output - defining and developing the music sector in northern ireland
TRANSCRIPT
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Generator NI is the appointed delivery partner for a three year Music
Business Support Programme (MBSP) in Northern Ireland, which is funded
by the Department of Culture, Arts and Leisure and by Invest NI.
The programme specifically aims to accelerate the development of skills,
audiences, markets and incomes for N. Ireland based artists and businesses.
The NI professional music sector continues to thrive and develop both on the
creative and entrepreneurial stages, with many exciting new propositions and
a wide range of artists and businesses on steep international audience
development and market acceleration curves.
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Made by Generator NI
Mark Gordon
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D E F I N I N G A N D D E V E L O P I N G T H E M U S I C S E C T O R
I N N O R T H E R N I R E L A N D
This Output publication has been produced to highlight the current vibrance of music in Northern
Ireland. The economic development and commercial growth of the sector is our primary role and
hence the core content of Output is focused on these aspects. We also aim to highlight the essential
contribution of other key stakeholders in the development of music as a hugely important element in
the social and cultural fabric of our lives and of those who visit our country and cities.
This publication coincides with the delivery of Generator NI's flagship annual Output Belfast conference
and showcase event, which we deliver in partnership with Belfast City Council. This event is designed to
bring national and international industry practitioners to Northern Ireland, to share best practice and
network with our industry, and also to showcase the best of our creative performing talent to the global
industry and media.
To achieve the aims and objectives of our MBSP funders, Generator NI acknowledge and greatly value
their regional, national and international partnerships from both the public and private sectors. Key
amongst these partners are Belfast City Council, Northern Ireland Screen, Generator UK, Nerve Centre,
UK Trade and Investment, PRS for Music Foundation, BPI and AIM.
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D E P A R T M E N T O F E N T E R P R I S E , T R A D E & I N V E S T M E N T
Music is a crucial part of the creative economy in
Northern Ireland.
Northern Ireland has produced some of the world’s leading
artists, from James Galway to Snow Patrol, Van Morrison to DJ
David Holmes, to current success stories Soak and Bicep. Home
grown talent like this is helping to shine the spotlight on Northern
Ireland’s creative capabilities across the global music stage. It
is estimated that the Northern Ireland music sector contributes
£61.5 million in annual GVA to the local economy and employs
nearly 4,000 people. My Department’s aim is to build on this to
enable the local music sector to both compete globally and
realise its significant economic potential.
Northern Ireland’s music industry is by definition highly
entrepreneurial. With Executive funding available through the
Music Business Support Programme, we aim to support this
entrepreneurial spirit ensuring we have the skills and knowledge
necessary to exploit the substantial export opportunities,
accelerating the growth of the sector and maximising the
contribution the music industry makes to the local economy.
We are committed to ensuring that we capitalise on every
opportunity to promote our local talent. Opportunities such as
hosting the MTV Music Awards in 2012 provided a unique
platform to promote music from here to an international audience.
Invest NI also helps businesses from our vibrant music sector to
attend South by Southwest in Texas to promote themselves to
key industry players.
There are also many unique opportunities for collaboration
between di�erent creative platforms. Londonderry based
animation company, Dog Ears recently collaborated with local
music company, Smalltown America Records, to provide the score
for its series “Pu�n Rock”. Now available on Netflix, it includes
a distinctive, cinematic soundtrack recorded by the Ulster
Orchestra in BBC Blacksta� Studios. This kind of creative
innovation is to be applauded and I hope many more companies
from the Film, TV, Gaming and Animation sector will seek to
work collaboratively with local musicians and publishers.
This publication provides a blueprint for developing the economic
contribution of the music industry in Northern Ireland and will
support the set-up and growth of music businesses, and accelerate
growth in Northern Ireland’s evolving music industry. As such, I
am pleased to have the opportunity to acknowledge Generator
NI’s hard work and dedication as they continue to work closely
with the sector to develop opportunities in the global marketplace
for Northern Ireland’s artists and businesses alike.
Jonathan Bell MLA
Enterprise, Trade and Investment Minister
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D E P A R T M E N T O F C U L T U R E , A R T S & L E I S U R E
The primary roles of the Executive are to promote a sustainable
economy and to promote equality. These objectives are the core of
my Department’s priority to Promote Equality, and Tackle Poverty
and Social Exclusion. This is the context for my Department’s role
as the government lead on the creative industries – a sector
recognised across the world as a catalyst for wider economic and
social innovation.
Indeed the creative and cultural sectors are increasingly recognised
across the world as important drivers of wider economic and social
innovation. I recognise the importance of music as a key element in
the creative sector as it presents a wealth of opportunities: helping
us to break down barriers; providing a variety of educational
opportunities; as well as helping us to find ways to integrate many
diverse and minority groups positively into our society.
I would like to emphasise the importance of the arts and culture in
contributing to positive health and mental wellbeing, in creating a
cohesive society, in promoting tourism and as an inspirational driver
for the creative industries. Music is an essential part of our cultural
identity and plays a major role in taking our own culture out to the
rest of the world.
The North’s own growing music o�er is continuing to add significant
value to the wealth of cultural attractions for incoming tourism,
particularly through events such as Belfast's 10 day Belsonic
Festival, now in its 8th year, the 3 day Belfast Tattoo and the
huge success of the Fleadh in Derry during its City of Culture Year.
DCAL's support and commitment to Derry's year as City of Culture
and to the legacy of that initiative was particularly focused on the
breadth of benefit that music can bring to community development,
inspiring creativity and connecting all ages. My Department
continues to provide support for music in the North through
a broad range of initiatives targeted towards social, cultural
and economic development.
My Department's contribution to the support of the music industry
sector is best exemplified by its joint commissioning with Invest NI
and funding of the Music Business Support Programme, run by
Generator NI who work closely with the sector to develop
opportunities for artists and businesses in the global
marketplace, and who have produced this publication.
Huge benefits can be derived from working together creatively and
thinking innovatively. As Minister for the Arts, I want the arts,
music and creative sectors to blossom in the North of Ireland.
Carál Ní Chuilín MLA
Minister of Culture, Arts and Leisure
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S E C T I O N O N E
D E F I N I N G T H E M U S I C S E C T O R
T H E G L O B A L P E R S P E C T I V E : A N O V E R V I E W
T H E U K P E R S P E C T I V E : A N O V E R V I E W
T H E M U S I C I N D U S T R Y I N N O R T H E R N I R E L A N D
A ) P R O D U C T I O N A N D E X P L O I T A T I O N O F I N T E L L E C T U A L P R O P E R T Y I N M U S I C
i ) R E C O R D E D M U S I C A N D R E C O R D L A B E L S
i i ) A R T I S T M A N A G E M E N T
i i i ) M U S I C I A N S , P E R F O R M E R S , S O N G W R I T I N G
& C O M P O S I T I O N
i v ) M U S I C P R O D U C T I O N
v ) I N S T R U M E N T M A N U F A C T U R E
v i ) M U S I C P U B L I S H I N G
v i i ) M A R K E T I N G A N D P R O M O T I O N
B ) L I V E M U S I C S E C T O R
V E N U E S A N D P R O M O T E R S
M U S I C F E S T I V A L S A N D L A R G E S C A L E E V E N T S
T R A D I T I O N A L M U S I C
S E C T I O N T W OS U P P O R T I N G T H E D E V E L O P M E N T O F T H E S E C T O R
M A R K E T D E V E L O P M E N T
I N T E R N A T I O N A L S H O W C A S I N G , C O N F E R E N C I N G
A N D T R A D E M I S S I O N S
T A L E N T D E V E L O P M E N T
I N V E S T I N G I N M U S I C
C O N V E R G E N C E , C O L L A B O R A T I O N A N D P A R T N E R S H I P S
S K I L L S D E V E L O P M E N T
B U S I N E S S S K I L L S D E V E L O P M E N T
C R E A T I V E S K I L L S D E V E L O P M E N T
E D U C A T I O N I N T H E M U S I C S E C T O R
S O C I A L A N D C O M M U N I T Y E N G A G E M E N T
F U T U R E O P P O R T U N I T I E S
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S E C T I O N O N E
D E F I N I N G T H E M U S I C S E C T O R
T H E G L O B A L P E R S P E C T I V E : A N O V E R V I E W
T H E U K P E R S P E C T I V E : A N O V E R V I E W
T H E M U S I C I N D U S T R Y I N N O R T H E R N I R E L A N D
A ) P R O D U C T I O N A N D E X P L O I T A T I O N O F I N T E L L E C T U A L P R O P E R T Y I N M U S I C
i ) R E C O R D E D M U S I C A N D R E C O R D L A B E L S
i i ) A R T I S T M A N A G E M E N T
i i i ) M U S I C I A N S , P E R F O R M E R S , S O N G W R I T I N G
& C O M P O S I T I O N
i v ) M U S I C P R O D U C T I O N
v ) I N S T R U M E N T M A N U F A C T U R E
v i ) M U S I C P U B L I S H I N G
v i i ) M A R K E T I N G A N D P R O M O T I O N
B ) L I V E M U S I C S E C T O R
V E N U E S A N D P R O M O T E R S
M U S I C F E S T I V A L S A N D L A R G E S C A L E E V E N T S
T R A D I T I O N A L M U S I C
S E C T I O N T W OS U P P O R T I N G T H E D E V E L O P M E N T O F T H E S E C T O R
M A R K E T D E V E L O P M E N T
I N T E R N A T I O N A L S H O W C A S I N G , C O N F E R E N C I N G
A N D T R A D E M I S S I O N S
T A L E N T D E V E L O P M E N T
I N V E S T I N G I N M U S I C
C O N V E R G E N C E , C O L L A B O R A T I O N A N D P A R T N E R S H I P S
S K I L L S D E V E L O P M E N T
B U S I N E S S S K I L L S D E V E L O P M E N T
C R E A T I V E S K I L L S D E V E L O P M E N T
E D U C A T I O N I N T H E M U S I C S E C T O R
S O C I A L A N D C O M M U N I T Y E N G A G E M E N T
F U T U R E O P P O R T U N I T I E S
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S E C T I O N
O N E
D E F I N I N G T H E M U S I C S E C T O R
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Sarah Plunkett
& Lucy Skerritt
T H E G L O B A L M U S I C I N D U S T R Y : A N O V E R V I E W
The global music industry is a highly competitive
environment characterised by continual change
and evolution. While existing in its own right as a
key creative industry, music businesses converge
across the screen and digital content industries,
adding intellectual property (IP) value to film,
television, tech, and online media platforms.
