The Music Industry in 2009-Predicting the Unpredictable (c) Marrakesh Records Ltd

8/14/2019 The Music Industry in 2009-Predicting the Unpredictable (c) Marrakesh Records Ltd

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THE MUSIC INDUSTRY IN 2009 …PREDICTING THE UNPREDICTABLE

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Marrakesh Records LtdThe Media Village

131-151 Great Titcheld St.Lndn W1W 5BB

Telephone 0203 178 2294www.marrakeshrecords.com

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THE MUSIC INDUSTRY IN 2009 …PREDICTING THE UNPREDICTABLE

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Big hitters exclusivel reveal hw the see the ear ahead

I 2008 put the V in volatility or the music industry, 2009 looks set to test powers o prediction

to the limit. This mighty economic orce - which generates £billions or Britain – fnds itsel

again in turmoil just as the credit crunch starts to hit leisure spending.

What is the true state o the industry? We ask the people at the heart o the battle - people

whose secrets are rarely revealed. We have designed the ten most pertinent questions and

collated these insiders' telling and timely answers.

Is the music download about to consign the CD to ex tinction?

Can a radically reamped EMI regain traction, or do its inestors and sta risk

losing eerything this year?

Against a backdrop o collapsing ad reenues and expanding online alternaties,

what is the iability o print music magazines?

Meanwhile, web music sources like iTunes, Amazon, Nokia and Myspace

battle or dominance … and ace new rials.

The implosion o key distribution channels – including Woolworths and Zai -

has let the industry acing real challenges. Will consumers be able een to fnd music

on the High Street by the end o 2009?

Online launches could be the way ahead … or was Radiohead’s success a one-o?

The 360-degree deal, where labels control eerything rom touring income to merchandise,

aces new scrutiny rom artists and managers.

Will credit-crunched ans fnd their pockets too stretched to go to concerts?

Will Britain’s legendary estial scene fnd itsel against the wall?

New political debate is set to ignite about the BBC’s state-unded inolementin Radio 1 and Radio 2.

And fnally … is there really a chance o a reial o dear old Top o The Pops?

All in all, the easiest prediction would be: expect the unexpected.

In this industry, perhaps more than most, successully oreseeing the uture is an inherent part

o any job description. The biggest players in the business, executives who put millions o

investors’ and their own money where their mouths are, reveal their ears and hopes or 2009.

In this survey by Marrakesh Records the answers speak or themselves.

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THECONTRIBUTORS

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{ Mark CoLLEN }

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Mark spent 20 ears in senir management rles at EMI where he

was heavil invlved in the develpment a range artists includingCrwded Huse, Radihead, Blur, Rbbie Williams, Nrah Jnes and

Cldpla. He is nw an independent cnsultant and a Directr direct

t cnsumer nline platrm, Mubit.cm.

{ Ian DUTT }Ian is a Directr PIAS UK, the UK’s leading independent music

distributr, and als runs Integral Marketing, its marketing services divisin.

{ Stephen GoDRoy }Stephen is Directr Rugh Trade Retail, the music-nl

independent retailer.

{ Will KINSMAN }Will is Assciate Editr Clash Magazine and was previusl Editr

The l Magazine.

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{ David MoGENDoR }David is Digital Talent and Music Manager r MTV Netwrks UK.

Career highlights include bking Gnz n Tur and the Spanking New

Sessins, including debut TV perrmances rm Blc Part, Kaiser

Chies, Ht Chip, Adele, lrence and the Machine, and man mre.

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{ Tim PARRy }Tim is ne the tw c-unders BigLie Management where hehas been instrumental in the career success The Verve, Richard

Ashcrt, Snw Patrl, Klaxns and The utureheads.

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{ Charlie MARSHALL }Charlie is Business Develpment Directr at Ingenius Media Cnsult-

ing. Ingenius Media is an investr in and adviser t multiple music and

music-related cmpanies and artists.

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{ Dave GoLDBERG }Dave is entrepreneur-in-residence at the Silicn Valle venture capital rm

Benchmark Capital. He was previusl wrldwide head yah! Music a-

ter selling launch.cm, the cmpan which he c-unded, t yah! in 2001.

