12 minute read
Future Yard
FUTURE YARD: SOUND CHECK
TPi’s Jacob Waite meets the brains behind a brand-new volunteering scheme from Future Yard, designed to teach 16 to 24-year-olds the theoretical and technical skills required to pursue careers in the live music industry.
In a bid to return to some semblance of normality following an incredibly difficult 2020, armed with a facemask, dictaphone and hand sanitiser, TPi made the short trip to Future Yard’s work-in-progress music venue and artist hub on Argyle Street in Birkenhead. Meeting at a suitable social distance, TPi chatted to the organisers, tutors and guest speakers behind Sound Check – a brand-new volunteering scheme designed to introduce 16 to 24-year-olds in Merseyside to the skills required to pursue a career in the live music industry.
Following the success of 2019’s inaugural two-day music festival – which saw a series of local landmarks play host to a plethora of grassroots and emerging artists – Future Yard outlined its ambition to shape a new music future for Birkenhead in style. “Future Yard as a concept has been kicking around for a good number of years,” began Co-Founder, Christopher Torpey. “Not only is the brand of Future Yard encapsulated in this building, but it is in everything that we do going forward.”
In the months since the onset of the COVID-19 pandemic, Torpey and the Future Yard collective – Craig Pennington (Co-Founder), Cath Hurley (Mentor), and Matthew Hogarth (Booker) – have devoted their time to transforming an old Birkenhead watering hole into a thriving music venue and artist hub, playing host to a series of ‘Near Normal’ socially-distanced gigs and livestreams, artist-focused ‘Direct Input’ live webinars and now, Sound Check.
“We’ve all had patchwork careers and we are products of our prior experiences and ideas,” Hurley said, joining the conversation. “The fact that we’re able to provide people in the community a pathway into a competitive and sometimes closed-off industry is a privilege, because that’s not how a lot of people, including ourselves, have found their feet in the industry.”
From sound engineers to festival bookers, lighting designers to concert promoters, the Sound Check programme introduces young people in Merseyside to a range of job roles and skills required to make a head start in the live music industry. “We want to spot the young people tenacious enough to put on their own show and put the framework in place to facilitate their vision and drive,” Hurley said.
The volunteering scheme is accredited through Arts Award. In completing Sound Check, graduates achieve a Bronze level qualification accredited by Trinity College London and Arts Council England.
As well as arming students with theoretical and practical skills, Hurley believes that Future Yard provides a safe space for young people to experiment, where getting things wrong is par for the course.
“Right now, there’s so much focus on ethics and fairness among artists and professionals. There has been a real change when it comes to inclusivity; by doing this programme alongside all the other activities with Future Yard, we’re embracing the new future of the industry and preparing ourselves for the ‘new normal’.”
The free-to-access programme concentrates on two areas; Technical Production and Live Music Event Management – both of which are delivered by Future Yard’s experienced team of tutors and industry insiders. The
course boasts a broad range of guest speakers from across the industry. With financial support from Youth Music, Wirral Council, Forum Housing, Magenta Living and technical support from Adlib.
“Adlib is tightly knitted into the programme, so the students learn from the best,” Hurley remarked. “Due to the scale and variety of events they’re involved in, it’s an inspiration for the students to learn from those who operate at the very best level in the region.”
Future Yard Co-Founder Craig Pennington enlisted the support of the Adlib team to advise the layout and specifications of the venue. “When Craig approached me about this project, his passion and desire to provide something music related for the community of Birkenhead and the Wirral was beyond admirable and exciting,” commented Adlib Managing Director, Andy Dockerty. “We have been delighted to see this project grow from Craig’s idea to develop into probably one of the best 250 to 300-capacity venues in the country.”
Dockerty believes that Pennington’s desire to utilise industry professionals with many years of touring experience to head the educational courses run by the venue provides the students an excellent grounding for the future. “This is an amazing community project and one that Adlib is proud to be a part of; we truly wish Craig and his team the best of luck and much success as we progress out of these awkward times.” During TPi’s visit, Adlib’s Kenny Perrin and freelance lighting specialist Stuart Gray joined Sound Check technical mentor, Jez Wing as guest speakers to oversee the technical side of the programme.
Having been on the touring circuit as a keyboard player for Echo and the Bunnymen, the Liverpool-based musician turned Future Yard mentor was pleased to see creativity encouraged and developed on his doorstep. “It’s great to see a venue start a volunteering scheme for young people looking to break into the industry – Sound Check is a great mix of education and industry taught in a really unique and dynamic real-world setting, which allows students to shadow on gigs and livestreams,” Wing informed TPi.
He credits the Sound Check course for highlighting interlocking roles in the industry, which all depend on each other. “The microclimate of the music world is a support system, but you also must be multidisciplined and skilled. It’s important now, when the industry is more precarious than ever, that the adaptability of people’s skills needs to be broad – as does everyone’s in performing arts, because it’s a tricky world to navigate.”
While Sound Check arms students with a wide skill set, according to Wing, it’s up to the graduates to decide how to harness their newfound knowledge in the future. “I believe that vocational training is the answer for young people. Presenting a schedule which is more apprenticeship based, skills based and practical for young people is a preferable way of learning,”
Sound Check Technical Mentor, Jez Wing; Future Yard’s first cohort of students; Adlib’s Kenny Perrin and freelance lighting specialist, Stuart Gray.
he furthered. “Academic learning isn’t for everybody and something like to run the show. After all, the more skills you have got, the fuller your diary this, which is unique to the area, should be happening across the board.” will be.”
