to request access or removal of infringing repertoire on their behalf.

New frontiers According to estimates from the international recorded music trade body IFPI, 20 percent of the three billion-plus internet users around the world regularly access unlicensed and copyright-infringing services.

The findings also reveal that 15 percent of adults over 16 have already used streamripping services. Downloader apps are the most common type of service used, preferred by over half (54 percent) of stream-rippers.

YouTube Downloader is the most commonly used app (76 percent), with 54 percent of its UK users doing so at least once a week.

YouTube MP3 Music Downloader is the second most popular app, with 70 percent accessing it.

For websites, Youtube-mp3.org is by far the most commonly used stream-ripping portal, attracting 85 percent of website-based stream-rippers – 42 percent accessing at least once a week.

Only a quarter of stream-rippers questioned believe that such services have the necessary rights and permissions to allow them to download or rip content in this way, though many seem confused about the exact legality of what they are doing. At the same time, only a quarter agree that it is an ‘immoral behaviour’ without the relevant permissions.

PRS for Music publishes its full streamripping report on World Intellectual Property Day, 26 April 2017.

For more information visit the PRS for Music digital blog digital.prs.co.uk

business

business news

for all the latest business news visit m-magazine.co,.uk

UNITE TO FIGHT

UK rightsholder representatives and search engines have come together to launch a new initiative to reduce the availability of copyright infringing content online.

The voluntary code of practice came into force in February, with targets for reducing the visibility of infringing content in internet search results by 1 June 2017.

This cross-industry action will accelerate the demotion of illegal sites following notices from rightsholders, and establishes ongoing technical consultation, increased co-operation and information sharing to develop and improve the process.

The Intellectual Property Office (IPO) helped broker the landmark agreement with the assistance of the Department for Culture, Media and Sport. The BPI, Motion Picture Association and Alliance for Intellectual Property have also been in conversation with Google and Bing.

Jo Johnson MP, Minister of State for Universities, Science, Research and Innovation, is overseeing the implementation of the code and the IPO is working with all parties to evaluate progress.

Johnson said: ‘Search engines play a vital role in helping consumers discover content online. Their relationship with our world-leading creative industries needs to be collaborative. Consumers are increasingly heading online for music, films, e-books, and a wide variety of other content. It is essential that they are presented with links to legitimate websites and services, not provided with links to pirate sites.

‘I am very pleased that the search engines and representatives of the creative industries have agreed this code. I look forward to this valuable collaboration benefiting both the UK’s digital and creative sectors.’

The code, endorsed by PRS for Music, will run in parallel with existing antipiracy measures including court ordered site blocking, work with brands to reduce advertising on illegal sites and the Get it Right from a Genuine Site consumer education campaign.

Your next paydays To join MAPS email maps@prsformusic.com

Performing (PRS): 13 April, 14 July, 13 Oct, 15 Dec. Mechanicals (MCPS) Non-Recorded Media: 13 April, 15 May, 15 June, 14 July.

Recorded Media: 13 April, 15 May, 15 June, 14 July. m63_march 2017_11

money & business GOOD DATA IS SONGWRITERS’ ‘INCOME TICKET’

Music industry experts have called on songwriters, composers and producers to grasp the importance of managing their music rights and works’ data to ensure they get paid.

Talking at the recent PRS Explores: Big Data event, experts from Soundcloud, PRS for Music and music app Auddly called on songwriters to understand the importance of recording their songwriting splits and publisher affiliations as they create the music. A key concern around missing songwriter and publisher information is that collecting societies are less able to accurately distribute royalties to the correct parties.

Paul Dilorito, Director of Operations at PRS for Music, said: ‘Most creators don’t understand the importance of getting the data right or understand the concept of the International Standard Recording Code (ISRC) and why it’s right. It’s your ticket to collecting your income, at the end of the day.’

Helienne Lindvall, Head of Business Relations at song management platform Auddly, added: ‘I’m a songwriter and I will admit that historically I’ve been crap at keeping track of my information and submitting it.

Nobody gets into songwriting to become an administrator.’

She went on to explain that although songwriters need to ensure they’re detailing

this important information in the studio, as the music is created, the process must be streamlined. She said: ‘Where’s the best place to capture what happened in the studio? In the studio. But you need to make that process as easy as possible for songwriters.’

Elsewhere, Matt Fenby-Taylor of Soundcloud said it was hard, in the world of User Generated Content (UGC), to obtain all the information needed about songwriting splits and publisher affiliations. ‘The majority of music uploaded [onto Soundcloud] that comes from record companies is in a good format and carries the right information. But then UGC is a whole different ballpark.

‘When we launched eight years ago we focused on creators uploading their own content. We asked for any data that was available, but less than one percent of people even attempted to enter anything. The data quality just isn’t there when you ask creators to upload their own content.’

Data factory In related news, PRS for Music has revealed it processed data from over four trillion music performances in 2016. According to new royalty distribution figures, it saw an 80 percent increase in music usage data, up from just under 2.4 trillion lines of information in 2015.

To meet these demands, the society is investing heavily in technology and more efficient data processing methods. It was able to pay 33 percent more members in 2016 than in the previous year.

PRS AGM - GET INVOLVED Want to have your say at PRS? Then help decide which songwriters, composers and publishers will sit on the PRS Board and shape the future of the society.

All members eligible to vote should look out for the Directors’ Ballot pack, which will be sent out early in April by Electoral Reform Services. It will contain details of all the candidates standing for election at the Annual General Meeting (AGM) on 24 May, together with a ballot paper and codes for online voting.

The voting deadline is early May and the results will be announced at the AGM. For more information about the event, and which members are eligible to vote and attend, please visit prsformusic.com/prs-agm 12_march 2017_m63

business

MUSIC STILL ‘CHALLENGING’ INDUSTRY FOR WOMEN

MCPS REBOOT

‘2017 will be a defining year for MCPS,’ Chris Butler, MCPS Chairman, has told M magazine.

The music industry continues to pose ‘a challenging environment’ for women, a new PRS Foundation report has revealed.

To mark International Women’s Day on 8 March, the Foundation announced the findings of a five year evaluation report into its Women Make Music fund.

The study, launched in parliament on 1 March, interviewed the 157 recipients of the fund, which awards grants and aims to raise awareness of the gender gap among songwriters and composers.

According to the findings, 78 percent said that they had experienced sexism while working in the music industry, stating that there was a lack of recognition of what women contribute and achieve within the music industry.

The fund played a major role in helping develop careers with 82 percent of grantees securing more bookings following the backing. A further 85 percent said it would have been impossible for their projects to happen without the funding.