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{ Dave McGEACHAN }Dave is Sctland’s leading music prmter including rganising T in the

Park and running King Tut’s Wah Wah Hut.

{ Ben WINCHESTER }

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Ben is rm Primar Talent Internatinal, is ne the UK’s mst respect-

ed live agents. His rster includes the bands oasis and Glasvegas.

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{ Rb ANDREWS }Rb is Head Entertainment and Live Events at Tiscali UK.

{ Dharmash MISTRy }

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Dharmash is a partner at venture capital rm Baldertn Capital. He

was previusl Managing Directr EMAP Cnsumer Media and EMAP

Perrmance, and part the management team that sld the cn-

sumer magazine business t H.Bauer r £1.1bn. Baldertn recentl

annunced that it had cmpleted raising a £282m und that will cus

n earl stage investments in the media and technlg sectrs.

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{ Rbert REyNoLDS }Rbert manages The Killers and is an attrne specialising in media

and entertainment law at the Las Vegas law rm, Callister-Renlds.

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{ Nick BUBB }Nick is Retailing Analst at stckbrkers Pali Internatinal and ne

the mst respected retail analsts in Britain.

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{ Dminic HARDISTy }Dminic is under and Managing Directr Marrakesh Recrds and

rst signed multi-platinum band, The Killers. His previus career wasin senir general management with several media cmpanies including

the inancial Times.

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{ Paul SToKES }Paul is news editr NME and spent much 2008 heavil invlved in

the launch NME Radi and NME.cm.

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WHAT WILL HAPPENTO EMI IN 2009?

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» Mark Collen EMI will n lnger be cnsid-

ered a majr plaer b the end the ear.

Gu Hands will d his utmst t fad the

recrded music side the business. There will

be urther deser tin high-prle artists and

sta and mre cuts bere March. With a bit

luck a cnsrtium led b Rger Ames will bu it,

r mre likel, Warners. ‘EMI 2.0’ will g dwn

as a ver high-prle mistake.

» Dominic Hardisty EMI is living n brrwed

time and brrwed mne: nt a health rec-

ipe in a credit crunch. Gu Hands shuld sell

the catalgue t the highest bidder (prb-

abl Universal), clse dwn all remaining

peratins, then license the cmpan’s label

brands t smart, VC-unded entrepreneurs

in return r license ees and prt-shares.

This wuld mve EMI rm a high-risk and

lw margin mdel int a lw-risk and high-

margin ne.

» Will Kinsman I dn’t think there can be an

argument that EMI was a cmpan that had

been running ut cntrl r t lng, and

as such man the Gu Hands-directed cuts

were necessar , i nt alwas palatable. I’ve

visited mst the majrs recentl and been

quite astnished b the fagrant excess

their ces. Saving 20% b having an ce

that’s smaller and in a less-ashinable part

Lndn - nt t mentin limiting peple’s

travel and entertainment budgets and all thether perks majr label lie - wuld surel

make it easier t perate prtabl.

» Daid Mogendor EMI seems t have made

sme bld steps in the recent restructure.

There are a lt smart peple there and the

still have sme wrld-class artists n their rs-

ter. r the sake the UK industr let’s hpe

the have a strng ear.

» Charlie Marshall N cmment!!!

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» Tim Parry The have taken n gd execs

in Nick Gateld and Rb Stevensn and are

talking abut ding dierent tpes deals.

It’s a questin hw lng will Terra irma be

prepared t keep unding a cmpan that isding s badl. I hpe it survives. But I wrr

that it wn’t.

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» Robert Reynolds EMI’s new website was

an interesting step in the right directin, but

prbabl t little, t late. Until EMI delivers

n the site and brings it ut beta mde, I’m

nt hlding m breath. There are sme gd

peple ver at EMI, but I’d be surprised i this

leads t signicantl-imprved pricing their

music r an real cnnectin with the average

music cnsumer.