IP in the music sector is based on copyright
created in both lyrical and musical elements of
song writing, composition, arrangement and
production. IP value in the sector is also created
by the establishment of an identifiable and
exploitable brand, and in the development of
production software and hardware.
Successfully operating within this intensified
global marketplace requires complex international
connectivity. However, due to the advancement in
communications, and the digital distribution and
consumption revolution, regional and
decentralised music industry development and
sustainability has become a truly realistic
proposition.
E ectively growing and sustaining a regional
industry demands a comprehensive skills base
with world-class production and IP creation.
The global music sector can be split into two key
activity areas: recorded music and live music.
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“is in a constant state of change - most notably with the shifts from
physical to digital, and from static to mobile platforms. Consumption
of recorded music is more universally accessible and ubiquitous than
ever, with royalties and revenue streams from recorded music
growing increasingly diverse and complex.
Physical continues to decline while digital music sees significant
growth. Listeners increasingly choose services such as YouTube and
Spotify to stream music. An estimated 41 million people are paying
subscribers to digital music streaming services worldwide
(Source: IFPI).
Another area of growth in the global recorded music industry is in
revenue and royalties from synchronisation licensing across
multi-media content.
T H E R E C O R D E D M U S I C S E C T O R
An estimated 41 million people are paying subscribers to digital music
streaming services worldwide
2
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is wide in scope; from small scale venues serving niche audiences,
to large scale festivals with audiences of over 150,000 in
attendance, often with associated broadcast.
The success of live music on an international scale has seen live
music revenues surpass recorded music. The boom in popularity
is down to the unique experience these events o�er attendees,
allowing them to engage with music in a personal, tangible way.
Live music events provide an identifiable commercial market
opportunity, which attracts highly profitable brand alignments and
sponsorships. These include food, drink, mobile network, fashion
and car brands sponsoring large events aligning with their own
target markets.
L I V E M U S I C
“ The success of live music on an international scale has seen live music
revenues surpass recorded music
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C A S E S T U D Y
T H E M U S I C I N D U S T R Y I N N O R T H E R N I R E L A N D
Northern Ireland has an exceptional track record for producing outstanding creative musical talent
and IP. Van Morrison and his sextet of Grammys, punk prodigies The Undertones penning John
Peel’s favourite song of all time; the abundance of extraordinary local talent has a
long-standing legacy.
With the achievements of classical pianist Barry Douglas OBE, Ivor Novello winning producer
David Holmes, celebrated House masters Bicep and the Mercury Prize nominated SOAK,
Northern Irish music has shone especially bright on the world stage in recent years.
T H E M U S I C I N D U S T R Y I N N O R T H E R N I R E L A N D
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Founded in 2001 as an independent label in London, owner Andrew Ferris decided to relocate
Smalltown America back to his homeland of Northern Ireland in 2009. The label signs both
indigenous and international artists; notable regional signings include And So I Watch You From
Afar, More Than Conquerors and Axis Of, whereas Die! Die! Die! (New Zealand), USA Nails
(London) and Mnemotechnic (France) are examples of their international repertoire.
Smalltown America has a recording studio in Derry~Londonderry, as well as a successful sister
company Smalltown America Music, based in Belfast, which deals with music and song
publishing and licensing.
Smalltown America houses marketing, distribution and audio production from
our HQ in Derry~Londonderry - employing seven sta� and o�ering internships
to four graduates each year. For businesses, NI o�ers low operational cost, good
access to business property and an increasingly engaged talent pool. Internally,
we've seen increasing customer demand for wider and deeper product lines.
Artisanal, physical products such as screen-printed posters, coloured vinyl
variants and collectible lathe cuts provide good margins outside of our normal
product sets - we see fans of bands consuming everything an artist has to o�er.
“
S M A L L T O W N A M E R I C A
A N D R E W F E R R I S
The music industry in Northern Ireland contributes £61.5 million in GVA to the local economy
per year, employing over 3,820 people. 1,900 of those people are directly employed within a
music business, while the rest are in music-based roles within other industries. (Source: TBR)
The NI music industry hires mostly part-time individuals, making up 58% of the workforce.
37% of individuals are self-employed. (Source: Creative Skillset report).
According to the latest available data, there are around 640 music businesses operating in
Northern Ireland, turning over £166 million per year. The majority of businesses are
based in Belfast, with more peripheral businesses based mostly in the
Derry~Londonderry and Lisburn areas. (Source: TBR)
N I M U S I C I N N U M B E R S
The music industry in Northern Ireland contributes
£61,500,000 in GVA to the local economy per year“
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T H E M U S I C I N D U S T R Y I N N O R T H E R N I R E L A N D
P R O D U C T I O N A N D E X P L O I T A T I O N O F
I N T E L L E C T U A L P R O P E R T Y I N
M U S I C
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This sector of the industry has without doubt been the area most a�ected by the radical changes resulting
from the revolution in digital and communication technologies across the past two decades. Traditionally
labels were gatekeepers, arbiters of taste and investment in the sector – due to the intrinsic power of
being the marketing, promotion and distribution mechanism for physically reproduced, recorded music.
As we move into the age of digital streaming, the record label remains a relevant entity, but the
commercial arena is a more challenging and ultimately democratically competitive one.
The industry-wide shift to independent and self-releasing records, rather than releasing on corporate
and major record labels has been liberating for the creative freedom of artists, as traditional barriers of
production, promotion and recording costs have ceased to price out emergent acts from the marketplace.
There is a large DIY ethic surrounding recorded music and record labels in Northern Ireland. Bands start
their own labels, self-fund and self-release their own music, assuming the responsibilities to release,
monetise and stream their own work. Attached to this are a small number of niche tastemaker labels
releasing everything from soundtrack albums to limited runs of hand-pressed 7” singles.
The function of a record label and the key role of A&R (artist and repertoire) within labels retains its
value, to be attached to even a modest indigenous record label can be perceived as a critical and financial
endorsement of an artist’s songwriting talent and earning potential. Northern Irish artists have been
signed to both national and global labels: acts such as Ash, Snow Patrol, Two Door Cinema Club,
Therapy? and more recently SOAK, have grown their careers in the global marketplace through
successful creative and business partnerships with both independent and major labels.
i ) R E C O R D E D M U S I C A N D R E C O R D L A B E L S
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C A S E S T U D Y12
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Made by Generator NI
Mark Gordon
Nu Graham
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Grace Loughrey
Siubhán Macauley
Sarah Plunkett
& Lucy Skerritt
Founded in 2001 as an independent label in London, owner Andrew Ferris decided to relocate
Smalltown America back to his homeland of Northern Ireland in 2009. The label signs both
indigenous and international artists; notable regional signings include And So I Watch You From
Afar, More Than Conquerors and Axis Of, whereas Die! Die! Die! (New Zealand), USA Nails
(London) and Mnemotechnic (France) are examples of their international repertoire.
Smalltown America has a recording studio in Derry~Londonderry, as well as a successful sister
company Smalltown America Music, based in Belfast, which deals with music and song
publishing and licensing.
Smalltown America houses marketing, distribution and audio production from
our HQ in Derry~Londonderry - employing seven sta� and o�ering internships
to four graduates each year. For businesses, NI o�ers low operational cost, good
access to business property and an increasingly engaged talent pool. Internally,
we've seen increasing customer demand for wider and deeper product lines.
Artisanal, physical products such as screen-printed posters, coloured vinyl
variants and collectible lathe cuts provide good margins outside of our normal
product sets - we see fans of bands consuming everything an artist has to o�er.
“
S M A L L T O W N A M E R I C A
A N D R E W F E R R I S
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An artist manager’s role is to coordinate
their artist’s career development and help
to secure and maximise creative revenue
streams from their artist's IP. The typical
business arrangement between artist and
manager would be an agreement that the
manager would represent the act for the
betterment of the artist's career and
business development, for a share
(typically 20%) of net incomes.