Vanessa Reed, PRS Foundation Chief Executive, said: ‘The impact of the Women Make Music fund over the past five years demonstrates how powerful and inspiring targeted funding initiatives can be. Not only is it a hugely popular programme, but it’s a transformational one which has introduced us to new talent and positively impacted the careers of over 150 female songwriters, composers and music creators.

‘We’re pleased that the findings of our evaluation are being discussed in parliament and that Matt Hancock (Minister for Culture and Digital) and Caroline Dinenage (Minister for Women, Equalities and Early Years) have shown their interest and support of this work.

We look forward to working with government, other funders and industry partners to grow this fund so that we can reach more of the women who deserve our support and accelerate change in an industry which would benefit from increased representation of talented women.’

Butler, referring to the decision to put the administration of MCPS back office operations out to tender, said the organisation will be ready to announce who it’s appointed to carry out the work by the end of June.

The Women Make Music fund has been endorsed by Caroline Dinenage, Parliamentary Under Secretary of State for Women, Equalities and Early Years, and Mims Davies, Private Parliamentary Secretary to the Minister of Culture, in a parliamentary roundtable following publication of the five-year report.

MCPS, which currently sits under the PRS for Music brand with the Performing Right Society (PRS), licenses mechanical copyrights for its 26,000 publisher, songwriter and composer members. At present, MCPS’ administrative functions are undertaken by PRS, which, since July 2013, has acted under a service contract.

Mercury Prize-nominated ESKA, genredefying composer and producer Anna Meredith and Women of the Future Award winner Hannah Kendall are all among the artists backed by the fund.

In late 2015, MCPS announced its decision to open up the contract for bids from other organisations, with a decision initially expected in December 2016. Butler said of the delay: ‘It’s a big strategic choice and it’s been a very thorough process. Originally it was going to come to a head in 2016 – it has to come to a head in 2017. The known and published timetable is the end of June. By then we will know where we’re going and everyone is working very hard on all sides to evaluate the options and make the right decisions.’

To date, the fund has attracted 1,300 applications and awarded £522,790 in grants. It is open for its next round of funding until 8 May. Visit prsformusicfoundation.com to find out more and to apply.

He continued: ‘From an industry perspective, MCPS is coming to the end of a very thorough process. 2017 will be a defining year for the organisation and its relationships with whoever it chooses to go forward with as a partner. That’s a big issue for all the publishers.’

m63_march 2017_13

Seasoned pop publisher and peermusic Managing Director Nigel Elderton has just taken up the PRS chairmanship. Anita Awbi sits down with him to learn how he’s committed to securing the value of music in an always-on digital marketplace.

‘When something you love, such as music, is readily accessible and constantly available, it's taken for granted and can become less appreciated,’ says new PRS Chairman Nigel Elderton.

He’s chatting about the ubiquity of music in 2017 and his concerns over its diminishing value.

For this music industry lifer and publishing insider, there’s an uncomfortable dichotomy between the rising demand for music and an unbalanced marketplace undermining its worth.

‘I'm not being a Luddite when I say this, but in truth, when you consider the availability and the accessibility of music, by every means possible today, it’s just staggering,’ he explains.

peer pressure If you are able to get music for nothing, completely unmetered, it’s understandable that the perceived value of it will diminish.

‘If you are able to get music for nothing, completely unmetered, it’s understandable that the perceived value of it will diminish. You just expect it to be there, “on tap” always.'

The implications are obviously huge, despite PRS for Music’s royalty revenues for its songwriter, composer and publisher members growing by 13.4 percent from £473.8m in 2011 to £537.4m in 2015.

‘You can walk into any hotel lobby, lift, restaurant or bar: music is everywhere, all around us 24/7’ Nigel continues. ‘Over a period of time that just washes over you and it can become less appreciated for the art form it is.’

So, as music becomes increasingly omnipresent, how do you uphold its value? ‘In the digital age, when you can just access it at will, swap it, send it, pull it up on a watch - it's tricky, you know? We have to find ways to increase the public’s perception of the value of music. The problem is that they have been bombarded by cheap deals and giveaways from Digital Service Providers (DSPs) for many years, so reversing this mindset is going to require a herculean effort from all sectors of our industry,’ he says.

PROFILE

They give us their PR spin about how much money they're paying creators.

But we know it’s just not enough; we see it on our statements.

Deep roots Nigel has been at the heart of British music publishing for more than four decades, drawn to its creative scope and captivated by the changing ways people listen to and license music.

He first cut his teeth at Chappell back in the mid-seventies, scoring a job through a uni pal who worked there. Developing a thirst for A&R and the creative side, he graduated to EMI Music Publishing to work with some of the UK’s most beloved songwriters, including Les Reed, Barry Mason, Lionel Bart, Roger Greenaway, Roger Cooke and Geoff Stephens.

While his specialism in the firm’s middle-of-the-road catalogue was unusual for a lad barely out of his teens, his parallel tastes for the cutting edge also pulled him into the capital’s more energetic alternative scenes, and eventually led him to that auspicious Sex Pistols gig at the 100 Club back in 1976…

‘That's where everybody says they were,’ laughs Nigel. ‘But it certainly was a big night for me, we picked up the band from the pub and I met Malcom McLaren.’

Nigel went on to look after Malcolm's catalogue and still does, posthumously. Now as European President of peermusic, he’s also just signed all the Public Image Limited catalogue – reigniting his relationship with John Lydon.

Syncing feeling From his eighties EMI Music Publishing base near Tin Pan Alley, Nigel helped forge the sync business as we know it today, servicing global brands such as Chanel and Levi’s with some of the decade’s most essential placements.

Back then, advertising, film and TV execs were just starting to switch on to the power of classic cuts and the kudos big-name artists could bring. Through Nigel - who pre-empted the trend by courting the media set on their own patch in Soho - they suddenly had access to a treasure trove of world-class music.

Nigel remembers a Eureka moment when he heard Sam Cooke’s Wonderful World on the radio and decided to pitch it to Levi’s. The ensuing advert hit around the same time the iconic Marvin Gaye (Heard It Through the Grapevine) hook-up went stratospheric. ‘I had the one no one remembers,’ Nigel laughs, ‘but basically, for the next seven years my phone was constantly ringing.’

From there on in, Nigel explains it’s been a fair old struggle to maintain the value of music in the commercial world.

‘Sadly, despite all of the business I've done with agencies, and all of the seminars, talks and award ceremonies I’ve attended, I still meet people in advertising who have no idea how to license music – and I find that very frustrating.

‘Many still regard music and music budgets as an afterthought. We are always the guys at the end of the line who are asked to cut our fees as the production has overspent their budget.’

With that in mind, talk soon turns to digital…

Digital dilemma It’s no secret that songwriters, composers and publishers around the world are concerned about earning their fair share in the streaming age, when per-play rates are incredibly low and DSPs often launch their businesses without a licence or any understanding that the price of music has to be factored into their business model.

