BCU

Liverpool Sound City + Conference

04:58


It isn’t news that as university goes on, it becomes increasingly more difficult for students to get their bums out of bed. Despite several Birmingham School of Media students walking into Grand Central station wearing sunglasses, and with the posture of a zombie, spirits were still high for 7am on a Friday. We had to grab a delegate selfie.



You could say that this was our first learning curve. The realities of alarm clocks, early starts and morning travels. All part of dreams come true in the business! We were headed to Liverpool to attend the Sound City +, the UK’s premier International Music & Digital Business Conference.
Passes sorted, registration completed; panels were soon starting. Kicking off the proceedings was ‘Do Not Wash, always check the label first’, moderated by the one and only John Robb. After meeting the Louder Than War editor at last year’s Louder Than Word’s festival, we’ve exchanged emails and he’s even been in the interview hot seat for my assessment Think Piece about Riot Grrrls. The guy provides great entertainment in his presentation skills, so I sat back to enjoy the conversation with Simon Raymonde (Bella Union), Will Kneale (Handsome Dad Records), Jack Clothier (Alcopop! Records) and Paul Stewart (Legal and Business Affairs manager at PIAS). Discussing the evolution of the independent label within the digital age, the panel discussed whether the ethos had changed. Interestingly, most labels had started on a whim; musicians who had nobody to put their music out, or wanting to get their mate’s music heard. It seemed that nostalgia washed over Robb as he laughed at the newcomers (Kneale and Clothier’s) professionalism in comparison to the 80’s go with the flow attitude.
With my biggest goal being to work in digital marketing at a major record label, this panel was useful in highlighting the differences between the ‘money-makers’ and the independents. Where some of the labels do use PR agencies and managers, others don’t, and this changes from artist to artist. The entire panel agreed that they’d take on a musician whom they had faith in, and would willingly take the risk of losing money to burn the passion. Comparatively, my work at a major label last year was very profit driven. Though is a record label even needed today? With the tools all readily available online. It was decided that the main role of a label was to be the family support system for the artist, which is a rapport I strongly wish to build with any artist I meet. Afterwards, I was sure to introduce myself to the guys at Handsome Dad records, who gave me a contact email to discuss potential collaboration. Which if successful, would be extremely valuable in learning how an independent label functions and the ins and outs of recording music.

Wrapping up the talk, I then dodged multiple cameras on the stairway to scuttle past the acoustic sessions taking place to browse the stands. Grabbing a bite to eat, and brave sips on some disappointing coffee (though, this seemed to be the thing to do), I took my seat in Musicians Union / Association of Independent Festivals (AIF) Stage Play – How to ‘get on’ at Festivals. Despite the majority of attendees being musicians themselves, I was keen to attend for advice on my third year project. Having set up a music PR company, Pretty Cool PR, that ‘focusses on the little things’, festival applications would be part of my work. Moderated by Kelly Wood (Musicians Union) and Paul Reed (AIF), they opened by explaining their ‘Fair Play’ guide, which should allow artists to be treated fairly at festivals. It includes tips and prompts for artists to enquire payment, expenses, merch and small print. As Paul says, ‘festivals are the incubators of emerging talent’, therefore it would be easy for the artists I will be working with to be caught up in the excitement of potential slots. However, the Fair Play guide will make sure it’s beneficial financially too. Picking up a copy, it includes things that I hadn’t thought about, such as how to liaise slots over email and which details to provide upfront. Further, John Rostron (Swn festival), Sarah Nulty (Tramlines) and Oliver Jones (Deershed) provided insight into how they choose their artists. Having applied for many festivals this year with my clients, Pretty Citizens, I realised how I could have helped them further. By signing up to tools such as Gigmit and emailing the direct address, I may have been more successful. Also, it became clear that many festivals were dominated by local bands, so local festivals should have been my priority. As the panel discussed the roles of agents, it helped to hear that they do listen to what PRs have to say, though there has to be a quirk that makes their act stand out. All of these tips will add to my professionalism during my third year project, and I made sure to show my face and say hello to all! Though unfortunately, I didn’t have any badges on me…


Catching the tail end of Gideon and James’ talk on streaming content in Believe Digital as a sofa session provided some great insights. I’m all too aware of the power of the internet, utilising social media, streaming being both the angel and the devil, blah blah yadda yadda. Though, the guys justified some unique points. Despite some tough love, reminding me that I'm not Beyonce. They say to post your music everywhere, even on the platforms where you won’t get paid. It leaves more chance of being discovered, and doesn’t punish a fan for their listening habits. As a result, they told the story of a small band who found their way on a Spotify playlist and climbed to the top of the chart with it. Another to remember, is that cheaper alternatives are available. Where in my projects I’ve avoided making videos due to expense and materials, they informed that lyric videos are the second most popular type on YouTube. I suddenly had visions of stop motion photography! Same with teasers, all add to the algorithm of the artist and more results across the net for potential fans to be led to. Utilise this by adding links below videos and in annotations. Again, Gideon and James’ short but sweet talk will really come in handy with Pretty Cool PR. By facing my fears of video, I will also improve my employability by showing that I can use different platforms efficiently.



 “Why nightlife matters” the opening line of From Acorns to Oaktrees definitely grabbed my attention. Exploring the changes of British Nightlife, the panel, Dave Haslam (Hacienda), Alan Miller (Chairman, The Night Time Industries Association), Marc Jones (Medication) and Paula Stewart (Little Panther) discussed the pros and cons. Everything from noise complaints, crime, money and jobs have been knocking back the nightlife in Britain. Providing a strong insight into the role that the public plays in the industry showed dramatic effect. Student clubs are being knocked down to build student accommodation as more people are going to university. Noise complaints are on the rise as more people choose to live in the city centre for work. Venues have higher crime rates as more people report their smartphones as stolen, when really they just lost them. With no experience in the live industry, it was moving to hear the panel talk about their experiences with guests during nightlife. They own the places that hold the best memories of falling in love, friendship and live experiences, and they keep disappearing. The talk was mainly discussing how to get the public to engage with nightlife again, supporting Miller’s #NightLifeMatters campaign which encourages backers to share their positive experiences with MPs. As a music fanatic, it’s scary to hear that independent venues are being taken over by big academy groups, and makes me wonder what’s in store for artists who aren’t quite ready to play there. Where will they hone their craft? Where will they gather listeners? Will it still be possible to sound a city with local talent?

As the day began to draw to a close, my mind was buzzing with the voices of the music industries. Planting seeds in my head, I was excited to reflect on the importance of labels, live music and digital music in my own work. But first, I had to get changed, grab some pizza, and head to the after party! 

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor Aenean massa.

You Might Also Like

0 comments