Managers help to influence and conclude
key business and financial decisions
surrounding a musician's progress within
the industry; and with associated legal
services will act as a key broker towards
concluding deals between an artist,
producer, composer or performer with
other operators and service providers
of the music industry.
i i ) A R T I S T M A N A G E M E N T
In recent years, more and more artists are
choosing to self-manage - the “DIY business
model” - often successfully handling their own
business a�airs, particularly during the earlier
stages of their career path. Nonetheless, it would
be rare for an artist to progress towards
substantial recording and publishing deals, live
representation, or large scale endorsements
without employing the services of a full-time
manager (or managers).
T H E C L A M E E N S O N T O U R I N I N D I A
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C A S E S T U D Y
Mark Holden's Derry~Londonderry based management company RumourMill
Music is one of the new crop of regional management operations that have
emerged over the past few years in Northern Ireland.
As an artist manager based in Northern Ireland, I have successfully negotiated multiple high profile opportunities for my artists, The Clameens. Since my appointment as the band’s manager, I have secured a record deal with 25 Hour Convenience Store (a London based record label run by Gary Powell of The Libertines). As a result of this, the label and I are currently strategising business exports to European territories.
The support of Generator NI, PRSF and UKTI has helped access UK and international export market development opportunities including The Great Escape, Liverpool Sound City and NH7 Weekender Festivals in India. This support has resulted in a significant growth of business opportunities for companies such as my own in Northern Ireland.
“R U M O U R M I L L M U S I C
M A R K H O L D E N
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Musicians and performers along with
songwriters and composers are the
primary creators in the music industry,
providing the assets and creative expertise
that generate incomes amongst the
professional sector.
Partners in the entrepreneurial and
ancillary service sectors of the music
industry also commercially capitalise
upon and exploit these assets created
by artists.
i i i ) M U S I C I A N S , P E R F O R M E R S ,S O N G W R I T I N G & C O M P O S I T I O N
Northern Ireland has a rich musical
history and a vibrant performance culture.
From traditional musicians to band
members, NI produces a plethora of
innovative, contemporary composers
and instrumentalists.
Individual musicians and performers are
often self employed or are characterised as
being micro businesses, and sometimes
employ and sub-contract services to third
parties (session musicians, touring
partners, support services).
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& Lucy Skerritt
C A S E S T U D Y
David Holmes is a producer, music supervisor, composer and DJ born and bredin Belfast. He
started his career as a DJ at the tender age of 15, progressing to producing and composing his
own tracks, in addition to whole film scores. He was commissioned by Danny DeVito to score
Steven Soderbergh’s film Out of Sight in 1998, later sound tracking the renowned films
‘Ocean’s Eleven’, ‘Ocean’s Twelve’ and ‘Ocean’s Thirteen’.
David founded a production company, Canderblicks Film & Music, which released Good
Vibrations, a film biopic of Belfast record shop owner Terri Hooley; David also created the
soundtrack for the film. Belfast-based, BBC and RTÉ TV show The Fall also featured music
scored by David Holmes as did the recent award winning feature film ’71.
D A V I D H O L M E S
C A S E S T U D Y
Bridie Monds-Watson is a singer songwriter from Derry~Londonderry, performing under
the name SOAK. She was picked up by Rough Trade Records, who released her debut
album Before We Forget How to Dream in May 2015. SOAK has without a doubt been one
of the most successful breakthrough artists from Northern Ireland in recent years, even
being nominated for a Mercury Prize in 2015. She has headlined European, US and
Australian tours, toured with the likes of Bombay Bicycle Club, collaborated with
Chvrches and performed at music festivals Glastonbury, Latitude and Bestival.
SOAK showcased at Brighton based The Great Escape in 2013 and 2015, Holland's
Eurosonic in 2015 and SXSW (pictured) in Texas in 2015 with the help and support of
UKTI, Invest NI and Generator NI, helping raise her profile in the international
music market.
S O A K
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The last twelve months have been very successful for me as a musician and for my team that have helped to pave a path for both me and my reputation as an artist among an ever developing and impressive scene that exists in Northern Ireland right now.
Every day we work toward building a long term career so my music can be as relevant in 20 or 30 years as it is today. It's a long road.
“C I A R A N L A V E R Y
C A S E S T U D Y
Ciaran Lavery is an alternative folk singer songwriter from County Down, building a
successful international business based primarily upon his global popularity on music
streaming services. Ciaran has toured across Europe and played many times in the US,
including the 2014 UKTI Songwriters Mission in Nashville and Folk Alliance in Kansas.
Ciaran has surpassed 20 million plays on Spotify, mainly with tracks Shame and Left for
America. Ciaran Lavery is a skilled songwriter and performer, and also a talented co-writer as
can be heard on his collaborative mini-album Sea Legs with local electronic artist Ryan Vail.
C I A R A N L A V E R Y
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Made by Generator NI
Mark Gordon
Nu Graham
Ross Graham
Grace Loughrey
Siubhán Macauley
Sarah Plunkett
& Lucy Skerritt
Camerata Ireland performs at home and abroad including Belfast, Derry~Londonderry, Cork, and Dublin, plus tours to USA, China, South America, Europe and India this season. Randox is our Global Sponsor, a fantastic arts and business partnership. We are also supported by Arts Council Northern Ireland and Arts Council Ireland. The climate for the arts in Northern Ireland is not optimum at the moment due to austerity, and many arts organisations are struggling or disappearing. However, artists who work in Northern Ireland are determined to make a positive contribution to society. Camerata has just launched an education initiative in North Belfast, which has been very well received. There is a lot to do and I am sure we will get there.
“B A R R Y D O U G L A S
C A S E S T U D Y
Barry Douglas OBE is a leading international pianist who in 1986 was awarded the hugely
prestigious Tchaikovsky International Award and went on to develop a high profile
international career. Barry also works as a conductor, and regularly performs at St. Luke’s
lunchtime series, in London. He founded Camerata Ireland in 1999; an orchestra which works
across the border to nurture and develop young Irish and Northern Irish talent.
B A R R Y D O U G L A S
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T H E U L S T E R O R C H E S T R A , C O N D U C T E D B Y P R I N C I P A LG U E S T C O N D U C T O R J A C V A N S T E E N , O C T 2 014
C A S E S T U D Y
The Ulster Orchestra is the only symphony orchestra in Northern Ireland that operates on a
full time basis. Founded in 1966 by the Arts Council of Northern Ireland, the orchestra has
performed across the globe in places such as Hong Kong and mainland Europe – however
the orchestra mostly performs in Belfast’s Ulster Hall. The Ulster Orchestra provides the
vast majority of classical music-based outreach work within Northern Ireland, developing
cultural and artistic engagement within classical and contemporary music.
U L S T E R O R C H E S T R A
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Made by Generator NI
Mark Gordon
Nu Graham
Ross Graham
Grace Loughrey
Siubhán Macauley
Sarah Plunkett
& Lucy Skerritt
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The recording and production sector in
Northern Ireland consists of a variety of
practitioners and businesses combining
creative skills with technical and
engineering expertise, operating on
various scales.
The technological landscape of this
sector has been subject to significant
advancements over recent years.
The costs of recording equipment and
hence associated services were formerly
much higher, with considerable budgets
required to adequately equip and resource
recording facilities.
i v ) M U S I C P R O D U C T I O N
In the modern digital age much recording can
be, and often is, undertaken in “home” studios,
using a PC and a range of software, where once
recording desks and outboard equipment
costing tens or hundreds of thousands
was required.
The Northern Irish sector includes a range of
small and mid-sized facilities run by experienced
engineers and producers, across a range of
musical genres, supplying services both to
local clients and increasingly servicing an
international client base from Europe,
the USA and further afield.
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Made by Generator NI
Mark Gordon
Nu Graham
Ross Graham
Grace Loughrey
Siubhán Macauley
Sarah Plunkett
& Lucy Skerritt
C A S E S T U D Y
David Holmes is a producer, music supervisor, composer and DJ born and bredin Belfast. He
started his career as a DJ at the tender age of 15, progressing to producing and composing his
own tracks, in addition to whole film scores. He was commissioned by Danny DeVito to score
Steven Soderbergh’s film Out of Sight in 1998, later sound tracking the renowned films
‘Ocean’s Eleven’, ‘Ocean’s Twelve’ and ‘Ocean’s Thirteen’.
David founded a production company, Canderblicks Film & Music, which released Good
Vibrations, a film biopic of Belfast record shop owner Terri Hooley; David also created the
soundtrack for the film. Belfast-based, BBC and RTÉ TV show The Fall also featured music
scored by David Holmes as did the recent award winning feature film ’71.
D A V I D H O L M E S
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Swimming against the tide of the digital revolution, Analogue Catalogue has successfully carved itself a niche in vintage recording techniques. Head Engineer/Producer Julie McLarnon learned her skills at the legendary Strawberry Studios where she worked with Happy Mondays, New Order, 808 State and The Charlatans to name but a few. Analogue Catalogue was based in Manchester for over a decade where we developed a global reputation for making great records to magnetic tape without a computer in sight. Last year we shipped our entire studio and its reputation to Julie’s homeland in rural County Down. Positioned equidistant from both Dublin and Belfast Airports we have successfully maintained our international clients, whilst also becoming a valuable asset to homegrown talent.