It’s a situation close to Nigel’s heart, who believes it’s a publisher’s duty to strive to maintain – and sometimes obtain – the value of copyright.

‘Publishers are often accused of not being able to adapt to the digital world, but we are agnostic. We don't care who we license to – a record is just a carrier of our repertoire. Music can be on a silver disc, vinyl, a piece of tape, or an mp3.

‘When a new carrier comes along we adapt quite easily. Our licensing schemes and fees have evolved from sheet music sales through TV, radio, recorded media and now to digital. As such, I would argue that we are more than capable of adapting to new technological innovations.

‘But what we can't do is give away our repertoire at the price point that some DSPs currently think they should be paying!’

It’s this belief in the enduring value of music that will set the agenda for his tenure as PRS Chairman. With YouTube and other important licensing negotiations ahead, and the society’s public dissatisfaction with the current situation, it feels like 2017 could be a watershed year.

Nigel offers: ‘YouTube is a fantastic service; it's a global, digital jukebox... I just wish they'd pay us a reasonable rate. They give us their PR spin about how much money they're paying creators. But we know it’s just not enough; we see it on our statements.

'We can talk about safe harbour and all the reasons why they've managed to avoid it, but the truth of the matter is we've got other services which are paying us good licensing fees that have been negotiated fairly and freely. The shift in the value from the creator to the DSPs is extremely concerning and must be addressed if we wish to see a thriving creative sector without which there will be little incentive to create new content.’

So what does he intend to do about the current situation? ‘As Nigel Elderton personally? I'd flick the switch tomorrow and go dark.

Why wouldn't you? I feel like saying, “This is the rate, pay it or don't use it." But the world is not that simple… and I don't think it's a practical solution. We need to convince all digital service providers and platforms that without a decent royalty, songwriters can’t survive.’

He refers to the ‘delicate ecosystem’, in which ‘songwriters are suffering’, adding that continued discussion, negotiation and education must take place to redress the balance.

With his sights clearly set on helping correct some of the major discrepancies within the online licensing landscape, it seems there’s plenty to keep this new Chairman busy in his first year. ‘One of the cornerstones in 2017 is the PRS Board initiatives to improve and increase the value of our members’ repertoire - that's absolutely paramount,’ he confirms.

Alongside PRS, Nigel Elderton sits on the Boards of PRS Foundation, the Music Publishers Association and MCPS.

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Main image: Yola Carter

profile AMERICANA

Main image: Madness

BRITISH NASHVILLE Jim Ottewill meets the new wave of British country and Americana artists ‘building their own Nashville’ and conquering all before them…

‘Country music had a fear association when I started out,’ says British country soul artist Yola Carter. ‘Achey Breaky Heart and Deliverance were the only reference points in the UK - and they weren’t positive.’

The singer-songwriter is contemplating the vogue for homegrown country and Americana after a show stopping performance at last year’s Americana Music Festival in Nashville.

Ben Earle from the chart-topping British duo, The Shires agrees about the negative connotations surrounding the genre.

‘People literally laughed at us when we said we were a country act’, he remembers.

Fast forward four years and its Ben and songwriting partner Crissie Rhodes who are giggling now. Their 2015 debut album Brave and last year’s follow up My Universe both reached number one in the UK Albums Chart with their slick, contemporary take on classic country.

Their achievements arrive alongside that of modern country poppers and fellow chart toppers Ward Thomas, sisters Catherine and Lizzy Ward Thomas. Their 2016 album Cartwheels also reached number one, making them the first UK country act to top the UK Albums Chart. Alongside Yola and The Shires, they’re offering a uniquely British take on a genre, going beyond the country music stereotypes of Stetsons and spurs.

Beyond Deliverance Thankfully country music’s scene, artists and audiences have moved on since Yola began. And there are plenty of indicators pointing towards its ongoing prosperity in the UK.

BPI figures show that country artists sold 1.8m albums in 2016, up from the 1.7m of the previous year, while Dolly Parton’s 2014 Glastonbury performance drew record crowds. The C2C festival, held at London’s O2, is now a sprawling showcase for the best in country music both from the US and UK. This year it expanded to take in a number of other arenas across the UK for the first time.

Country’s more sophisticated, grittier sibling Americana is also riding high with its own chart and awards organised by the Americana Music Association (AMA-UK). British artists falling under this Americana banner have also triumphed in the States with William the Conqueror and Robert Vincent joining Yola in Nashville thanks to backing from the PRS Foundation. As Yola remembers, the acclaim has not been without a struggle. ‘I had to fight my way through a wall of things you were supposed to be into as a young girl of colour to get to this music,’ she says.

‘It means I’ve spent a lot of time doing things I didn’t like to get to where I am now. Thank god for the Coen Brothers’ film O Brother Where Art Thou? making sense of what I was trying to get across.’

Debut EP Orphan Offering distils Yola’s sound, showing that while she writes soul-baring songs somewhere between country and Americana, she heats it over a love for funk, blues, gospel and much more. She believes it’s this blurring of the lines that heightens her appeal.

‘It’s noticing the connections between genres that helps,’ she reveals. ‘It’s like in The Band’s film, The Last Waltz. You can see the connections between all of the genres through the blues, gospel and country with the Staple Sisters, Muddy Waters, Neil Young, Bob Dylan and Joni Mitchell.’

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AMERICANA

Nashville Named as AMA-UK Artist of the Year in January, the roots of Yola’s current success extend beyond her 2016 Nashville trip.

Above: Ward Thomas

‘Our first gig was at the AMA-UK awards in January,’ she says.

‘Then within nine months we were in Nashville and the buzz had reached fever pitch.’

As with her contemporaries, Yola is part of a long lineage of songwriters taking what is ostensibly a US sound, reworking it and bringing it back Stateside. But she believes that the significance of breaking in Nashville goes beyond it being the ‘beating heart of country music’.

‘Playing there is massively important because it’s a music city. Every major international label and publisher have representation there.’

Jessica Sharman is one of the most successful of the new breed of British country songwriters. She has played a major role in the success of the Ward Thomas, helping co-write much of their album Cartwheels. She also recommends a trip to the city as a good grounding for aspiring country artists.

‘Anyone who wants to write country music needs to go to Nashville,’ she says. ‘Spend your first three days being the biggest tourist you could ever be. Do the Ryman Auditorium, do Sun Studios, really get into the soul of the city. It’ll mean you really feel part of it.’

The Shires While Yola is on the brink of breaking out with her raw gospel country soul, The Shires and Ward Thomas have helped marry roots music with a more mainstream sheen, leaning towards out-and-out pop.

Ben and Crissie from The Shires originally met on Facebook via a mutual friend and musically hit it off immediately. With a name that nods to their British identity, they were picked up by Decca after only a handful of gigs, then signed to US label Universal Music Group Nashville. It means that they’re the first ever English country act to be signed to a major Nashville label. Why does Ben think the duo have been so successful?

