The BBC, as part of their ‘Masterclass’ series, gathered a panel of big names in the music industry together and sat them in front of an audience of unsigned artists.
Can bands actually do it themselves?
MS: Hardly anybody has done it to any real extent, major labels are still the most effective way of breaking an artist to a mainstream audience and to a global audience, but i think the more avenues people can get their music through to the public the better. Majors do offer resources, expertise…and money.
MM: I’d advise artists to do it themselves. If an artist signs to XL or Rough Trade it does say something about them, it gives them an appearance to the public. A Label is a support network for artists that work well with it.
Should artists start their own label?
NR: I’d recommend as many artists to do it themselves for as long as they possibly can – if they are talented and if they are capable. One of the artists i got involved with in 1996 was Jay Z, he’d been dropped by a major record label, he was doing it on his own out of his kitchen, he put out ‘Reasonable Doubt’ himself. The record then ended up selling half a million copies in thirteen weeks and at that point he was willing to license for America and the rest of the world. My American company weren’t interested and he did it all himself, today his success as an entrepreneur, as a musician, i think came from learning himself, by doing it himself.
Look at an artist such as David Gray. They understand what the process is and they understand what you can bring to the party and i think it’s only a good thing that they learn that process so that they know that there is something that the record company does, they do help. Only partner and sign with a label when the time is right.
Best way to start a label?
MM: Join AIM, the association of independent music and they will help you out!
RW: Whether it’s starting a label, starting a band, inspiration and talent is the fundamental thing you need, read up, learn about how it’s done, the precedents set by people you admire in the industry, look back at the classic labels, Motion, Atlantic, Columbia.
Do musicians make good businessmen?
NR: That’s a key point, just because you know how to play an instrument does not mean you know how to sell the music that instrument makes
MS: The enthusiasm, the drive and the energy i think you can bring to starting up a label is the thing that can take you a reasonable amount of the way. It should be fun, the thing that frustrates me the most about the music business is that so many people when they first pick up a guitar immediately want a record deal, immediately want to be famous, and they lose the joy of what they are doing. Learn from it, use it as a chance to meet people.
GE: Drive, commitment talent, it’s these qualities combined, it’s not necessarily business skills because artists should be artists and not necessarily need to be businessman.
RW: It has always been a hard, long struggle. Often overnight success doesn’t turn out well for the artists, quite often being given exactly what you wanted immediately can be completely disastrous, history is littered with these stories. This is not about passing the audition, it’s about putting your heart into a career.
Are you still able to see the potential in a blank canvas?
NR: There is no one way of doing anything. If Arctic Monkeys walked in with a finished album that just needed mastering and they were read to go I’d be happy to take that on. If Adele walks in the room and you have to start the process from scratch i would do that as well. As long as someone has talent, that likeability factor, something we can sell, and the potential to make a classic then i will go with that. If you sign an artist for a sensible amount of money, and they break even on albums, enough to make the next one, then it’s fine. If you go there and expect rolls royce treatment and business class flights and don’t sell a million copies of your debut album you will be dropped. If you go there because you don’t mind getting in the back of a van with your mates, your dad or your uncle you will be given more time.
MM: We don’t mold artists, we try and find artists who have a strong sense of what they want to be, and they just want help, support, guidance. The XX is a classic example of the way we work well. We A&R’d Adele more than we ever have other artists before, she knows what she is doing – she led the way.
Does A&R still exist?
MS: It has never been more straight-forward to dive in get our email and get in touch with us. It’s a very tough world to break through. It’s all about finding people that can grab my attention, the most effective way is for somebody to tell someone to tell the scouts. If somebody that I trust says your good then i will check it out, if it’s you saying ‘i’m good check me out’ i won’t trust that source as likely.
How Do You grow a fan base if you can’t get the opportunities?
GE: If your good, people will start talking about you, it’s perseverance, it’s hard, you’ve got to get out there and do the live thing plus there is no blueprint, it’s taking advantage of opportunities when they come along.
RW: The whole growth of the internet is just another way of announcing our presence to the world, when we’re talking about people developing fan bases, they’re fabulous tools to mobilise a fan base, take your fanbase with you.
What are the benefits of having a manager?
MM: Primarily contacts, almost all our stuff comes from people we know and trust.
MS: It’s wonderful when huge talent comes to you without a manager, unfortunately because being a manager requires no qualifications, often you end up with managers who are inept. If you are going to get involved with a manager be very careful, do your research, make sure they are fantastic.
The future of revenue from recorded music?
NR: There is always going to be a way to monetise what an artist does, there is going to be a new way of doing it, we will be there ready to change our businesses, Sony’s intention is to keep on investing in music, keep on making the best music, get the money back and make a living from it.
MM: I believe independent record shops will come back. Brick lane for example. It will grow. Every creative industry has a problem with the industry.
One piece of key advice?
MS: Be passionate about what you do, work hard, your gonna face a lot of knock backs. It’s not easy, if it was everybody would be doing it, never take no for an answer.
GE: Be distinctive. Brilliant. Don’t give up. Never try and be mediocre, try and push yourself that much further, lots of energy, drive, enthusiasm.
R: Get inspiration. Be inspiring. Listen to what people say, see what makes sense, keep that, rip the rest and throw it away.
MM: There is no rule book, do what you love, and persevere.
| Jo Whiley is one of BBC Radio 1′s longest-serving DJs, having joined the station in 1993. Regularly featuring live bands, new music, fashion tips and celebrity interviews, Jo is a highly respected radio and TV presenter and is recognised by audiences and the industry alike as a champion of new and unsigned talent. Jo presented the morning show on Radio 1 from February 2001 to September 2009, during which time she launched the now infamous Live Lounge. |  |
| George Ergatoudis was appointed Head of Music, BBC Radio 1 in October 2005, and added 1Xtra to his remit in April 2009. With 20 years of experience in the radio industry, George has an in-depth knowledge and passion for contemporary music across genres, an excellent music industry reputation and a gift for spotting new music talent. He was nominated for a prestigious Sony Radio Music Programming Award in 2009. |  |
| As CEO of DF Concerts, Geoff Ellis is dedicated to bringing the very best live music and events to Scotland. Concerts range from grassroots level at King Tut’s Wah Wah Hut, to stadium shows for artists such as Take That, Coldplay and Kings of Leon. DF Concerts are perhaps best known because of Scotland’s biggest music event, T in the Park festival, which Geoff has developed into one of Europe’s most successful music festival. |  |
| Nick Raphael is a Music Industry Executive. He is currently Managing Director of Epic Records. Raphael (in partnership with ChristianTattersfield at NWS Records and Jo Charrington at Epic) has signed and launched a diverse set of artists, including Jay Z, Lemar, Scouting For Girls, Olly Murs and JLS. |  |
| Mike Smith started as an A&R man at MCA Publishing in 1988, where he signed Blur and scouted The Smashing Pumpkins. He then moved to EMI Publishing in 1992 where he went on to sign acts like PJ Harvey, Elastica, Supergrass, Doves, Gorillaz, The White Stripes, The Libertines, The Scissor Sisters, The Arcade Fire, and Arctic Monkeys. Mike moved to Columbia Records UK in 2006 as Managing Director and currently looks after Kings of Leon, Bruce Springsteen, Bob Dylan, Foo Fighters and Kasabian. |  |
| Martin Mills is head of the Beggars Group, the most successful collection Independent labels in the world. Labels under his wing include 4AD, XL, Matador and Rough Trade. |  |
via behyped