“R O B C O T T E R
C A S E S T U D Y
Analogue Catalogue is a newly established, high quality residential analogue recording studio
in County Down. Recording to 24 track 2” Tape through a vintage Trident Series 80B desk,
the studio team originally recorded a wide range of artists at their Manchester studio from
2003 to 2013. Recent clients of Analogue Catalogue include The Vaselines (Sub Pop),
Je�rey Lewis (Rough Trade), King Creosote & Jon Hopkins (Domino), Barbarossa (Memphis
Industries), James Yorkston (Domino), The Aliens (EMI), and Fionn Regan (Universal).
A N A L O G U E C A T A L O G U E
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Made by Generator NI
Mark Gordon
Nu Graham
Ross Graham
Grace Loughrey
Siubhán Macauley
Sarah Plunkett
& Lucy Skerritt“
C A S E S T U D Y
Analogue Catalogue is a newly established high quality residential analogue recording studio
in County Down. Recording to 24 track 2” Tape through a vintage Trident Series 80B desk,
the studio team originally recorded a wide range of artists at their Manchester studio from
2003 to 2013. Recent clients of Analogue Catalogue include The Vaselines (Sub Pop),
Je�rey Lewis (Rough Trade), King Creosote & Jon Hopkins (Domino), Barbarossa (Memphis
Industries), James Yorkston (Domino), The Aliens (EMI), and Fionn Regan (Universal).
A N A L O G U E C A T A L O G U E
Instrument manufacture in Northern Ireland is a growing sector that prides itself on producing
unique acoustic and electronic instruments of a high quality. The sector is highly competitive,
concentrated and export led. Manufacturers in Northern Ireland focus on high-end, niche
instrument manufacture, and range from long established market leading craftsman led brands
such as the prestigious Lowden Guitars to newly emerging electronic instrument manufacturer
Patchblocks.
v ) I N S T R U M E N T M A N U F A C T U R E
C A S E S T U D Y : R U A C H
Ruach was set up in director Stephen Henderson’s garage in 2011. Ruach produces and
internationally distributes cajons, a type of percussion instrument made from birch wood or cherry
wood, along with a number of accessories. Ruach prides itself on its environmentally friendly
approach, planting a new tree for every instrument made.
Delegating and exhibiting at SXSW supported by Invest NI, really validated my new and current products in the American market, helping me find out how consumers engage with the brand and helping to plan how to get into that market e�ectively. I was able to shoot video marketing assets and expand my network of global business contacts at events held by the British Music Embassy. It’s a challenge to develop a sustainable new manufacturing company in Northern Ireland unless you manage to reach a global market.
“S T E P H E N H E N D E R S O N
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A small number of highly professional local
sector-specific services are available to both
regional clients, and to a national and
international client base wishing to
develop the regional market.
The creation of tailored music marketing
and promotion is essential in securing
meaningful media endorsement of local
repertoire, allowing the opportunity to
further resonate in the national and
international marketplace.
Marketing and promotion within the music
industry is increasingly about brand
development and identification as well as
brand alignment.
v i i ) M A R K E T I N G A N D P R O M O T I O N
The establishment of a marketable brand can
often translate into important ancillary
incomes from the sales of merchandise,
such as t-shirts and physical record sales
online or at live shows.
In relation to the marketing opportunity and
brand development, the importance of close
creative collaboration between the music
sector and the contingent design and screen
sectors cannot be overestimated.
In the music industry, a music publisher
(or publishing company) is responsible for
ensuring the songwriters and composers
receive payment when their compositions
are used commercially. In committing to a
publishing contract, a songwriter or
composer "assigns" the copyright of their
composition to a publishing company.
In return, the company licenses
compositions, helps monitor where
compositions are used, collects royalties
and distributes them to the composers.
They also secure commissions for music
and promote existing compositions to
recording artists, film and television.
The copyrights owned and administered by
publishing companies are arguably the
most important forms of intellectual
property in the music industry.
v i ) M U S I C P U B L I S H I N G
The current music publishing industry in
Northern Ireland is mainly characterised by a
small number of independent companies with
developing music catalogues. (Many local
writers do not have publishing agreements
and rely on royalty collection agencies to
collect their due royalties).
Locally managed and based publishing
companies are now engaged in sourcing and
signing creative compositional and song
writing talent from Northern Ireland, Ireland,
the UK and internationally - including
copyrights originating from France,
the USA, Australia and Iceland.
26
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Made by Generator NI
Mark Gordon
Nu Graham
Ross Graham
Grace Loughrey
Siubhán Macauley
Sarah Plunkett
& Lucy Skerritt
C A S E S T U D Y
Je� Robinson is the owner and managing director of Je� Robinson PR, a freelance
marketing consultancy that provides cross-media campaigns for the creative industries.
During Belsonic Music Festival Je� Robinson PR coordinated media campaigns with
artists including Noel Gallagher, Elbow, Bi�y Clyro, Florence + the Machine, Paulo
Nutini, 30 Seconds To Mars, Beady Eye, Plan B, and Paul Weller. He also represents
children’s media company Dog Ears.
I started my company, Je� Robinson PR in 2009 and have been actively expanding year on year. Although initially 100% music focused we decided to expand into all elements of the creative industries, including restaurant and Theatre PR. The growth of the company has benefited greatly from the assistance given by public sector supported music development initiatives, helping with advice, early funding opportunities and mentoring, which has been influential in the business decisions I have made. We are very lucky in this country to have the support and backing of the arts and creative industry sector, which in turn keeps us producing talent and supporting the industry at the highest level.
“J E F F R O B I N S O N P R
J E F F R O B I N S O N
Smalltown America Music have strategic partners in place in 4 of the 5 key music markets - North America, UK, Germany & France. Smalltown America Music continues to demonstrate growth year on year - we have increased our core sta� base, the volume of our catalogue and the geographic span of our intellectual property rights. We have agreed deals with a number of global brands including Toyota, Vodafone, O2 and Icon Films.
We face competition at every stage from major and independent publishers, however, we have been very successful in landing global deals. We remain committed to new talent, unique IP and the strength of our o�ering.
“C H A R L E N E H E G A R T Y
C A S E S T U D Y
Started as a record label in 2001, the Smalltown America brand developed a
publishing arm in 2011, headed by Charlene Hegarty. Smalltown America Music is a
music publisher and composition agency, based in Belfast. With an array of talented
Northern Irish writers, composers and artists on their roster, Smalltown America
Music has been able to place music with brands such as MTV, O2, Vodafone and
Toyota.
S M A L L T O W N A M E R I C A M U S I C
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A small number of highly professional local
sector-specific services are available to both
regional clients, and to a national and
international client base wishing to
develop the regional market.
The creation of tailored music marketing
and promotion is essential in securing
meaningful media endorsement of local
repertoire, allowing the opportunity to
further resonate in the national and
international marketplace.
Marketing and promotion within the music
industry is increasingly about brand
development and identification as well as
brand alignment.
v i i ) M A R K E T I N G A N D P R O M O T I O N
The establishment of a marketable brand can
often translate into important ancillary
incomes from the sales of merchandise,
such as t-shirts and physical record sales
online or at live shows.
In relation to the marketing opportunity and
brand development, the importance of close
creative collaboration between the music
sector and the contingent design and screen
sectors cannot be overestimated.
28
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Made by Generator NI
Mark Gordon
Nu Graham
Ross Graham
Grace Loughrey
Siubhán Macauley
Sarah Plunkett
& Lucy Skerritt
C A S E S T U D Y
Je� Robinson is the owner and managing director of Je� Robinson PR, a freelance
marketing consultancy that provides cross-media campaigns for the creative industries.
During Belsonic Music Festival Je� Robinson PR coordinated media campaigns with
artists including Noel Gallagher, Elbow, Bi�y Clyro, Florence + the Machine, Paulo
Nutini, 30 Seconds To Mars, Beady Eye, Plan B, and Paul Weller. He also represents
children’s media company Dog Ears.
I started my company, Je� Robinson PR in 2009 and have been actively expanding year on year. Although initially 100% music focused we decided to expand into all elements of the creative industries, including restaurant and Theatre PR. The growth of the company has benefited greatly from the assistance given by public sector supported music development initiatives, helping with advice, early funding opportunities and mentoring, which has been influential in the business decisions I have made. We are very lucky in this country to have the support and backing of the arts and creative industry sector, which in turn keeps us producing talent and supporting the industry at the highest level.
“J E F F R O B I N S O N P R
J E F F R O B I N S O N
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T H E M U S I C I N D U S T R Y I N N O R T H E R N I R E L A N D
T H E L I V E M U S I C S E C T O R , E V E N T S
A N D F E S T I V A L S
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The live music sector is the largest area of
Northern Ireland’s music industry, turning over
£44 million per year and employing over 700
individuals in a variety of roles (Source: DCAL).
The roles involved include musicians, DJs and
performers, venue promoters and producers,
behind-the-scenes sound and lighting
technicians, and venue hospitality sta�.
Live music and music promotion is staged
in a variety of spaces from small pub and club
venues to large scale concert halls, and urban
and rurally staged outdoor music festivals.
Live music events play a crucial role in
attracting tourism, fundamental to the local
economy, while highlighting and supporting the
cultural identity of Northern Ireland.
T H E L I V E M U S I C S E C T O R
In 2014, over 260,000 music tourists attended
events, generating £84 million for the Northern
Irish economy and sustaining 694 full time
jobs. A Northern Ireland Tourist Board’s visitor
survey revealed that 4% of tourists holiday in
NI primarily to visit a concert or event
(Source: UK Music/NITB).