‘The UK country scene was definitely desperate to see a home grown act break,’ he reckons. ‘People will always love great songs that they can relate and sing along to, and country is a lot more accessible lyrically now for UK audiences. It’s definitely surprising a lot of people who thought they knew what country was.’

While they’ve succeeded under their own steam, The Shires take inspiration from how more traditional country stars turn on their creativity. Ben says: ‘We write a lot in Nashville and we love the way they approach songwriting over there. There’s a real “song a day” culture and everyone lives and breathes songs. The attention to the lyric and the story is so inspiring and refreshing.’

C2C The Shires were given a platform to succeed in part to the C2C festival, the UK’s biggest country music event. It’s acted as a shop window for new talent while attracting big US country stars like Carrie Underwood and the Dixie Chicks to the UK. This year’s edition is even bigger, operating in a Reading/Leeds festival fashion with acts spending the weekend shuttling between London, Glasgow and Dublin to appear in all three cities.

Milly Olykan, events director at The O2 and board member of the Country Music Association (CMA), says the event has reached an audience that was always there but long ignored.

‘Kudos to all the fans that have been loyally loving country music long before C2C showed up,’ she says. ‘There was an audience here that was underserved, no one was bringing them music or new artists to discover.’

Alongside the hit TV show Nashville and the role of online in aiding artist discovery, Milly thinks that the event’s partnership with BBC Radio 2 has also secured the genre a wider audience.

Dedicated shows from Bob Harris and Ralph Mclean have helped grow the scene’s audience.

M63_MARCH 2017_19

AMERICANA

‘The UK country scene was definitely desperate to see a home grown act break.’

Alongside Yola and William the Conqueror, she earmarks the likes of Danny and the Champions of the World and Lewis & Leigh as artists to keep an ear on. To her, these are Americana artists typical of the genre, making authentic, honest music.

‘There’s something about the British take on roots music that speaks to the USA,’ says Stevie. ‘Our folk music went over there, came back, went back again - and each time there’s a new element to it. Bear’s Den, The Staves and Mumford and Sons have really made it big in the US so we should be happy there is a hunger for UK Americana.’

New roots future So where does the future of the genres lie? Well, it all looks positive with a recent CMA study showing that country music is succeeding in reaching a new, younger audience in the UK. Figures show that 47 percent of 18 to 24-year-olds now identify as country listeners, with 50 percent of participants – a cross section of 800 Brits aged 18 and over – citing country music as one of their three favourite genres.

While country and Americana both look set to continue on their upward trajectory, Yola Carter says that the sound needs to acknowledge the diversity at its heart to go even further.

‘Half of the genres it’s linked to were ones created by black people.

Not white-washing music’s history would be extremely handy to help it grow into areas and markets that it’s not even managed to touch.’

Jessica Sharman believes that at its core, country and Americana have an enduring appeal because of the emotional honesty, authenticity and hope that they offer.

‘People want great stories,’ she says. ‘Why do people go to the movies or read books? Because they want to be enlightened, they want to have something to talk about, they want to experience joy.

They want to be inspired, and hopefully with Ward Thomas that’s what we’ve done with our songs.’

Visit m-magazine.co.uk for interviews and features with these interviewees and more.

Above: The Shires Right: Jessica Sharman

‘When we committed to bringing over big stars from Nashville every year it made sense for radio to get behind it. Then it became worthwhile for labels to invest in promoting a particular act, and then the media want to know more, and get behind it - so it builds an infrastructure that starts to work together.’

Americana Operating in the same sphere as country, Americana artists have also enjoyed no little success over the last few years. Its new official UK chart clocked up half a million album sales in 2016 while the AMA-UK awards has just seen its second well attended edition. A network of festivals including Maverick and SummerTyne are all acting as incubators for new talent. But for the uninitiated, what is the difference between Americana and country?

Stevie Freeman, AMA-UK chairman explains: ‘Jed Hilly, AMA executive director, says, “If you can taste the dirt in your ears, that’s Americana”. That’s how I feel about it too. UK country tends towards pop while Americana tends towards folk, rock and blues.’

Lewis & Leigh, Bear's Den #fundedbyprsf M63_MARCH 2017_21

ATOMIC POP

profile PROFILE

INTO THE WILD xxxx

On first sight Julian Cope looks more likely to kick your teeth in than regale you with insights into the UK’s antiquarian sites.

Adorned in leathers, shades and boots, and complete with big bushy beard, his intimidating get-up is straight out of the wardrobe of a psychedelic Hell’s Angel. Or as he prefers, ‘Odin’s biker’.

But while his attire is slightly threatening, the reality is, as with everything convulsing around the mind-wobbling universe of the arch druid, very different. Under the leathers beats the enthusiastic heart of a wide-eyed poet, musicologist, historian, archaeologist, occultist and novelist.

‘An experimental unit dedicated to taking LSD’ It was as a founding member of Liverpool’s Teardrop Explodes, ‘an experimental unit dedicated to taking LSD’, that Julian became a pop star. The Teardrops reached the top 10 with eighties’ hit Reward before his muse dropped a trip outside the charts and rained down an otherworldly shower of words, books and historical projects.

‘I never wanted to be a pop star,’ he admits. ‘I absolutely thought it was the stupidest concept in the world. But looking back, with tremendous hindsight, I was pleased to have been one. I was very bad at it but at least I wasn’t as old as Huey Lewis when I realised that Top of the Pops was in a tiny, shitty studio. Imagine working until you’re 40, going in after your hit and realising it was a shit hole.

You’d be hoist by your own pop petard.’

He’s taken enough LSD to kill lesser mortals, was once photographed naked under a turtle shell on a slag heap for an LP cover and is back on the booze with latest record, Drunken Songs. Jim Ottewill goes head on with mystical pop soothsayer Julian Cope…

Now in 2017, rock ’n’ roll is back on the agenda with Julian’s new album Drunken Songs, rolling around sloshed at its altar. But while his love for old stones and the mystical past is much talked of, his music is in no way nostalgic. Instead, this new LP is an invigorating, ‘inebriated’ collection of odes to delicious booze, his cup running over with ideas, melody and wit. It’s this musical energy, coupled with a healthy disrespect for rock heritage, which has kept him and his work so refreshed…

‘I found a lot of music boring when I started out,’ he laments of his early days. ‘I could never like Dylan. I thought he saw musicians as functionaries on which he trod while he saluted the grandness of his own muse. “Hire me bass player [The Band bassist] Robbie Robertson”. That’s just fucked up man.’