A familiar face to TPi for his touring exploits, Perrin was equally pleased Gray referred to a recent practical session which involved a handsto lend a helping hand to a local initiative. “It’s great to put this region of on opportunity for the students to build a truss, perfect their moving the UK on the touring map and make it a hub for a musical community truss calls, and adhere to the health and safety elements involved with which has been ignored for quite some time,” he said, gesturing to his operating on a stage – including intermediate terminology such as stage surroundings. “This takes us back to our roots left and stage right. “It all starts at this kind of as house guys in venues. If I was to walk into this level – can you count to four? Have you got a sense venue as a touring engineer, I’d be very happy!” of rhythm? Do you understand song structure?
Shadowing people, setting mic stands and This is the starting point for anyone in lighting,” cables was how both guest speakers, Perrin “I believe that vocational he commented, adding that “there’s only so much and Gray, made their start in the industry. “The best advice we were given was to keep plugging training is the answer for you can do” in pre-visualisation software. “It’s difficult for students coming out of degree away, learn as much as you can and ask lots of young people. Presenting courses, where they get a lot of hands-on technical questions. It sounds silly, but there is no such thing as a stupid question,” Gray supposed. “The more a schedule which is more experience and programming on a console, but they don’t have any real-world gigging experience. you learn, the more useful you are to people. This apprenticeship based, skills They graduate not understanding the staging is the perfect opportunity to work around a stage and get an idea of what it is like on site.” based and practical for young aspects or putting a truss together, because they’ve never had to do it in a limited time frame
The veteran LD believes that building people is a preferable way of when it needs to be up and running within a few relationships with people on site is integral. “Asking questions of the band, what they want to learning.” hours,” Gray sympathised. “The more handson experience people can get, the better for see from the show, gives you a better idea of how Sound Check Mentor, Jez Wing. everyone.” Perrin echoed the sentiment: “Don’t
limit yourself. With Adlib, I’ve had the opportunity to work across all roles and levels of experience. “We were overwhelmed by the response and such as stage tech, system tech, engineer and I’ve managed to forge a 22- were met with a mixture of those experienced and inexperienced,” Torpey year career out of it. It’s the best job in the world if you want to do it, but the recalled. “Above all, they all share a passion for live events.” worst job if you’d rather be at home.” Donning crew T-shirts emblazoned with enormous pink letters which
He recalled the “heart-warming” experience of witnessing the next read ‘CREW: THE FUTURE IS BIRKENHEAD’, the first cohort of Future Yard generation of engineers and production crew coming through. “With students included Ryan Boyd, James Muat-Dodd, Felipe Chapman-Fromm, the lockdown of live events, I’ve seen a lot of my friends move out of the Katie Ehlen, Benjy Greenhalgh, Vuyokazi Mtukela and Ellie Collier. industry, and there’s a worry that there is going to be a skills gap, so to see Boyd said: “The biggest thing I’ve learned so far is to be open-minded younger people come through and develop and hone their craft is brilliant.” to any job role and any genre of music to get my first steps into the industry
Equally as enthusiastic, Gray concluded: “I love and progress. If you can learn to set up venues, walking away from here because I leave with a big arrange an audience safely, you can apply those smile on my face. To see their confidence grow in a skills in your toolkit on future jobs.” matter of weeks is really encouraging.” Muat-Dodd commented: “My biggest takeaways “We’re not an educational have been on the marketing and branding side THE FUTURE IS BIRKENHEAD Following several weeks of training, the students institution, nor will we ever be, of the course – how you communicate with other professionals in the industry and draw an audience are invited to devise and host their own event at however, what we can do as with a cohesive brand. I’ve learned that the more the end of the course. “We’re not an educational institution, nor will we ever be, however, what well as teach the theoretical you get yourself out there and network, the better.” Chapman-Fromm said: “I worked on the we can do as well as teach the theoretical and and practical skills of live Future Yard festival last year as a sound engineer. practical skills of live events is give people a chance and facilitate their vision,” Torpey outlined events is give people a chance However, it’s great to develop an insight into lighting and the branding/marketing side of the in an earlier conversation. and facilitate their vision.” industry, looking from a different viewpoint and Striving to break down pre-existing barriers and eschewing industry gatekeeping, the application Future Yard Co-Founder, discovering how professionals do it.” Ehlen added: “It’s great to get some hands-on process was open to all backgrounds, capabilities Christopher Torpey. experience on the sound and lighting desks. This
course has been taught well and I have gained experience on the technical side in a relaxed, real-world environment. I would recommend the Sound Check programme because it’s a well-rounded course, with technical, marketing and branding as well as the hands-on skills required to break into the sector.” After completing the course, students are given the opportunity to join Future Yard’s ongoing volunteering scheme to further develop their skills and experience. Following the latest lockdown restrictions, Sound Check will continue with weekly online sessions until April, then participants will be invited back in to the building for Tuesday and Thursday sessions as they work towards a live event on 30 May. “We thought that it was important for the course to continue in some form while we can’t gather in the building because it’s become really important to us,” Torpey concluded.
Full listings for Future Yard’s 2021 live programme and Sound Check training programme can be found on the Future Yard website. The next round of Sound Check will be taking applications in the Spring. Artistfocused Direct Input live webinars take place monthly and are free to attend. TPi Photos: TPi & Robin Clewley (www.robinclewley.co.uk) www.futureyard.org www.adlib.co.uk
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