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Elm Publications

Music Event Management & Promotion – Chris Kemp, with contributions from Richard Chamberlain and Russel Stone

third edition – October 2008

Book, A4 wirebound, approx 300 pages, polypropylene box, library spine, colour illustrations – 20 full-page plates, 116 photographs

ISBN 9781854504470 GBP40.00

Introduction
Acknowledgements
The Author
Contributors
Contents
List of Figures - photographs, maps, exhibits and diagrams
List of Case Studies

Introduction by Chris Kemp

Although much of this book is a personal account written by those with music close to their hearts, it does give an insight into the workings of the industry itself. It has been written in simple language without ceremony to give a clear picture of many of the difficult structures that often defy understanding within this ever-changing area. It gives a no nonsense look at not only the management and promotional systems within music but also at some of the smaller areas often overlooked by general music books. This book also views many of the people working within music who rarely get a voice, thus making sure that every angle possible has been taken into consideration.

The book is written as a club overview (´club´ in this context refers to indie, rock and pop promotions on the small scale club circuit and not dance promotions.). It may be said that larger venues and stadium promotions are similar, but on a much larger scale. However the author has not attempted to move into these areas which are best left to the hardened and experienced professionals. This book is not the music management bible, and some people within the music business may disagree with much of the substance within many of the areas. However, the knowledge that the author has gained from twenty years in the industry and the knowledge of his many friends and contacts working within it give an overall picture of life within this fascinating area.

This book answers many of the questions posed by students and those wanting to know more about the industry as new or would-be promoters. It is a guide written by people within the industry who have amassed a great deal of knowledge and informed opinion over the last twenty years. It contains opinions from a wide range of protagonists, including crew members about the bands that they mix with and drawing on experiences of record company executives, both of which have valid and important points to contribute.

If we look closely at the world of music management is becomes apparent that we are working in a world in constant flux. New technological developments and constant business growth are inherent in each area of the music business. However, none of this would be possible if it were not for the rich history and development of musical genre over the last century. Music is a prime part of everyone´s life; we hear it in every walk of life. From the car radio to supermarket music, it is with us throughout the day. It brings joy to many and sadness to others. It reminds us of past times good and bad. It forms the rich fabric of experience whilst growing up and follows us to our graves at funeral services. It marks both christenings and weddings, it fills our leisure time with products and services related to music. In its own way it a ubiquitous entity. Some of us are gifted with the ability to create music whilst other can only appreciate it. However we are all able to purchase music in its numerous forms. CD´s tapes, DATs, mini discs, vinyl, sheet music, instruments and computers can all be purchased to either create or appreciate musical form and content. Today´s fast freely flowing music technology has enabled non playing musicians to create music without being able to read music, it has enabled programmers to create beautiful works that we thought at one stage or another would not be possible without years of musical study.

Behind this musical development there is a management system that enables music to be heard, produced, developed and assimilated through a complex system of business deals and management manoeuvres. The legal, financial and political issues of this system do not normally effect the punter unless it concerns the price of the product or service offered. The punter is normally concerned with the finished product only and as long as that is available he or she has little time for the way in which music is managed or promoted. However, subconsciously everyone plays their part in music´s development. Adverts on the TV, film music and radio airplay influence each and everyone of our buying choices. The industry controls; through gatekeepers, what is released and these developments are then taken up by retailers and marketeers to try to get us as consumers to buy into the product or service offered. It is this music business that this book is concerned with. The development of this music business means that hundreds of thousands if not millions are employed in some incarnation or other working with music.

This book primarily aims to give an insight into the management and administration in the various sectors of club music and the general business of music. Owing to the special relationship that the author has with many of the contributors, this book is written objectively without frills and is straight to the point. All areas discussed have been carefully documented from true-life situations and therefore this book is not only an insight into the music business but also contains a personal touch from each person that has contributed.

The book takes the reader to the very heart of music promotion, introducing the promoter, who, in the terms of the Oxford Dictionary, is one who is financially responsible for an ... event. Many of the elements within the book focus on the financial implications encountered by the promoter and the people with whom he comes into contact when promoting an event. The book also makes the reader aware of other industries that are important within the music business, primarily those that are product related. The record industry, studio production, venue management, the PA and lighting company and the agency are all scrutinised in great detail, giving the reader a great insight into how these areas are managed and controlled, and how they relate to the artist and event.

Many hours of work have gone into the production of this book and the author and all concerned hope that you have as much fun reading it as we did not only writing it but actually being in the business.

The book contains relevant material for NVQ, HND, and undergraduate degree work in all aspects of the music management and promotion industry.

The International Centre for Crowd Management and Security Studies at Buckinghamshire New University is supported by a range of companies and industry professionals as well as academics from the University. These highly respected industry professionals include: Mick Upton (Founding Chairman Showsec International), Mark Harding MD (Showsec International and Chair of the UK Crowd Management Association), Mark Hamilton (MD G4S Events), Tony Ball (MD Show & Event Security), Ben Challis (Glastonbury Legal), Keith Still (Crowd Dynamics.Com) and Patrick Jordan (MD MOJO Barriers).

The Centre has worked on a range of projects and research in the industry over the past two years including:

The Centre is also an awarding body for the SIA and houses three Foundation Degrees and a masters as well as providing accredited short courses for the industry.