Instead, Julian’s musical weaning started out with arch political singer songwriter Tom Lehrer, before he discovered a love for the out-there sounds of The Doors and Frank Zappa. A passion for arty counterculture took him to Liverpool where Julian fell into a pop career more by accident than any grand design.

Julian remembers: ‘We got into it because me and [then manager] Bill Drummond were mentalists for pop culture. He came back from London one day and said: “You’ll never believe it but this guy from Mercury Records thinks you can be a pop star. The daft apeth.”’

M63_MARCH 2017_23

‘Rock ’n’ rollers by definition are poor role models.

They should be. They should be all promethean and handling cosmic fire to their audience.’

At the same time, he’s keen to assert that despite the acid and an eccentric gene pool, he’s also had to keep a vague grip on reality to abide. ‘There were neurological problems in the Welsh side of my family due to inbreeding,’ he says.

‘That sounds like I’m pulling your leg but it’s actually entirely true. At the same time it hasn’t impacted me. I’ve grown up in a world which is extremely relentless in its expectations. It means I’ve had to endure to still be interesting and for people to be interested.’

The modern antiquarian Since The Teardrops imploded, Julian’s energy for new knowledge has led him streaking through myriad creative pastures over subsequent years. While he’s continued to release many albums of music, he’s penned two successful books on Neolithic stones (The Modern Antiquarian and The Megalithic European) plus one on Japanese krautrock, and turned his hand to novel-writing, in the form of One Three One: A Time-Shifting Gnostic Hooligan Road Novel. How has he managed to be so successful while orbiting so many starkly different spheres?

Above: Julian Cope

Head butting the ‘rock pantheon’ The neon psychedelia of The Teardrop Explodes blasted out of a postpunk Liverpool music scene that was as legendary for its infighting as its music. Alongside Echo and the Bunnymen’s Ian McCulloch and Pete Wylie, Julian was a member of the Crucial Three, a late seventies’ punk group who notoriously fell out with each other after only six weeks without playing a gig. All three went on to enjoy some success but it was as much a thirst for bitching, arrogance and getting fucked up as well as their striking songs that propelled them. Were the bustups real? Or orchestrated by puppet master manager Drummond?

‘It was just absolutely hammer and tongs at each other,’ remembers Julian. ‘There was clearly a limited amount of space in the rock pantheon and we all had to fight like billy-o to get a look in.’

Cosmic fire To him, the lunacy that surrounded him and his peers is what rock ‘n’ roll is all about. Julian believes it’s less of a career and more a way of life lived holding on to the edge by your fingernails. ‘Rock ’n’ rollers by definition are poor role models,’ he says. ‘They should be. They should be all promethean and handling cosmic fire. That’s what makes it.

‘It’s about giving permission to people who aren’t in control,’ he continues. ‘You put the spotlight on people who, if were in the mania, would be chained to an iron bed. It’s fucked up man. But it’s brilliant.’

GETTY

While Julian was in The Teardrops and his subsequent solo years, he embodied these sentiments to the extreme. His acid and weed consumption were the stuff of legend and had huge influence on him and his music.

‘Has had acid shaped me as an artist? Almost entirely. The Teardrops weren’t a psychedelic band but a contemporary group on LSD. We wanted to subvert while having a great time,’ he explains.

He puts it down to the Keith Moon approach. ‘I’m not the best drummer in the world but I am the best Keith Moon type drummer,’ he says. ‘I never tackle anything that anyone else has much tackled so that the story I am telling is as brand new as it gets. I think I’ve been lucky that my experimenting has not sent me down too many blind alleys or cul de sacs.’

So how can new artists learn from his career? ‘The best advice I can give is never do a gig in Austria if you don’t fancy the women or the food. Cos they might like you and invite you back.’

Sorry? ‘You’ve got to be practical,’ he explains. ‘Otherwise you might as well be doing a perfectly normal job.’

Drunken Songs Now Julian has just released Drunken Songs, a travelogue of ditties penned around the UK over the last decade while researching his favourite monuments. One song, On the Road to Tralee, is a staggering 19 minutes long. Where did the idea come from to dip his music in the drink?

‘In 1983 I gave up drinking and did so for 20 years,’ he explains.

‘But then I was doing some prehistoric research in Armenia. I was invited to a settlement where they were having a celebration. And they expected me to drink. I tried telling them that I was teetotal but I had to drink out of politeness for their customs. I had nine mulberry vodkas that night and afterwards I was like a boy racer. Bring it on.’

Despite being soused, it’s a great selection from an artist who, try as he might, can’t help but come up with pop, which is, in his words ‘as catchy as a bastard’.

‘The lead song, Drink Me Under the Table, should be in Ibiza really. It’s about a business woman and man who don’t know each other, who meet on a Friday night and just get it on.

PROFILE

‘At that moment, they don’t give a fuck. Which is what Carl Jung’s Western experiment is all about. It’s about living in the moment, that we take risks and we fuck up. And that’s what Drunken Songs is about.’

It’s never over until it’s over While much of Julian’s life has seen him seek inspiration from inside his (often deeply altered) mind, the world around him in terms of Brexit, and of course the election of Donald Trump in the US, is perilously poised. But it turns out that the wider universe drives him too: ‘The world always has an impact man,’ he says. ‘I think confrontation is essential so in that respect I love where we’re at. But I don’t fucking love Trump.’

At the centre of Julian and his music beats a punk heart. His whole life has been devoted to rugby tackling the norm, perhaps best shown by half an hour of unravelling, psychedelic conversation. He ricochets from philosophical teachings to recalling giving careers advice to Def Leppard’s Joe Elliot on smoking ‘big spliffs’ in the back of a limo. It seems what keeps Julian going is the belief that whatever happens, our culture will find a way to grow and expand.

‘What did Lenny Kravitz say? It ain’t over until it’s over. He’s a silly sod but that’s a great point. It’s never fucking over,’ he says.

Above: The Teardrop Explodes

Drunken Songs is out now. headheritage.co.uk

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Eric Mackay Vice President, Digital, EMEA and Asia-Pacific, Warner/Chappell

Anita Awbi spends time with digital experts and strategists across the publishing sector to gauge how streaming is shaking up their business in 2017.

As paid streaming subscriber numbers sail past the 100 million mark – and with plenty more growth forecast – there’s no doubt Digital Service Providers (DSPs) are radically disrupting the musical landscape.

Their new distribution models are shaking up just about every aspect of the industry, with most emphasis placed on the record companies’ struggle to adapt from a physical business to a digital one. But where does this seismic shift leave publishers, who have less of a stake in the streaming market than their label counterparts?

As new PRS Chairman Nigel Elderton asserts earlier in this issue, publishers are both format-agnostic and remarkably adaptable. Whether they be large multinationals, shareholder-backed or boutique family-run businesses, many have been keeping time with the industry’s shifting rhythms for decades.