The 'night-time economy' encompasses a
variety of areas, including hospitality, catering,
travel, pubs and clubs. Within the night-time
economy, live music and club culture is a key
driver in attracting people to the larger towns
and cities of NI.
The live music industry in Northern Ireland
accounts for over £44 million in turnover,
making it the largest sector within the core
music industry (Source: TBR).
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Belfast and Derry~Londonderry, where most
night-time music venues are concentrated,
have a dynamic nightlife with a variety of
pubs, clubs and music venues. Large
scale venues such as the Ulster Hall,
the Waterfront, the Royal Opera House,
the Millennium Forum and the SSE arena
bring international music artists into
Northern Ireland, with smaller venues such
as the Limelight complex, the Mandela Hall,
the Black Box, T13, Aether and Echo and the
Errigle Inn serving the more niche interests
of music audiences.
Events across these venues are often
curated, marketed and produced by live
music promoters, who specialise in booking
talent, promoting events to audiences and
managing the associated production and
ticket sales.
i ) V E N U E S A N D P R O M O T E R S
A vibrant live scene also provides an important
platform for local musicians, DJs and
performers to develop their skills and careers.
They also function as important cultural and
social hubs, promoting community involvement
in cities and towns, especially community
focused venues such as the Nerve Centre in
Derry and the Oh Yeah Music Centre in Belfast.
A major component of the night-time economy
in Northern Ireland is a booming clubbing
scene, with DJs and electronic dance music
drawing in clubbers from across the country.
Club nights in Box, Aether and Echo, Kremlin,
El Divino, Ollie’s, Thomson’s Garage, Limelight,
Chinawhite and Lavery’s prove to be highly
popular both at the weekends and with the
student population during the week.
Outside of Belfast, popular clubs include Kelly’s
in Portrush, Sally’s in Omagh and Sugar and
Envy in Derry~Londonderry.
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PSI has grown substantially over the past 10 years, covering more live events than ever before, and this growth has enabled us to open a branch in Dublin in 2011, and to form partnerships with UK based companies, building a support network, and setting a standard of service on both sides of the Irish Sea. This, in turn, has enabled us to take contracts touring Europe, USA, China and Japan, and allows us to promote PSI outside our local catchment area.
The live sector in NI is constantly growing, and the standard is always on the up. In NI we have had, in the past, to play the ‘poor cousin’ with visiting acts expecting to have to settle for a sub-standard service; something we at PSI have kicked against for years! It is now recognised that NI has an amazing amount to o�er in this sector, and we are producing some outstanding new talent, as well as attracting more and more major, established players to our venues, easier to do with a world-class venue in the SSE Arena Belfast.
“S E A N P A G E L
C A S E S T U D Y
Belfast based Production Services Ireland (PSI) is the leading supplier of sound and lighting
equipment and expertise to the live music and performing arts sector throughout Ireland,
and also working successfully in the UK, European and Asian markets.
P R O D U C T I O N S E R V I C E S I R E L A N D
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Northern Ireland continues to punch considerably above its weight in the context of the UK live music industry. Our live events have grown exponentially in terms of size and frequency over the last 5 years, and avail of business partnerships and relationships within the UK and Ireland, as well as with European and global organisations.
Belfast feels as much an essential stop on a UK touring run as Dublin, or any of the major cities in England and Scotland, and is very much a favourite stop-o� for many international artists touring in Europe.
“J O E D O U G A N
C A S E S T U D Y
Shine Productions is a major Belfast based events and promotion company as well as being
one of the UK’s longest running underground club nights. Shine is also closely associated with
the three Limelight venues in Belfast, The Academy venues in Dublin and the annual outdoor
multi-day Belsonic festival in Belfast’s Custom House Square.
S H I N E
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C A S E S T U D Y
In 1987, the Limelight (pictured) opened as a nightclub, later expanding into neighbouring
premises, becoming three rooms, now known as Limelight 1, Limelight 2 and Katy’s Bar.
Over the years, Limelight has played host to bands like Oasis, Biy Clyro, Snow Patrol and
The Libertines. In 2010, County Dublin based MCD and Belfast based Shine Productions
bought and rebranded the three venues.
The Limelight hosts 5 regular club nights on Mondays, Tuesdays, Thursdays, Fridays and
Saturdays, with a wide range of music genres. Club nights during the week attract the
considerable student population of Belfast, whereas weekend nights attract both
students and young professionals.
L I M E L I G H T
C A S E S T U D Y
Moving on Music is a not-for-profit charity organisation, who since 1995 have become one of
the premier promoters of jazz, traditional, roots, classical and cross-over genres of music in
Northern Ireland. They promote one-o events, curate tours, run the Brilliant Corners jazz
festival in Belfast, and host an array of education and outreach projects. These projects have
previously included ‘Beyond the March’, an initiative designed for members of marching
bands to explore music making and share ideas about the development of musical
repertoire and style. Workshops provided opportunities for musicians to develop
their skills alongside experienced musicians and composers.
M O V I N G O N M U S I C
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C A S E S T U D Y
The Odyssey is a large multi-purpose leisure complex consisting of the Odyssey Pavilion, the
SSE Arena Belfast and the W5 science exhibition centre. Its 10,000 capacity arena has
welcomed Robbie Williams, Lady Gaga, Dolly Parton, Michael Bublé and Black Sabbath to
name but a few. After Adele announced that the first show for her 25 tour would be in Belfast,
tickets for the two dates at the SSE Arena sold out in minutes.
In November 2011, Belfast hosted the MTV EMAs (pictured), attracting 20,000 visitors to the
Odyssey Arena. The event contributed over £10 million to the local economy, proving to be one
of the biggest drivers of music tourism in Northern Ireland to date. (Source: NITB, 2011).
Further to those in attendance, over 600 million people across the world watched the award
show’s broadcast, boosting Northern Ireland’s image, and helping to portray a positive, exciting
and international image of Belfast.
T H E O D Y S S E Y C O M P L E X
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Northern Ireland is home to a number of unique music festivals in various urban and rural
venues and locations; each catering to particular audiences across a wide spectrum of styles
and genres. These events also provide a wide range of short term service contracts and
employment within the sector.
Although most festivals feature high profile headline artist/performers, the role that festivals
and large music events play in providing a prominent platform for emerging local talent
cannot be overestimated.
i i ) M U S I C F E S T I V A L S & L A R G E S C A L E E V E N T S
C A S E S T U D Y
Every summer since 2008, Belfast’s Custom House Square becomes an outdoor arena for
around a week, with 35,000 people celebrating the year’s most acclaimed popular music.
Starting as a three day festival, Belsonic’s popularity soon grew, increasing to 10 days of
events, with headliners such as Florence and the Machine, Bi�y Clyro, Dizzie Rascal
and Thin Lizzy.
Belsonic is run by Shine Productions, who have crafted an event that yearly attracts large
audiences and stimulates substantial inward visitor numbers, with both indigenous and
international tourists travelling to Belfast to experience the expertly curated music culture.
B E L S O N I C
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39
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40
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CASE STUDYC A S E S T U D Y
F E S T I V A L
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AVA's debut was fantastic, a proper celebration of the creative arts in Northern Ireland and has really helped turn a global spotlight onto the city.
T I M M Y S T E W A R T / T B O N E
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AVA festival and conference is a new annual event celebrating established and emerging talent
in visual arts and electronic music in Northern Ireland. AVA, which stands for ‘Audio Visual Arts’
was created by Up! Productions in collaboration with Generator NI. The first AVA festival was
held on Saturday the 30th of May 2015. AVA incorporates both a conference element during
the day and a live music element during the evening.
T H E C O N F E R E N C EDuring the daytime, various events, panels and discussions took place with leading national
and international experts in electronic music and audio visual arts. In 2015, 200 people were in
attendance, and keynotes were led by DJ Nu-Mark of Jurassic 5 and Adam Smith, who notably
directed videos from The Chemical Brothers and The Streets. Panels and discussions were led
by Generator NI, Shine.net, Ableton, Hospital Records, Sentric Music, Paul Hamill and others.
The conference aspect of AVA is designed to engage people of all ages and career stages in the
local and international audio and visual arts industries.
T H E L I V E M U S I CDuring the evening, leading DJs performed to a large, energetic crowd. In 2015, 2500 people
packed into T13 for an array of audio visual and electronic dance music performances. Headliners
included Bicep, Ejeca, Optimo, Space Dimension Controller (pictured) and Phil Kieran.
B O I L E R R O O MBoiler Room is a recognised global leading brand/music platform that organises small, intimate
gigs, streaming them on their website to hundreds of thousands of online fans around the world.
Boiler Room made its debut appearance on the island of Ireland at AVA festival with huge success.
Over 170,000 people watched the live boiler room broadcast, in addition to over 110,000 views
post-event. Debuting Boiler Room in Ireland and NI has put Belfast on the electronic music scene
and destination map.
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R O M A I N T A R D Y S P E A K S A T A V A
Additionally:
• DJ duo Schmutz were signed to an agent and booked in Berlin as a direct
result from featuring on the AVA Festival Boiler Room Live stream.