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//////////////////////////////////////////////////////////////////» Dae Goldberg Citibank will take the busi-

ness rm Terra irma and re-auctin it.//////////////////////////////////////////////////////////////////

The industr giant starts the New year with its bssGu Hands unveiling his strateg r survival …

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WILL PEOPLE STILL READ MUSIC MAGAZINESAT THE END O 2009?

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» Paul Stokes yes. Like the resurgence vinl

u can’t ver estimate peple’s attachment

t lvingl made, beautiul phsical prducts.

Music magazines can d pictures, lnger

articles and prtabilit better than the web

and I eel we’re ging t have t pla t thse

strengths mre and mre. I think the music

press is ging t have t accept that we are

specialist interest publicatins, like aircrat

magazines r gardening mags (dn’t laugh). I

think it means a return t real, exciting music

jurnalism and great icnic rck’n’rll phtg-

raph. We have t give peple value r mne.

» Dominic Hardisty Stp and chat with

under-25s n the street and u will quickl

discver that the read ree newspapers, send

dzens texts/emails each da and sur mu-

sic sites n the web when the have the time,

but just are nt interested in paid-r music

magazines. Ad budgets will be extremel

tight in 2009 and mre eective CPMs can be

achieved in ther media, which desn’t bde

well r existing titles. That said, there is rm

in the market r a ree music and entertain-

ment weekl alng the lines ShrtList

Magazine. There are willing investrs utthere, despite ad market dldrums.

» Will Kinsman I am cndent that there is stilla demand r the printed wrd. The challenge is

r magazines t adapt t the changing climate.

The publishers wh prsper will be thse that

ull embrace and integrate their print, nline

and mbile platrms.

» Daid Mogendor yes, peple will still read mu-

sic magazines, but 2009 will see urther accelera-

tin in the ppularit reading this tpe material

nline and a decline in the ecnmic easibilit

publishing specialist music writing n paper.

» Charlie Marshall Sales haven’t been that bad

and there are sme signs grwth. Mst mu-

sic magazines will remain prtable but keeptring t stretch their brands (c. NME Radi

and mre-successull NME turs). The trick is

t pick ur tribes - we still think that NME and

Kerrang have a uture as the have evergreen

unger tribes. Q, we’d be less psitive abut.

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» Dharmash Mistry yes, but less requentl.

There will alwas be a need r a lean-back,

phtgraph-rich read with lnger eatures,

which the web is less able t deliver. Hwever,

there will be urther cnslidatin in the sec-

tr due t lwer circulatins and signicantl

less endemic music advertising. S ewer,

smaller music magazines with less stang.

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» Rob Andrews The standard qualit nes -

NME, Q, etc- will still be arund but advertising

mne is increasingl ging nline. obviusl

nline users can actuall hear the music which

gives a massive advantage.

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Print magazines, alread under pressure rm alling ad revenues in the recessin,ace a secnd challenge: the grwth in nline alternatives.



WILL CDS STILL BEOR SALE AT RETAIL IN 2009?

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CDs killed- large-scale vinl. Nw music dwnlading culd mean it’s CDs’ turn r extinctin.

» Stephen Godroy o curse CDs will sur-

vive, as phsical rmats have a clear value (as

an artiact, sense wnership) that cannt be

replaced b digital rmats. The decline in CD

sales is a natural result the cmmditisa-

tin music since the arrival e-cmmerce.

Relevant and exciting retail experiences will

result in increased CD/vinl sales, as Rugh

Trade East has prven.

» Dae Goldberg CDs will die slwl

ver the next ive t seven ears but will

becme increasingl irrelevant t the

music business.

» Mark Collen Peple still verwhelmingl

bu CDs. Labels need t becme mre aware

wh is buing their music and cus n

thse audiences. r instance Take That’s

and AC/DC’s ans are mst denitel phsical

purchasers. Smart labels understand that

peple can and d bu CDs and dwnlad

tracks and bundles, ten the same tracks,

depending n where the want t cnsume

their music. Tracks are eas and dispsable -

CDs make better gits.