With this in mind, we called on some of the publishing community’s leading lights to share their thoughts on how they’re recalibrating their businesses and futureproofing their repertoire. We asked them to consider the following questions: Will 2017 be the year streaming goes mainstream? When will the growth plateau? How are the likes of Spotify, Apple Music and Deezer challenging the notion of a hit record? Will the tensions surrounding slim per-stream pickings subside? And lastly, how are publishers feeling about the proliferation of digital music data?

The further we travel out of our comfort zone, the more growth we’re going to see.

I think, in terms of streaming, we’ve got a huge way to go before current growth rates plateau. Subscription is such a massive part of the business right now, but we’ve only really seen the tip of the iceberg.

Yes, we’re seeing a slowdown in the uptake of subscriptions in some markets, such as the Nordics, but this can be compensated by territories that have never really got involved in digital before. So I don’t think the streaming market is going to slow down any time soon.

Also, the models are changing. There has been a big shift at the streaming services, who are adding things like student and family plans, as welll as telco bundles. These are all really interesting ways of getting music out to new consumers that haven’t previously paid for it. At Warner/ Chappell we’re really supportive of all these different initiatives to try to grow the digital model.

For us, the developing BRIC countries are the next big growth markets. We’re less concerned with the general economics of these countries but more how their technological infrastructure is improving.

If you look at markets like Mexico, which I know well from my time at Vevo, getting a phone signal was easy. Staying online was an absolute nightmare, because your data connection would always drop out. But these days, local governments are making vast investments into their telco infrastructures and it opens up the possibility of people accessing music in many different ways.

There are services out there who take a very different view on these developing territories, which may not have the infrastructure to support high-res, full-bandwidth streaming. They’re coming up with alternative models to work around the limitations.

We take for granted the fact that we’ve got a great a broadband infrastructure and mobile network. But there’s a whole world out there which has to work around technological constraints and it’s making them think in very different ways. I talk to companies all over the world and it’s a complete eye-opener for me. The further we travel out of our comfort zone, the more growth we’re going to see, and the more it’s going to make us think about how we can be more flexible with our licensing models.

publishing

Roberto Neri

Jackie Alway

Managing Director, Downtown Music Publishing

Vice President, International Legal and Industry Affairs, Universal Music Publishing, and Music Publishers Association chair

We're an active publisher within the streaming market, yet we're getting less than a third of what the labels are getting. We believe this percentage should be much higher because, as an industry, we’re matching labels’ A&R spend and investment.

While music streaming subscription has been around for more than 10 years, we’re encouraged as growth has become more rapid in the last few years with the number of paying subscribers now at 100 million.

Due to the nature of the beast, it’s very difficult to change this mindset, but we’ve been making good headway.

Percentages have gone up over the last five years and they continue to rise. Publishers and songwriters are now recognised by these streaming services. Rather than being an afterthought, we’re at the table a lot earlier than we were before.

But I do think publishers can better control their own destiny on these platforms. They can actively work to create more streams. They can promote themselves and their repertoire more efficiently, they can look for opportunities to create their own playlists.

All the curatorial power shouldn’t be in the hands of the labels and the likes of Spotify. Publishers can do creative things to get more plays. We’re living in interesting times and I see this area of opportunity growing massively for publishers in 2017.

Most subscribers come from developed markets: while Japan, Germany and France still offer great growth, markets such as China, Indonesia and India are still relatively untapped. For example, Indonesia’s fast expanding middle class has a population of 200 million, but so far there are only around 250,000 paying music subscribers. So there’s room to grow.

I think that we will continue to see strong growth with subscriber numbers perhaps hitting 200m before plateauing. Digital Service Providers (DSPs) may adjust their pricing to serve markets with lesser purchasing power and introduce mid-tier products to target less engaged customers in developed markets.

In developing markets, we are focused on creating new opportunities for growth, and encouraging strategies to migrate users from ad subsidised music consumption to subscription.

We are enthusiastic about new services, such as the recent launch of Amazon’s Music Unlimited service, which may provide a boost to subscription numbers. The ecosystem is further bolstered by the introduction of smart speakers such as Amazon Echo and Google Home.

All the curatorial power shouldn’t be in the hands of the labels and the likes of Spotify.

Publishers can do creative things to get more plays on streaming platforms.

M63_MARCH 2017_27

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publishing

This is the first in a series of articles examining the publishing landscape in 2017. Look out for the next instalments which focus on sync and data. m-magazine.co.uk/publishers

Sarah Liversedge

Chris Butler

Managing Director, BDi

Worldwide Head of Publishing, Music Sales, and MCPS Chairman

Everybody is still adapting to the massive growth in streaming – we see the reality of the royalty statements and know how things are changing in terms of return on investment. If I look at the Ed Sheeran titles I represent on behalf of Amy Wadge and Jake Gosling, the streaming volumes are massive, but the returns are actually quite low.

The expectations are that if you’ve had 500 million streams, you’re going to get a load of money back, but actually, that’s not the case.

I’ve spent a lot of time in the industry, specifically at MCPS and at the Independent Music Publishers e-Licensing initiative (IMPEL). Streaming revenues used to be listed as ‘other’ on our Profit and Loss sheets. Now it’s got its own special pride of place - it’s the most dynamic growing part of our business. We certainly don’t see any plateauing in the short-to-medium term.

As an industry, it’s going to take time to work out exactly what we’re due from all the aggregators out there. Although the data is getting much better and the information flow is improving, I think there’s a long way to go before we’re truly able to monitor streaming effectively. We’re all still figuring out how everything works and interconnects in the digital landscape. Each time you get used to a certain element, something new pops up. It’s moving so quickly and everybody’s trying desperately to adapt to it.

I think the executives who sit on the IMPEL Board are all working very hard to set themselves, and set the organisation, ambitious targets for growth. Will there be some rationalisation in the streaming market? And for how long will there be multiple streamers? Now we have two giants, Spotify and Apple. Can they co-exist in the medium-to-long term? Will they continue to add value for their services, and as a consequence to artists, publishers, performers and writers? I don’t know.

In terms of getting a return on the investments I make, my reality is that publishing is a long term game. I don’t expect to recoup initial investments immediately. With that in mind, my strategy for 2017 is definitely focused on signing new artists. As I have to compete with the big boys, it’s all about finding that amazing talent early on and supporting and nurturing them.

I think there is a skew on streaming platforms towards contemporary, ‘peaky’ repertoire music that can produce a huge spike after a major awards ceremony or following the sad news of an artist’s death, for example. It’s creating an almost disproportionate reward for that type of repertoire.

I also think there’s a deeper structural problem. The per-stream value on these platforms is constant, regardless of whether

your music is a minute long or an hour long.