• DJ Sid Carey won the emerging electronic producers competition and was
signed to the Extended Play label and will have his track released on EP
and feature on the Feel My Bicep blog.
• DJ Timmy Stewart received a booking in South America (Argentina) o� the
back of his feature on the AVA Festival Boiler Room Live stream.
• The Visual Artist Collective – Guerrilla Shout has since been booked to
create a feature video for AKON, netting 2 million views on You Tube.
AVA Festival contributed significantly to the
development of the electronic music sector in
NI, delivering a positive potential tourism impact
from the success of AVA in addition to the audience
of the live Boiler Room stream. AVA Festival
attracted almost 10% of their attendees from
outside of Northern Ireland, which for a festival
in its infancy, is impressive.
A V A ’ S W I D E R C O N T R I B U T I O N • T13 Venue has now been approached by a number of organisations/music
opportunities, which has led to subsequent bookings (one from Ministry of
Sound) for the venue, worth a considerable amount of money.
• Each street food stall at AVA was o�ered a pitch at the Tall Ships event o� the
back of AVA.
• Intern student has subsequently received a job after her 6-month placement
at AVA Festival.
44
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Additionally:
• DJ duo Schmutz were signed to an agent and booked in Berlin as a direct
result from featuring on the AVA Festival Boiler Room Live stream.
• DJ Sid Carey won the emerging electronic producers competition and was
signed to the Extended Play label and will have his track released on EP
and feature on the Feel My Bicep blog.
• DJ Timmy Stewart received a booking in South America (Argentina) o� the
back of his feature on the AVA Festival Boiler Room Live stream.
• The Visual Artist Collective – Guerrilla Shout has since been booked to
create a feature video for AKON, netting 2 million views on You Tube.
AVA Festival and Conference was a complete success in year one due to an exceptional team and line-up, artist support and the robustness of key partnerships. Leveraging the various resources, outside of financial support, added content and strength to the AVA o�ering. These partnerships included Generator NI as our key partner for the free daytime conference, Boiler Room as our broadcast partner, streaming our outdoor stage live across the world, Ableton as another of our conference partners, providing software and hardware content and artist lead workshops, Tourism Ireland and Belfast City Council for funding and the Commercial Education Trust for the initial seed funding and continual support and guidance.
A V A F O U N D E R S A R A H M C B R I A R
• T13 Venue has now been approached by a number of organisations/music
opportunities, which has led to subsequent bookings (one from Ministry of
Sound) for the venue, worth a considerable amount of money.
• Each street food stall at AVA was o�ered a pitch at the Tall Ships event o� the
back of AVA.
• Intern student has subsequently received a job after her 6-month placement
at AVA Festival.
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C A S E S T U D Y
Since 2002, Derry~Londonderry has played host to thousands of jazz, big band and blues fans,
over a long weekend in May, with world-class performers such as Jamie Cullum and Jools
Holland. The festival annually features over 100 musicians, with performances across
60 venues including shopping centres, restaurants, bars and theatres.
C I T Y O F D E R R Y J A Z Z A N D B I G B A N D F E S T I V A L
C A S E S T U D Y
As one of the leading electronic music festivals in the country, Celtronic (pictured) attracts
thousands of visitors annually with a lineup of both local and national acts, including Chic ft.
Nile Rodgers, David Holmes, Objeckt, Move D, Derrick May, Ripperton, Ben UFO and Karenn.
Celtronic is known world-wide as an intimate festival, where big name acts that usually play to
hundreds of thousands of punters, play for just a few hundred. The owners of Celtronic also
run a high-specification recording studio in Derry~Londonderry, providing a space for the
emerging electronic dance music pioneers to record their music.
C E L T R O N I C
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In Derry~Londonderry, we have found in recent years in addition to major events and concerts, niche music events can be great ways of attracting 'music/festival tourists' to the city through events like Other Voices, Music City, City of Derry International Choral Festival and Celtronic. Among the reasons for the success of Celtronic over the years is due to its unique festival format of major international acts playing in relatively small, intimate spaces. The festival also continually showcases the best emerging and established local and national producers as well as showcases from the region’s leading club nights and promoters. The festival's non-profit making ethos means that the festival is one of the best value festivals in the country with a 5 day access all events pass costing only £40.
“G A R E T H S T U A R T
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The world of traditional music, as beloved
as ever by local communities, provides both
cultural and economic worth to Northern
Ireland. In addition to the indigenous
market, trad serves as a continued draw to
international visitors and cultural tourists.
Often performed in informal settings in
small pubs, ‘sessions’ are a lively, cheerful
expression of local cultural tradition.
Popular venues and music tourism
destinations include Kelly’s Cellars,
The Sunflower Pub and Madden’s Bar in
Belfast, Peadar O’Donnell’s, Sandino’s and
Grand Central Bar in Derry~Londonderry.
i i i ) T R A D I T I O N A L M U S I C
Around £790,000 of public investment was
made in 2014-2015 for traditional music
organisations, events and projects in Northern
Ireland, from Arts Council NI, the Ulster Scots
Agency and Foras na Gaeilge.
A 2014 report stated that over £42.2 million
was contributed to the economy by the
traditional music sector, mostly from secondary
spending. Although these figures are notably
increased by the Fleadh in Derry in 2013, they
still show the level of return on investment and
value that the traditional music sector o�ers
the Northern Irish economy.
(Source: Comhaltas Ceoltóiriί Éireann).
C A S E S T U D Y
The Traditional Music Forum was established by the Arts Council of Northern Ireland (ACNI)
in 2014 as part of its commitment to support the Traditional Arts of Northern Ireland; one of
10 priorities identified in the Arts Council’s Music Strategy (2013-2018). The Forum draws
together traditional music organisations and artists with the aim of helping the sector to
explore and develop their aspirations. In addition, the Forum acts as a cross-community
advocacy group for the inclusion of traditional music in formal music education.
T H E T R A D I T I O N A L M U S I C F O R U M
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C A S E S T U D Y
The all-Ireland traditional music festival has been held in various towns and cities across
Ireland since 1951. The festival includes competitions, attracting the best traditional
musicians from around the world. In 2013, the largest fleadh to date was held in
Derry~Londonderry, attracting over 430,000 people to the city over 8 days.
Derry~Londonderry hopes to be awarded the opportunity to host the Fleadh in 2017 and
2018, due to the success of the city’s previous Fleadh. The popularity of the Fleadh in
Derry~Londonderry shows how important traditional music is to Northern Ireland,
reinforcing the role of music in the depiction and expression of cultural identity.
F L E A D H C H E O I L N A H É I R E A N N I N D E R R Y ~ L O N D O N D E R R Y , 2 013
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S E C T I O N
T W OS U P P O R T I N G T H E D E V E L O P M E N T O F T H E S E C T O R
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Often at the forefront of global trends, the music industry is known for its versatility, and the speed
with which it adapts to and avails of technological advances. The shifting sands of the modern
marketplace can help or hinder, requiring constant consideration, examination and often re-evaluation.
Commercial music has always been driven by media, broadcast and publicity. As technological change
accelerates, new audience development avenues emerge apace, with online and mobile digital
platforms now dominating market and audience access alongside traditional and broadcast media.
The turnover time for most growing music businesses and artists is just as rapid: business models can
quickly become unsustainable if practitioners are not mindful of the ongoing emergence and decline
of trends and new business models in IP distribution, monetisation and exploitation.
M A R K E T D E V E L O P M E N T
Attendance, delegation and showcasing at
selected national and international music
conferences and events can be a vital learning
experience for established and emerging music
businesses alike. Network-building and skills
development opportunities abound for emerging
IP creators and their contingent businesses.
Northern Irish artists and companies attend a
large and diverse range of global conferences
I N T E R N A T I O N A L S H O W C A S I N G , C O N F E R E N C E S A N D T R A D E M I S S I O N S
every year, often with funding from regional
support initiatives and partnerships including
Invest NI, Generator NI, Belfast City Council and
ACNI; frequently in partnership with a range of
national organisations and initiatives including
UK Trade and Investment, BPI (British
Phonographic Industry), AIM (Association for
Independent Music) and PRS for Music
Foundation.
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C A S E S T U D Y
Bernadette is a fiddle player and fluent Irish speaking singer who has performed across
the globe, including showcases at Celtic Connections, Folk Alliance and WOMEX. She
released her debut album All the Ways you Wander in 2013, a fresh look at many
traditional Irish folk songs, produced by Beoga member Sean Óg Graham.
B E R N A D E T T E M O R R I S
Belfast has proved a great base to develop my musical career, with support from Generator NI and The Art's Council of N. Ireland. I currently produce, manage and perform my music both locally and internationally. I have attended Womex and performed at Celtic Connections, Germany and Folk Alliance International in the US, representing Irish culture and arts abroad. I intend to continue the development of my business and move into new markets, starting with a business development trip to India with the support of Generator NI and Belfast City Council.
“B E R N A D E T T E M O R R I S
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C A S E S T U D Y
South by South West in Austin, Texas has developed into the world's largest convergent
creative industries festival, originally a purely music industry focused event, it now brings
together over 35,000 professionals from all media industries. Northern Irish businesses
respresenting the best from all corners of ‘music, film and interactive’ attend SXSW
as part of a major trade mission each year.