» Rob Andrews yes. CDs will cntinue t be n

sale, but retail space available will decrease.

Even HMV, I nticed ver Xmas, has less space

r CDs than it des r DVDs and games.

The ght r remaining sales space culd

spell the end r niche genres/bands n

the High Street.

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» Dominic Hardisty CDs will cntinue t er

a cheap, prtable and well-packaged secnd-

ar medium even in a wrld dminated b

dwnlads. Much The Tp 200 will remain

available in retail multiples r as lng as its

cntributin can justi the fr space; ull

catalgues will remain available rm Amazn

and rm HMV. The challenge r music

cmpanies is t make album packages as at-

tractive as pssible s as t encurage peple

t bu them rather than just dwnlad the

ccasinal single.

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» Robert Reynolds o curse. The CD is ding

ast, but everne will still be driving cars with

CD plaers this ear.

» Nick Bubb HMV is just abut the last man

let standing in the High Street selling music,

and even there u have t battle past all the

DVDs and gaming racks t get at the CDs. But

es the will still be part the mix at HMV next

Xmas and n, nt everbd will bu them at

Amazn and Pla.cm

» Ian Dutt The will, but I’m nt sure I’d give u

the same answer r 2011. Singles will prb-abl disappear entirel rm the High Street in

2009. But with phsical prducts cntinuing t

make up 90% the albums market the will be

arund r a bit lnger.



WHO WILL WIN IN 2009: iTUNES, AMAZON,NOKIA, MYSPACE, OR SOMEBODY ELSE?

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» Mark Collen iTunes will star t t eel the

heat. Amazn and Nkia will d well. Pla

and Amazn will cntinue t dminate nline

sales. And Amazn’s digital ering will nd

avur. Mspace will struggle as labels

cntinue t wrangle with artists ver

ralties and artists realise the can make

mre mne with their wn direct t

cnsumer erings.

» Dharmash Mistry iTunes will remain

dminant but ma lse share given increased

cmpetitin, digital music lckers, lss-leader

pricing and segment-based erings with bet-

ter range and recmmendatin engines.

» Rob Andrews I dn’t see man massive win-

ners in 2009. Nkia will nd that their prpsi-

tin isn’t as attractive r prtable as the

think it is. r mst peple it’s nt enugh a

reasn t swap mbile phnes and there are

cheaper was getting music anwa. r me

it’s mre a questin wh will lse in 2009 and

I’d sa that I wuldn’t like t be a majr recrd

label right nw.

» Ian Dutt Wh n earth des there have t be

a winner?”

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» Ben Winchester P2P and pirate ba, bviusl.

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» Daid Mogendor The savv music an will

win – b cntinuing t discver and access themusic that the want r ree, rm wherever

the want t get it.

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» Will Kinsman iTunes’ current dminance

the dwnlad market means the are able twield a disprprtinate infuence - in partic-

ular, their standardised pricing plic, I think,

hinders smaller bands and labels. There’s a

chance that the range music peple have

access t will be dictated b what mbile

handset the wn, and that can’t be health.

I there has t be a winner, I hpe it is whever

puts the mst mne back int music in terms

supprting new bands and artists.

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» Robert Reynolds iTunes will win. The

remain ne the ew innvatrs in the

music business that actuall listens t the

cnsumer. Ging DRM-ree and ering

variable pricing are bth smart steps in

the right directin.

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The music dwnlad sectr is evlving at rcket pace …

» Tim Parry Nne these cmpanies are

“music” cmpanies - the use music t sellhardware r encurage website visits. The

and man ther cmpanies are building huge

businesses n the back music withut pa-

ing an acceptable price r the privilege. The

will all win - it is the ARTISTS wh will lse!

» Dominic Hardisty There are sme glbal big

guns bearing dwn n music retail, et nne

these is reall interested in making mne rm

music: Apple and Nkia want t sell phnes,

Mspace wants t sell advertising and Amazn

wants t sell prett much anthing it can (thecntributin rm an American-stle ridge/

reezer is smewhat higher than n a CD).