Surely, for a classical piece that’s 30 minutes long, we should be getting more than for a three-minute pop song? Going forward, I think classical and dance publishers will want to address this issue as they’re in danger of not being properly remunerated.

As a publisher, you must be aware that streaming platforms are not so good for back catalogue or other genres. Sometimes, as much you try to lead the market, you’ve got to notice trends, and you have to recalibrate your business to accommodate that. So, Music Sales is stepping out of its perceived position as a print house or classical specialist. We're starting to invest in, and acquire, a contemporary pop repertoire, which is a new departure for us.

We’ll be working on that this year.

There are very few independents who have proper global reach and a long-term view. I think publishing has always been a risk-taking business, and at Music Sales we're not scared about taking those risks against what we see as a challenging, but rewarding, market. One of the ways you can test the market’s intrinsic value is by looking at the acquisition of content – which is still as keenly contested and as expensive as ever. The asset itself is clearly considered to be worth having.

There is a skew on streaming platforms towards contemporary, ‘peaky’ repertoire… It’s creating an almost disproportionate reward for that type of music.

M63_MARCH 2017_29

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09/03/2017 12:49 24/02/2017 16:16:10

song writing

i wrote that real life relationships. We were thinking of real people we loved, and the strange quirks and imperfections that made us love them. So everything in that song is real, which is a lovely thing to be able to say.

Prisca Lobjoy

We worked really well together, even though it’s the only time we’ve ever written collaboratively.

I was playing piano, he was on guitar and we were both singing and writing. At one point it was looking like it was going to be quite a happy song. I really fought him to get those minor chords into the chorus to give it a bit of emotional weight. Apart from that, the collaboration was very even - we were both writing lyrics, both writing music. It was great.

Suffolk-born singer-songwriter Fiona Bevan spent several years perfecting her craft on the London gig circuit before picking up commissions for film and classical pieces. In 2011, she worked on her first co-write with long-time pal Ed Sheeran.

Together, they penned the multi-platinum number one hit Little Things for One Direction. Here, she tells us how it changed her life…

Ed and I had been friends for quite a few years. His first ever London gig was with me and we were both part of a little bunch of songwriters who would always hang out and do gigs together. Back then, I was trying to diversify because I wanted to get more into co-writing. It was really hard to survive solely from gigging - paying rent in London is crippling!

Ed had just signed his record deal and was finishing off his first album. I asked if he wanted to write another song for it with

me. He agreed and came around to my flat in Dalston, where we ate food, drank tea and wrote.

I remember we both wanted to write a love song and I had an idea from Virginia Woolf I wanted to play with. She always looks at the minutiae and emotion of a situation. I’d been thinking about that a lot, and how the little things really represent the big things. I told Ed the idea and he loved it.

We both began accessing loads of old memories and ideas from

Back then, I didn’t own any microphones so we made a really crappy recording on his phone. I wrote the lyrics down on a big piece of paper. Then he went off into the sunset and had his phone stolen or lost! After that, the song disappeared for about a year, but it was always in my head so I ransacked the house to find the lyrics. I emailed them to him and luckily he remembered how it all went.

Ed made a demo on his tour bus using an iPad. At the time, he just happened to be playing at the London Olympics Opening Ceremony with One Direction.

He met them backstage and they became friends. Ed ended up pitching about 10 songs to them, including Little Things.

For a few months there was a will-they-won’t-they thought hanging over me. I never let myself get my hopes up, but I really wanted the band to cut it and put it out. I kept hearing conflicting rumours from behind the scenes, and I didn’t really know it was going to be a single until they released the video.

They didn’t take the song off to a place where it felt wrong

I cried when it went to number one because it was such a turning point in my life.

– it was quite stripped down and intimate, vulnerable and sensitive. I think that’s why people really loved it. It felt real.

It was just extraordinary when it went to number one. I cried because it was such a turning point in my life. I needed it so much and I had been working so hard for so long. It meant the world to me, really, and I’m so grateful to Ed for giving it to the boys.

Suddenly, I had my foot in the door of the music industry, which is so hard to do as a new songwriter. It was a game changer. I got my publishing deal and all sorts of people came out of the woodwork. It was my first cut and it went to number one in so many countries. It’s ridiculous! I suppose now I’m trying to prove that it wasn’t a fluke. I’m working hard every day to show I’m no one hit wonder! fionabevan.co.uk

Little Things Written by:

Fiona Bevan and Ed Sheeran

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FRINGE MEETING FOR PRS MEMBERS* organised by Jonathan Starkey 1:00pm - 2:00pm Wednesday 24 May 2017 Bronte Room British Library Conference Centre 96 Euston Rd London NW1 2DB

107mm

20/02/2017 15:43 09/03/2017 12

ears y 0 0 1 er e For ov we hav oat r h at t g evin i l e r n bee ard h r o f on irritati ces i o v g d workin stFrien rs #Singe

Spaces will be limited so please contact me in advance if you wish to attend.

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RSVP: jcstarkey@me.com

Available in all good music stores, independent chemists and direct from us at www.vocalzone.com

*please note that only Associate and Full PRS members are entitled to participate in the PRS AGM taking place at the British Library later that day.

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09/03/2017 12:49

supporting music’s future generations The prospect of entering the music industry can be a daunting one for students, particularly when it’s a career path that’s often depicted as competitive or cut throat.

BASCA’s Academic Supporters Programme aims to ease that process, through educating students on the workings of the music industry, and sharing knowledge and expertise from our established writer members.

Through the scheme, we team up with universities and conservatoires across the country on a number of different academic packages which provide benefits to both academic leaders and their students.

These include lectures from established composers and music industry professionals, critiques of students’ work, a BASCA presence at career days and fresher fairs, and the opportunity to collaborate with us on special projects.

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Professionals in training Two of BASCA’s main objectives are to foster a sense of community among British songwriters, composers and lyricists, and to encourage the next generation of professional music writers. If we are to harness and support this talent, it’s essential that we build ties with academic institutions to ensure British music continues to thrive.

Many academic institutions offer a wide range of music degrees and diplomas that help creators hone their craft and become self-sufficient artists with a thorough understanding of how the business works. BASCA is able to delve into our membership pool of highly talented and successful songwriters and composers to deliver first-rate masterclasses to students all around the UK. Composer, performer, British Composer Award recipient and BASCA board member Mira Calix visited the Royal College of Music last year and recently television composer David Lowe, whose credits include BBC News and Grand Designs gave a presentation to

the Liverpool Institute of Performing Arts (LIPA).

Kaya Carney, Pathway Leader at The Academy of Contemporary Music (ACM), says: ‘Our partnership with BASCA gives us access to established songwriters and composers who are working within the music business, through lectures and masterclasses.

This is very important for our students as it’s an industry that’s constantly evolving. It helps to keep our courses alive and complements the education we provide.’