S O U T H B Y S O U T H W E S T ( S X S W )
SXSW for us has become a key event that broadens our fan base and market profile. It introduces us to new people in the music media both in radio and in TV, both in the US and at home. We were invited on BBC 6 Music - Steve Lamacq showed up to our Northern Ireland showcase at Latitude 30. We saw attendance at our UK shows grow massively with sold out gigs. At least 10 major Irish and UK festivals have booked us since SXSW which will keep us flush financially so we can carry on promoting the new album.
“T H E L O S T B R O T H E R S
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C A S E S T U D Y
The Great Escape in Brighton, is a three day music festival, conference and
showcase event which attracts over 3,000 delegates comprised of music industry
professionals and around 16,000 music loving punters. Rocky O’Reilly attended
The Great Escape in 2015, to expand and maintain his client base, ensuring the
sustainability of Start Together Studio.
S T A R T T O G E T H E R S T U D I O A T T H E G R E A T E S C A P E 2 015
I have already started working on new projects for UK based record labels after meetings at the festival. I have made around 30 new contacts with whom I have communicated after the event. I also appeared as a panellist for the Music Producers Association, improving my experience level and raising my profile. I have made a strong contact with a new producer manager and expect to be working with them on an ongoing basis in the near future. As well as working for new labels and artists already, I have been in meetings for future work with a number of UK based artists & managers. I believe I have secured representation with a new producer-management company.
“R O C K Y O ’ R E I L L Y
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Support for emerging talent on a local and
regional scale is essential, as multinational
corporate music businesses now choose to
invest in artists that are already regionally
developed, pre-identified, endorsed and
market-ready. Talent development support
provides the foundation for a platform
of initial success that attracts further
investment and partnership towards
global market success.
One of the four, core elements of the
Generator NI programme is the delivery
of an annual Talent Development
Programme. Each year the Generator NI
Talent Development Programme supports
the development of an identified group of at
least 6 exceptional artists, bands, producers
and performers. These acts are identified
through Northern Ireland’s own version of
Generator (UK)’s national Tipping Point
programme – whereby key industry and
media tastemakers identify and tip what
they believe to be the next big thing across
all genres of music.
T A L E N T D E V E L O P M E N T
Those selected benefit from an accelerator
programme for exceptional NI creative talent,
which includes a wide range of tailored support
initiatives such as campaign planning,
supporting attendance at trade missions
and industry showcases, fostering creative
collaboration, promotion and marketing
support and the production of world-class
digital video content in partnership with
Northern Ireland Screen.
The programme also provides participant artists
and their business partners with the opportunity
to partake in a series of 4 two day 'compacts' a
year – providing hot house knowledge and
network development on specialist areas
in the industry.
Notable outputs and successes of the Talent
Development programme include Ciaran
Lavery, Silences, Alana Henderson and
Jessica Doherty.
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C A S E S T U D Y
Emma Horan is a 16 year old singer songwriter from Lurgan. She rose to recognition
through YouTube, with her cover of Mumford and Sons’ Little Lion Man, which charted on
iTunes. Since then, she has been on tour with X Factor star Janet Devlin and played at
industry conferences such as Festival of Icons. She has been working closely with
Generator NI through mentoring and the talent development programme, to
develop her skills as an artist and songwriter.
I have had such an amazing year with music. As I started online putting videos up of myself singing, things have just gone crazy! I have gained so much support for my music and that means everything to me, my manager Nick has been brilliant. This year I have been writing music lots through Generator NI's development programme and my writing skills have progressed so much and I have had such fun. During the summer I have been co-writing with a songwriter and producer Tre Sheppard and have loved every minute of it and cannot wait to release the music we have created. The team around me are great and I couldn't have done it without them.
“E M M A H O R A N
E M M A H O R A N
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C A S E S T U D Y
Alana Henderson took part in Generator NI’s annual talent development programme in 2014,
and from then has gone from strength to strength. After recording her EP Wax and Wane, Alana
was selected as a touring backing singer and cellist for Irish singer songwriter Hozier. The
international touring and export of her musicianship has enabled Alana’s career to become a
sustainable and successful ongoing venture.
A L A N A H E N D E R S O N
During the early stages of developing my music career in Northern Ireland,
support from Generator NI allowed me to develop my business through
recording and performance opportunities, assisting me in expanding
my reach so that I could tour on a small scale as a solo artist in Europe
(Germany, Austria) and perform at conferences in the USA (Oregon,
Washington). Through these local networks in the NI music scene,
I made great connections in the industry.
I was introduced to Hozier in early 2014 and began touring internationally as
part of his band as well as opening his shows on occasion (Germany, Austria,
Netherlands, UK). I have toured extensively throughout the USA, Australia,
New Zealand and Europe. This expanded my fan base significantly, broadened
the ‘reach’ of my music in the global market, increased my online streaming
figures (Spotify 4,000,000+ streams) and established connections which I am
certain will lead to future collaborations and projects.
“A L A N A H E N D E R S O N
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The Nerve Centre in Derry~Londonderry,
Northern Ireland's leading Creative
Learning Centre, also delivers a wide range
of talent development initiatives in
Derry~Londonderry and the North West.
Its Music Sync Programme, delivered as
part of the UK City of Culture and Legacy
programmes, provided a landmark music
development intervention in support of
young people across the city and
community.
The Nerve Centre has also partnered with
Generator NI in the hosting and delivery
of a wide range of successful talent
development initiatives including the
48 Hour EP Bootcamp, the MTV Music
Academy and the Resonate Futures
programme.
T A L E N T D E V E L O P M E N T ( C O N T . )
The Oh Yeah Music Centre in Belfast also
delivers its own talent development programme:
Scratch My Progress, o�ering a series of
musical acts the chance to hothouse their talent,
learning about the business of music as well as
the skills of performing and writing.
The Scratch concept was inspired by the work
of Battersea Arts Centre in London, which
pioneered the idea of a 'ladder of progress'
using achievable steps and constant feedback.
The project allows artists to test and develop
their ideas “from scratch” with the audience,
and each other. Scratch My Progress is a
partnership with PRS for Music Foundation,
Pledge Music, Help Musicians, and the Arts
Council of Northern Ireland.
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Seed investment opportunities for music
businesses are notoriously di�cult to
secure. Traditional routes for start-up
business funding often come from bank
loans; however these can be hard to secure
in the music industry, where 77.4% of small
and medium enterprises (SMEs) self-fund
the initial stages of their business.
Outside of the music industry, only 39% of
SMEs self-fund. (Source: Wilson et al,
2001).
Artists and businesses from the music
sector in Northern Ireland have been
supported financially in various capacities
by Invest NI, DCAL, ACNI, the Creative
Industries Innovation Fund, Belfast and
Derry City Councils, and national entities
UKTI, PRS Foundation, AIM and the BPI.
I N V E S T I N G I N M U S I C
The Arts Council of Northern Ireland supports
individual artists through SIAP (Support for
the Individual Artists Programme) to help
established and emerging artists take that
all important next step in developing their
professional artistic careers.
There are five separate funding streams within
the SIAP programme including general arts
awards, artists career enhancement scheme,
major individual award and travel awards. In
2015/2016, ACNI made 155 SIAP awards to
artists totalling £415,000.
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C A S E S T U D Y
The Arts Council of Northern Ireland supported local artist Malojian (Stevie Scullion)
with two individual artist awards recently. The funding provided Stevie with the
opportunity to attend a showcase event in Nashville, the mecca of music in the United
States of America. He had the chance to perform and network with an audience of
influential industry and media delegates. This award also provided the opportunity for
Malojian to spend time co-writing in Nashville with other songwriters, opening his work to
a new group of people.
I hope to create at least 5 collaborative new song copyrights and part of the process will be studio sessions to finesse and record those works. I have always wanted to record in Nashville as some of my favourite records were recorded there. I believe working in this environment will greatly enhance my skills as a musician and songwriter.“
S T E V I E S C U L L I O N
M A L O J I A N
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C A S E S T U D Y
Established by Invest Northern Ireland as part of its Access to Finance strategy, techstart NI is
providing support for early stage technology businesses and university spin-outs. Inflyte App is a
music promotion platform that allows record labels, pluggers, PR companies and publishers to
send branded digital music promo campaigns direct to their clients' mobile devices for feedback
online or o�ine, wherever they are. The company secured a £150,000 investment from techstart NI.
I N V E S T N I ’ S T E C H S T A R T S E E D I N V E S T M E N T P R O G R A M M E
Inflyte was delighted to welcome techstart NI as its seed investor. We
have found the process and manner in which the transaction was handled
to be commercial but light touch with the investment being closed in less
than six weeks.
I’m delighted to say that Inflyte has had a really strong opening twelve
months in business. When we launched last year we were working with a
small number of independent electronic record labels, but our client list
now includes leading global music brands such as Defected, Cocoon,
Mad Decent and Ram Records. We’re exclusive providers for many of the
UK’s leading PR agencies including Your Army and Renegade Music and
over the past few months, Inflyte has delivered content for artists as
wide-ranging as Madonna, New Order and the Stereophonics.
“P A U L H A M I L L
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Two heads are better than one, and the
music industry has never been one to shy
away from even the most unexpected of
mash-ups.
The creative industries are in one of the
strongest positions to collaborate, and stand
to gain remarkable benefits.
Within the realm of screen, for example: film,
TV, advertising, online, apps & gaming, there
exists the need for a steady stream of music
and sound IP creation.