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» Dharmash Mistry It will increase the

bargaining pwer the grcers. Wrst case

scenari wuld be the US mdel distribu-

tin and the pwer held b Walmart, where

ever album is sld at a lss but u

cannt get int the tp end the charts.

» Dominic Hardisty The craz thing abut

EUK is that the industr allwed itsel t sleep-

walk int a situatin in which ne supplier basi-call cntrlled the entire industr’s access t

Sainsbur, Asda, Mrrisns, Wlies, Smiths

and Zavvi. We need t pla ur cards better

ging rward.

» Daid Mogendor Unrtunatel it’s just

part the relentless march awa rm the

ld mdel phsical prduct driving the

business. The knck-n eects n the labels

are massive, but thse wh have a well-

develped, slid digital prpsitin shuld

be k.

» Ian Dutt Devastating r the reall gd

peple that wrked at bth cmpanies, but the

industr will cpe. We made a pint nt t g

“ambulance chasing” ater the demise Pin-

nacle and it was scar hw quickl their rster

und new hmes.

WHAT DO THE BANKRUPTCY O EUK ANDPINNACLE MEAN OR THE UK MUSIC BUSINESS?

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» Ben Winchester The chickens have nall

cme hme t rst.

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» Tim Parry Pinnacle hadn’t been massivel

imprtant r music r a while and ne the

distributrs was alwas ging t ail as phsical

sales declined. As r EUK, it was a middleman- everbd will sell direct nw which makes

much mre sense.

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The cllapse Wlwrths’ CD distributin arm EUK, then independent distributr Pinnacle andnw Zavvi present huge challenges r the industr in getting music t its custmers.

» Nick Bubb The prblem r EUK was alwas

that it was reliant r hal its vlume n as fak

a business as Wlwrths and that the ther

hal came rm ruthless supermarkets wh

wuld sell their wn grandmther t get a bitmre margin.

» Paul Stokes In the lng term prbabl the

nl wa u'll get nice phsical-released

music rm acts n indie labels will be thrugh

mail rder, directl thrugh the band r label.

It will be a shame nt t see these acts in

the shps, but it prbabl means the bnus

material and packaging will be better as the'll

knw hw exactl hw man the need t make

bere making them.

» Robert Reynolds The act that a mainstream

distributr's death helped cause the demise

ne the tp independent distributrs

reminds us that it's nt just the majr labels

that are hurting right nw. In the shrt term,

the indies are ging t eel the blw and sme

will ld, but in the end the indies will rise up

smarter and mre innvative.



HAvE WE LEARNED ANYTHING ROM‘IN RAINBOWS’ AND WAS IT A GOOD IDEA?

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» Ian Dutt What intrigued me the mst was

that plent peple still paid ull price r the

album at iTunes ater the cial release date.

It shws that n matter hw much a gd

idea smething ma be, peple will alwas

cnsume in the same wa. It’s a bit

mental reall!

» Dominic Hardisty rm an industr pint-

-view, the turned the suppl curve n its

head s that suppl and demand matched

ne anther exactl. The result? Mst

peple chse nt t pa and the average

amngst thse wh did was abut £4.50.

The industr needs t d sme serius PR

t explain t its custmers wh the current

tpical dwnlad price r an album

£7.99 (rm which the label tpicall re-

ceives abut £5.00 as it happens) can

be justiied.

» Will Kinsman In Rainbws shwed that

creative ideas and ut--the-bx thinking can

wrk. That said, it’s nt a mdel that wuld

wrk r all bands; a number actrs – the

band’s lal an base, the act that the were

ut cntract with EMI and thus ree t recrdand release an album n their wn, the act

that the’re a clued-up band backed b a highl

resurceul management team – meant Ra-

dihead were able t make a unique business

mdel wrk.

» Dae McGeachan It was a gd, rereshing

idea but needs t sta as a ne-. I it hap-

pened n a regular basis it wuld have a majr

negative eect n mst strands the

music industr.