She adds: ‘It makes sense to build a link between the young generation of songwriters and a network of working professionals. Not only does this benefit our students but it helps us, as an academic institution, to expand our network. It’s fantastically motivating for our students to hear inspirational stories that build on their belief that it’s possible to forge a successful career in the industry.’

Member benefits Academic partnerships also help to introduce students to the work that we do behind the scenes for songwriters.

Students aren’t always aware there’s an organisation campaigning on their behalf, particularly in the area of revenue streams.

Kaya says: ‘It’s reassuring to know that we’re partnered with an organisation that is working to create a more positive future for our current songwriting students.’

One of the most important benefits of the partnership is the digital

The British Academy of Songwriters, Composers & Authors exists to support and protect the professional interests of music creators of all genres and to celebrate and encourage excellence in British music writing. BASCA is entirely self-funded and relies on the continued support of its members to carry out its work. If you are a composer, lyricist or songwriter you are welcome to join. To learn all the benefits available to members please visit basca.org.uk. BASCA’s digital membership is available to students and emerging songwriters for only £20.

membership, which was created with students in mind. We offer academic supporters the opportunity to purchase group memberships for students at a heavily discounted price. In particular, it helps students to ease into the practice of networking at smaller, less intimidating industry events. Last year, in partnership with Goldsmiths, University of London, BASCA hosted a hugely popular Media Composer Conference at their south London campus. Many of the UK’s most successful film and TV music creators gave up their time to share insights, experiences and toptips. The day was rounded off with a key-note interview with Downtown Abbey composer John Lunn.

Mentoring schemes Richard Lightman is Lecturer in Music and Director of Employability at Kent University, School of Music and Fine Art. He agrees that through his school’s partnership with BASCA there is more opportunity for students to interact with industry professionals. This helps prepare them for graduation and also presents exciting opportunities for established songwriters and composers, who can learn a lot from young students.

The benefits are particularly evident in the mentoring schemes on offer.

Richard says: ‘They facilitate an interesting process for both parties and provide cross-generational experiences. Mentors have the opportunity to learn about new genres and may have to adapt their teaching style or approach. University is about the exchange of ideas – we all learn from each other and our partnership with BASCA reflects this ethos.’

From an employability perspective, the partnership also opens up other opportunities within the music business, for students who are interested in pursuing other music industry careers besides songwriting.

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Rag ‘n’ Bone Man, 21 July 2016, PRS for Music HQ, London

Rag ‘n’ Bone Man is Brighton-based musical magpie Rory Graham, who mixes the mid-century blues of America’s Deep South with the grimy beats of UK hip-hop. Last July he headlined the summer edition of PRS for Music Presents at the society’s London headquarters.

Rory’s knack for big, belting choruses, delivered in perfect blue-eyed soul style, shook the PRS stage and delivered a hushed awe across the crowded room.

Mixing Memphis splendour with lasting melodies, Rory glided effortlessly from a raw gravelly growl into something much softer.

Those witnessing his live performance for the first time were bowled over by his music and frank force.

of release, the record sold 117,000 copies across physical (which made up 67 percent of his total sales), outselling the rest of the Top 10 combined and giving the singer-songwriter a bigger opening week than debuts by other top sellers including Ed Sheeran and Sam Smith.

Rory also scooped two BRIT Awards this year, the Critics’ Choice Award and Best Breakthrough Act - a foot on the ladder of superstardom.

When he closed the show, he played Human and Skin, two killer tracks that have gone on to deliver Top 20 hits, with the former spending 14 weeks in the singles chart and peaking at number two.

Although fairly new to the mainstream, Rory has been a prolific name in the British underground for over a decade, building a ferocious solo live reputation and fronting rap outfit Rum Committee.

Since performing, he also released his album Human, which made chart history earlier this year as the fastest-selling male debut record of the decade. In its first week

But it was his signing to publisher Warner/ Chappell in 2013, and subsequent label deal with Sony Music, which helped pave the way for proper success.

34_march 2017_m63

Mike Smith, Managing Director at Warner/ Chappell UK, tells M: ‘If you look at the success of his track Human, it’s not a song that was ever written with any cynical means in mind. It has gone and touched so many people, but funnily enough, it didn’t stream particularly well to begin with.

‘It was fascinating to watch the slow arc upwards.

As more people got to hear it and fall in love with it, it absolutely exploded. Now, it's omnipresent.

It became one of the most universal songs of late last year and the start of 2017.

‘I think the album is incredibly cohesive from start to finish – one that I think we’re still going to be talking about in 12 months’ time. It's wonderful that he's here and he received the BRITs Critics' Choice and Breakthrough Artist awards in February. I sincerely hope he'll be up for Album of the Year and Male Artist at next year's BRITs and I think he's got a very good chance of doing that.’

Head over to m-magazine.co.uk to watch Rag 'n' Bone Man's PRS for Music Presents performance.

“I’m on a CD with Amy Winehouse Because I Joined TAXI.” Anj Granieri – TAXI Member www.anjmusiconline.com

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y name is Anj and I’m 26 years old. Thanks to TAXI, I’ve recently signed a 5-year contract to compose for a publisher that supplies music for the #1 highestrated daytime talk show in American television history.

Myth: Living in N.Y. or L.A. is a Must

I moved to NYC when I was 23 to “make it big” in the music business. I ended up living in a shoebox-sized apartment with broken windows and cockroaches all over the place. Not quite as glamorous as the movies make it out to be. I was frustrated and deflated.

That’s when a friend told me about TAXI. She said it would provide me with the ability to make valuable connections that would advance my career. I was so intrigued that I called and signed up that day.

the song a trusted source sent, or one from the pile of unsolicited stuff from people you don’t know?

I used to spend countless hours trying to make connections, let alone the right connections! With TAXI, when my music is on-target and great, it’s placed in the hands of people who need exactly what I have to offer. The results have been nothing short of amazing.

My music has been sent to more than 15 major record labels by TAXI, and my single, Former Stranger was released on a Universal Records compilation with Amy Winehouse and Duffy in Europe and Asia. It’s also been placed in a prominent publishing

catalog that features music on the CW network. All because I joined TAXI.

Myth: All Music Executives Are Cutthroat

My biggest success yet came from TAXI’s annual free, membersonly convention, the Road Rally. I met the decision-maker from a prominent publishing company that provides music for the #1 highest rated, day-time talk show on the air.

I performed for him at TAXI’s openmic and he signed me on the spot.

The Road Rally is loaded with insightful seminars and the nicest executives you could ever meet. It’s the only convention I’ve ever been to with a true “family feel.”

Reality: Dreams Can Come True!

There are two types of people in the world: those who dream of what could be, and those who make what could be into their reality! So which are you? Call TAXI and do something with your music!

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