Professor Chris Kemp, Executive Dean Enterprise and Innovation, September 2008

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Acknowledgements

Many people have assisted in different ways in the writing of this book. Some have produced chapters, others have given up their time to be interviewed and others have just been there when I needed their support. I should like in particular to thank Tony Platt, David Walker Collins and Bob Carpenter who have contributed chapters to this book.

I would also like to thank Stuart Galbraith from SFX, Paul Allen from Morning Press, Mike Dewdney from ITB, Gem Howard and Andy Black from Music For Nations, Ian Sales from Helter Skelter, Nick Peel from MPI, Martin Tibbets from Revolution, James Delanoy an independent radio promoter, Bill and Tim from Northampton, the Milton Keynes Borough Council Environmental Health Department, and Darryl Franklin, who all allowed me to interview them.

Philip Windsor and Simon Teesdale from Milton Keynes Borough Council Environmental Health Department gave permission for much of the concert detail from venues used throughout this book.

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The Author

The Author, Chris Kemp has been active in the music, arts and entertainment business for the past twenty years. His enthusiastic and innovative development of the Pitz club at the Woughton Centre in Milton Keynes as a promoter and venue manager turned a musical desert into one of the highest profile club venues in the country. The constant development of all genres of music kept the venue in the limelight for many years. Chris not only promoted and marketed musical acts but also theatre, dance, mime, comedy and opera, initiating comedy at the Clock Inn, a successful Sunday night club also situated in Milton Keynes. Acts such as Iron Maiden, The Pasadenas, Joan Armatrading, The Stranglers, The Royal Shakespeare Company, DV8 Physical Theatre, Ian Botham and Viv Richards, Eddie Izzard and The Cranberries were among the three thousand acts that Chris promoted over a 12-year period.

After graduating from York St John´s PE College in 1982 with twelve years of every conceivable sport behind him, Chris took a post as Assistant Manager at a sports and arts centre in Thame. During this period he became Artistic Director of Rococo Dance Company and took the company on tour to several venues in England including The Barbican in London and the Adelphi Hotel in Liverpool.

During his work at the sports and arts centre, Chris took a further degree in Arts Administration at the City University in London. After being awarded this degree Chris then left Thame and moved to a new job as Arts Manager at the Woughton Centre in Milton Keynes. During his spell in Milton Keynes Chris was promoted twice finally ending up as Area Arts and Entertainment Officer for Buckinghamshire County Council.

In 1993 Chris left the Woughton Centre to take up a lecturing post at Buckinghamshire Chilterns University College. After leaving the Centre Chris continued to promote at a number of venues around the country in a music partnership called Atlantic Music Promotions. He is now Head of the Department of Leisure at the University College. Over the past five years Chris has created and developed both an undergraduate and masters degree in Music Industry management. The course has already had two cohorts of graduates who have entered the industry. The majority of students have gained employment with music based companies including, the MCPS, Sony, Anglo Plugging, Virgin and the PRS. The course has been a great success and has now diversified into four separate strands in specific aspects of the music industry. Chris is still active within the music industry, and assists with his wife´s Dance Promotions, acts as a DJ and participates in a number of other projects including a record company which he set up at the University College. Currently Chris has completed a Doctorate at Liverpool University´s Institute Of Popular Music which considers the classification of genre within music, concentrating specifically on punk and hardcore.

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Contributors

Richard Chamberlain is senior lecturer on the Music Industry Management programmes at Buckinghamshire New University since 2003. He specialises in management, business and operational aspects of the music and entertainment industries. He has worked in the Music Industry since 1988 – for London Records, Go Discs Ltd and Polygram/Universal within the sales and marketing departments. As General Manager of Go Beat Ltd he worked with Portishead, David Holmes & Gabrielle. Before coming to Buckinghamshire New University he was European Managing Director of Tommy Boy Music Ltd working with well established acts such as De La Soul and Afrika Bambaataa. Richard is an active consultant whose clients include Warner Music International, Domino Recordings, Classic Pictures & Fat Fox Music. mailto:richard.chamberlain@bucks.ac.uk

Russel Stone is a senior lecturer on the Music Industry Management programmes based at Buckinghamshire New University since 2003. He specialises in digital media and management. He has worked under various roles within the Music Industry since 1987. During this time he has worked for MCA Records and London Records starting as an A&R scout and working his way to A&R manager. He has also run a premium CD business with clients ranging from Universal Records, V2 Records and The Guardian. As well as lecturing, Russel is also an active consultant in the events industry working at festivals such as Reading, T in the Park and Global Gathering.

Paul Allen is the Director of Morning Press. Robert Carpenter is a director of Apex Stages. James Delanoy is an independent radio promoter. Mike Dewdney is an Agent with ITB. Darryl Franklin is a legal music executive. Stuart Galbraith is a Partner and Director of SFX Gem Howard and Andy Black are Directors of Music For Nations Record Company. Nick Peel is an Agent with Miracle Prestige International. Tony Platt is a Producer and Sound Engineer responsible for, among others, albums with Iron Maiden, Def Leppard, Buddy Guy and AC/DC. Ian Sales is an Agent with Helter Skelter. Martin Tibbets is Head of Film Promotion at Revolution Promotions. David Walker-Collins is Manager of London Astoria 2.

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Contents

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List of Figures - photographs, maps, exhibits and diagrams

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

Chapter 8

Chapter 9

Chapter 10

Chapter 11

Chapter 12

Chapter 13

List of Case Studies

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third edition – October 2008

Book, A4 wirebound, ISBN 9781854504470 GBP40.00