» Daid Mogendor It was a genius idea

r Radihead, and prved that music ans

respect the wrk their avurite artists

and are prepared t pa r it. I think it culd

wrk again in the right circumstances but is

in n wa a mdel r all. yunger cnsumersespeciall are used t getting music ree, will

cntinue t take it r ree and will access

it in the wa that the want t access it, as

shwn b the trrent activit arund the In

Rainbws release.

» Ben Winchester It was all abut the public-

it. Ideas like that can nl be used nce.

Ultimatel, u have t ask whether it changed

their career path.

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» Stephen Godroy It prved that i artist and

audience can cnnect ecientl then phsical

music rmats will alwas deliver greater value

(t bth artist and audience) than the valuederived rm selling/wning digital music les.

It remains a great ‘circumnavigating’ mment,

ne that cntinues t give cndence and

inspiratin t anne with the reedm t think

r themselves.

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» Paul Stokes Big established bands dn’t

need recrd labels, air pla t them.

What we didn’t learn, thugh, is wh will

take a risk and pa r new talent in

the uture.

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Radihead’s launch In Rainbws nline with cnsumers able t pa what the likedwas a majr innvatin. But the rmula ma nt wrk r thers.



WHAT WILL HAPPENTO THE LIvE SECTOR IN 2009?

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» Dae McGeachan Hpeull peple will

still be attracted b the whle live experi-

ence – lking rward t ging t the gig,

meeting up with riends and bviusl see-

ing the shw. We have six stadium shws

bked r next summer as well as T in the

Park, a prjected 330 shws in King Tut’s

Wah Wah Hut and apprximatel 850 gigs

acrss varius venues thrughut the ear.

overall ticket sales are gd, but as

prmters we have t keep an verview

hw man shws we put int the market,

especiall in the current inancial climate.Peple are mabe being a bit mre particu-

lar abut what the chse. As a cmpan

we put n mre shws in 2008 than

ever bere.

» Dominic Hardisty Punters’ wallets are re-

all eeling the pinch rm the credit crunch

and histrical evidence suggests that peple

will spend mre time at hme than ut

and abut.

» Rob Andrews Kids nw want t pla

in a band rather than becme a DJ.

The increase in bands has led t an increase

in venues r live music. S cial netwrking

sites have prved invaluable in getting band

awareness ut there which has meant that

gigs are better attended. I think we reached

saturatin pint with the number

estivals last ear and predict that nl

the reall big nes will survive in the

lng term.

» Stephen Godroy Alas, the live shw sectr

will cntinue t serve audiences with

terrible beer.

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» Charlie Marshall Things will get tugher

r the medium size acts but remain rbust

r the stadium llers, estivals and the

grassrts mass (ver lw margin, make

ur mne rm the beer). Mabe the

recessin will bring mre vibranc t livemusic - it has in the past. Spnsrship

and advertising needs t get smarter –

expect mre crprate cash t fw

twards live music but with mre strings

attached.

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» Robert Reynolds Ticket prices will decrease.

Sme venues will tr the “seasn ticket” mdel

where ne ee lets u see multiple acts. We

ught t see sme innvatin here – I’m lking

rward t it.

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» Will Kinsman Ater a ew ears unprec-

edented grwth, I ear the live sectr ma

suer in 2009. At the tp end that shuldn’t

be s much a prblem; it will simpl mean

bands plaing smaller venues, r ewer

nights at the biggest venues. M hpe is

that the bttm rungs the ladder aren’tt badl aected, as this might make it

unviable r smaller bands t tur, at a

time when ewer bands can rel n the

deep pckets a majr label t prvide

tur supprt.

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In a recessin, prmters are likel t nd ans’ wallets are squeezedwhen it cmes t buing live shw tickets …



» Dharmash Mistry The BBC’s public sectr

bjectives can be met in ther was. There is

sucient suppl music radi via traditinal

channels, digital radi, internet jukebxes and

access t glbal statins n the net. With cn-

sumer chice being s abundantl available, the

BBC n lnger needs t meet this need, hence

R1 and R2 shuld nt be tax-paer unded.

Privatisatin seems a credible next step.

» Dominic Hardisty It is nl a matter time

bere pliticians realise that R1 and R2 dn’t

er an public service benets that culdn’t

just as easil be prvided b cmmercial

ranchisees. urther, BBC Radi - with a 55%

share listenership - signicantl distrts

an alread trubled cmmercial market that

nw aces lie-threatening cmpetitin rm

mspace, utube and last.m. Privatising R1

and R2 wuld ield a windall that culd prvide

ears nancial and editrial independence

r ther BBC services such as R3 and R4 which

culd nt survive in the cmmercial sectr.

» Daid Mogendor The BBC is a unique and

incredibl valuable piece British culture

and shuld be prtected at all csts. Having

said that, I d believe that their remit shuld

be reviewed t ensure that the are prvid-

ing a service that a cmmercial bradcaster

culdn’t (r wuldn’t) deliver in bth their

datime and specialist slts. Given the

amunt infuence that rests with their

music team, it’s imprtant that the are nt

pen t allegatins avritism t an

majr labels.

» Dae Goldberg I dn’t think that the gvern-ment shuld be in the bradcasting business.

We d ne in the US withut gvernment

bradcasters.

SHOULD RADIO 1 AND RADIO 2BE PRIvATISED?

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» Charlie Marshall rm the BBC’s pint

view, lsing R1 wuld be disastrus r man

reasns, primaril its reach int 14-21 ear lds

- the nl ther BBC brands which cnsistentl

cut thrugh r this age grup are Match the

Da and Eastenders. S the ther a lst

generatin cmes ne step clser. R2’s appeal

is brader, s demgraphics are less an is-

sue. Hwever, the reach and crss-prmtin-

al might R2 is clearl ke t the BBC’s entire

prtli.

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» Dae McGeachan Withut the BBC statins,

there wuld be n real muthpiece r new

music. Bth als manage t crss a variet

genres and present the latest erings n the

new music scene, challenging peple’s tastes.

R1’s new music prgramming is als the mst

eective wa r independent artists t reach a

substantial and new audience.

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» Paul Stokes We need a public service brad-

caster that is prepared t shine light n new

r minrit talent and we have t accept that

in rder t gain that audience in the rst place

the have t cmpete with cmmercial chan-

nels part the time. I just wish the wuld stpstaging cncerts and events that wuld exist in

the private sectr. The Killers at Ral Albert Hall

wuld take place anwa. It wuld be gd t see

these resurces used n artists wh culdn’t d

that themselves.

Plitical debate raises ke issues abut the wisdm taxpaer-unded radi.

» Will Kinsman r all the BBC’s aults, I think

it’s imprtant t maintain a bradcastingservice that is independent cmmercial

cnsideratins. I wuld like t see whlesale

changes t bth statins, nt least the plalists

and DJs, but in general I supprt the cncept

licence ee-unded mainstream bradcasting.

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WILL 2009 BE THE YEAR IN WHICH THE INDUSTRYCALLS TIME ON 360-DEGREE DEALS?

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Man questin the wisdm bundling deals r recrd sales, turing, merchandisingand music publishing int ne package.

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» Tim Parry I think that 360-deals will still

be arund but the wa the are initiated will

change. Management cmpanies and smaller

labels are best psitined t develp new

artists, then wrking in tandem with majrs t

accelerate later-stage grwth. The majrs will

expect a part ther incme withut tring t

mve directl int ther areas the business.

The deals will be centred arund management

cmpanies and smaller labels.

» Dae Goldberg The clearl dn’t make an

sense r majr labels. The nl thing labels

shuld cus n is recrding and publishing rights.

Irnicall, mst 360-deals exclude publishing.

» Daid Mogendor The “360” label itsel is

ver clichéd, but the basic principle ding

deals encmpassing mre than ne part

the mix will remain. It is dwn t the artist and

their management t chse a strng team

r ever aspect their business; i mre

than ne unctin can be served best b the

recrd label then it wuld make sense t take

advantage it.

» Dae McGeachan I wuld like t see them

disappear, but it’s nt ver likel given the cur-rent nancial climate. Mst the time I think

the d ver little t help the majrit ar tists.

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» Ian Dutt Ever band needs a dierent tpe

deal. Thse wh heralded the 360 deal asthe saviur recrd cmpanies and scurge

management were simpl headline-seeking,

since neither are true.

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» Stephen Godroy There will alwas be a rce

r ‘catch all’ agreements ut simplicit,

ecienc and greed. But as Harr Callahan

said in Magnum rce ater he dispatched his

sel-deluded bss, ‘A man’s gtta knw his

limitatins’.

» Dominic Hardisty 360-degree deals repre-

sent a triumph spin ver substance: there

are ew i an circumstances in which a 360-

degree deal makes sense r either artist r

investr. Then again, since when did the music

industr behave ratinall? Instead we avur

creating a ‘360-degree web’ t help the artist

attract the best label, manager, publisher

and live agent, then have these wrk tgether

whilst each cncentrates individuall n what

the alread d best. Which … erm … lks

rather like the “ld” wa ding business!

» Robert Reynolds N, but it damned wellshuld be! We need t nd was t prt

rm the creatin music, nt just taking

mne rm an artist ’s right pcket t ll his

let. This practice als shits the cus

labels rm signing gd music and nding

a wa t mnetize it twards signing bands

that make mne turing. 360-deals are nt

a slutin t ur struggling business – this

is surrender.



AND NOW GUYS AND GALS …SHOULD BBC1 BRING BACK TOP O THE POPS?

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» Daid Mogendor It is still a ver strng

brand, there’s nthing else like it ut there at

the mment and it still has the ptential t

sell recrds. Hwever, i the d bring it back

the need t get it right – make it r the

audience and nt the prducers, pundits r

industr. Ensure the music eatured n it is

exciting, relevant and ccasinall surpris-

ing (nt just anther place t see the same

bunch artists wh are curr entl ding

prm). Leave ut the patrnising interviews

and cncentrate n qualit live perrmanc-

es. Get the time slt right and give it timet bed in. And back it up with str ng

interactive elements t engage

the audience.

» Paul Stokes Nt i it’s ging t be like that

awn-est n Christmas da this ear, n.I the’re up r revitalising it and making

it exciting and relevant t 2009 then es. It

seems ridiculus that music desn’t have a

platrm n primetime televisin. The can

start b getting rid the presenters!

» Mark Collen onl i the can give it a slt

that will give it a guaranteed 3-4 millin prime

time audience and a strng prductin team. I

wuld vte r a 7.30 Thursda night slt. Back

t basics. oh – and it’s wa bend time Jls

was retired rm Later. I’d lve t see Dermt

o Lear hst it - his Radi 2 shw sessins are

excellent and he has a great manner with bth

artists and audience.

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» Dae Goldberg Sure.

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» Dominic Hardisty A viewer interested in

Girls Alud is unlikel t then want t watch

the Kings Len. Hwever, TTP remains

a heritage brand (think Dr. Wh) that culd

easil be leveraged int several, mre tar-

geted music televisin shws at dierent

times and n dierent channels.

The BBC culd perhaps hld a beaut

parade r independent prducers t

make dierent, genre-based shws,

letting the mst successul rise t the

tp the pile.

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» Charlie Marshall Denitel! Just bere

it was canned we tried t explain t the BBC

that TTP is nt primaril a music shw but

an entertainment shw r the amil. It

culd be a slid success i it stps tring t

be CD:UK and tries t be what it alwas was

- a shw which mum, dad and the kids culd

watch and cmment n. The mag and thepress arund the Christmas shw demn-

strate the pwer the brand. It needs

sme careul planning thugh – which we’d

lve t have a crack at!

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Seen as a dinsaur a shw, TTP, the prgramme that gave us Jimm Savile and Pan’s Peple,seemed lng deunct … until Christmas specials hinted at revival.

» Stephen Godroy N. It wuld be like dating

an ld girlriend! Lie mves n, even i

u dn’t.

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