C O N V E R G E N C E , C O L L A B O R A T I O N A N D D E V E L O P I N G P A R T N E R S H I P S
Working with creative music businesses too can
elevate the o�erings of tech startups, producing
hardware and software servicing the music
industry.
Developing partnerships between creatives and
businesses across these convergent sectors is
essential to maintaining sustainability within the
music industry. These partnerships co-create
products and digital content, adding untold
value to one another's propositions, ultimately
multiplying money-making potential.
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C A S E S T U D Y
The relationship between gaming and music is strong. The global gaming industry is worth over
$74.2 billion per year*. Music is used in almost every game on the market, providing huge
opportunities for composers and music rights holders.
Profiting from the popularity of music within the gaming industry, is HyperDuck SoundWorks,
a Belfast based company that specialise in sound design and music composition for the gaming
and media industries. They have worked with some of the most celebrated independent game
creators, most notably, creating the full score for ‘Dust: An Elysian Tail’.
(*Source: Superdata)
H Y P E R D U C K S O U N D W O R K S
As a small business, being based in Belfast has proven to be an integral part of our growth. We have substantially grown an international client base over the past 5 years, and can proudly say we've made connections with people all over the world who are both professional colleagues and eager fans. In making people aware of what HyperDuck SoundWorks can do, we feel that it has also helped put the spotlight on Belfast's creative sector, and shown people what it is really capable of.
C H R I S G E E H A N
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C A S E S T U D Y
With music being used constantly on new platforms and within new technologies, it becomes a
challenge to retain intellectual property rights, and to direct royalties to the correct places.
On Music provides various services such as music data processing services, negotiation and
licensing, and electronic reporting and music cue sheet delivery to major broadcasters, music
companies, copyright societies, distributors and independent producers. Formed in 2005, with
o�ces in Kent and Belfast, On Music is owned by managing director, Liz Lavery, a copyright
expert with over 25 years of experience in the industry.
O N M U S I C
As a full service music data company; processing international music data for copyright societies, broadcasters, publishers and online, our clients include BBC Worldwide, UKTV, PRS for Music, PPL, and Bloomberg TV. Since 2005, we have seen vast growth; branching out into the international market. Our service provides music genre specialism and internal data quality experts.
Being based in Belfast allows us to be cost-e�ective for our London, LA and New York based clients and also providing services for local publisher LLC Media working with Northern Ireland composers and production companies.
L I Z L A V E R Y
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C A S E S T U D Y
Score Draw Music is an award-winning music production company. Since 2004 the company
has been commissioned by all major broadcasters in the UK to deliver incidental and title music
and score for projects ranging from network docu-drama to sports. Score Draw has also
delivered bespoke music towards brands including Adidas, The Body Shop and Milka.
Score Draw’s work in children’s television includes titles, songs and underscore for the
multi-award winning Nickelodeon Jr pre-school animation “Lily’s Driftwood Bay”. In 2014 the
company also composed all the music for the documentary Road which opened the Belfast Film
Festival.
S C O R E D R A W M U S I C
Exporting music IP and the identification of global media production partners remain essential for a company like ours to grow; however what has benefited us equally is the support NI Screen have given the indigenous media and production sector. Our two top tier pieces of activity in documentary and children’s television are both propositions produced and created in Belfast-and both are world class.
R I C H A R D H I L L
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C A S E S T U D Y
Patchblocks are programmable synthesisers – musical hardware that can be edited to create the
user’s desired sound using software on a PC or Mac. Patchblocks can be connected seamlessly
together like a jigsaw, to create a wider variety of sound options.
Sebastian Heinz is the mind behind Patchblocks, having developed the hardware and software
during his PhD study at the Sonic Arts Research Centre at Queen’s University Belfast. Sebastian
started a Kickstarter crowdfunding project to gain initial start-up funding, which was hugely
successful, hoping for £10,000 but raising over £67,000.
P A T C H B L O C K S
In the last year we have built a strong network of distribution partners world-wide, including retail stores like Conrad Electronics, Thomann, Rapid and Juno. What has started as a student project has now even appeared in a TV ad in some European countries. Additional sta� has joined our team and we are working on a range of new products. Being a Belfast based start-up means we are surrounded by a vibrant community of creative talent, but also allows us to get a wide range of support from institutions like Invest NI, assisting us in marketingand R&D.
S E B A S T I A N H E I N Z
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Developing sector specific music business
skills and knowledge is integral to the
creation of sustainable careers in the music
industry. Entrepreneurial skills are also
essential to success, as many of the
commercial opportunities available remain
viable only to those able to work on a
freelance and contract basis.
Most in demand are an array of industry
specific business skills, focused on the
development, management and marketing of
talent and associated Intellectual Property
and copyrights.
In partnership with public and private sector
stakeholders, Generator NI has delivered a
wide range of business skills initiatives and
events, supporting business development and
helping to engender and support
entrepreneurship across the sector.
S K I L L S D E V E L O P M E N T
These range from one to one advice and
guidance, through seminars and workshops on
particular essential industry skills, the delivery
of short courses, all the way up to large scale,
multi-event conferences.
In an industry that relies so much on sector
specific knowledge, it is di�cult to overestimate
the benefits that experienced, knowledgeable
mentoring can provide to those in the earlier
stages of business and career development.
Generator NI provides mentoring to those in the
local music industry in three specific ways: open
access one-to-one mentoring, group mentoring
and a tailored mentoring programme for priority
artists and their business partners from the
Talent Development Programme.
B U S I N E S S S K I L L S D E V E L O P M E N T
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C A S E S T U D Y
In association with Honeycomb - Creative Works, Generator NI produced a two-day residential
management masterclass for a group of Northern Ireland’s rising indigenous artist managers.
The masterclasses involved talks and workshops aimed specifically at developing management
techniques while establishing networks with leading industry professionals.
Mentors included Huw Stephens (Radio 1), Julian Deane (UK based Raygun Music), Graham
Brown (US based The League International), and Adam Shearer (UK based Partisan Records).
M A N A G E M E N T S K I L L S M A S T E R C L A S S
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C A S E S T U D Y
Paul Brown started MPC Music Group when he signed singer songwriter Jessica Doherty.
Paul attended the management masterclass skills development event, networking with other
industry professionals and developing management techniques.
M P C M U S I C G R O U P
In our first year of operation, MPC Music Group has been able to increase the profile of our artist Jessica Doherty. As a result of the support of Generator NI, Jessica performed at the BPI Sync mission in Los Angeles. Her debut single Wolves tolled up thousands of online hits and enabled Jessica to perform with artists such as Rainy Boy Sleep, Ciaran Lavery, SOAK and Janet Devlin as well as performing on Radio Ulster for BBC Music Day. This momentum has allowed us to expand to further our work with additionalartists and industry across the UK and Ireland.
P A U L B R O W N
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Songwriting, composition, musicianship,
arrangement, production and performance are
the core creative skills that collectively drive
the music industry.
A range of creative skills development
initiatives are delivered by Generator NI and
other sector stakeholders with the aim of
helping to develop best professional practice in
these key creative areas – including mentoring
sessions, creative seminars and masterclasses
with internationally acclaimed practitioners.
S K I L L S D E V E L O P M E N T
Exceptional songwriting is arguably the critical
economic driver in the creative content sector of
the music industry, an undoubtedly highly skilled
craft to hone.
Much commercially successful popular music is
now co-written and co-produced. Co-writers and
producers are able to share expertise, creative
innovation and ultimately share royalties and
incomes when a song or recording achieves
success.
C R E A T I V E S K I L L S D E V E L O P M E N T
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C A S E S T U D Y
As a strategic creative intervention towards developing creative skills, Generator NI devised
and delivers a yearly high-level, skills acceleration event for over 25 leading songwriters,
composers and producers. Song Camp takes place in a group of cottages near the Giant’s
Causeway, Co. Antrim.
While most of the writers are from Northern Ireland, Honeycomb - Creative Works have
helped to identify and support additional co-writers from the ROI and the Western
seaboard of Scotland, with Generator UK identifying artists from the North East
of England to take part.
Song Camp focuses on strengthening writing skills and collaborative creative network
development, as well as the actual creation of new songs, productions and copyrights.
Feedback from those taking part has been unanimously positive and enthusiastic.
To help the songwriters develop their skills Generator NI has engaged the services of
seasoned professional writers as mentors. These included:
Tim Wheeler: lead singer and songwriter of Ash.
Paul Steel: professional songwriter for Mika, Nicola Roberts, Charlie Simpson.
Gary Clark: professional songwriter for Natalie Imbruglia, McFly, Emma Bunton.
Paul Aidan: professional songwriter across genres for Atlantic, Sony, Universal.
Rod Jones: guitarist and writer in Idlewild.
James Allan: lead singer and songwriter for Glasvegas.
Stuart Fleming: membership development for PRS in Scotland and NI.
S O N G C A M P
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The role of music in education and the
quality of music education provision is of
principal importance to the development of
the exceptional creative talent that
underpins a successful music sector.
Studies also indicate that e�ective music
education has much broader development
benefits for children and young people.
In the recently published:
'The Power of Music - a research synthesis
of the impact of making music on the
intellectual, social and personal development
of children and young people',
Professor Susan Hallam, MBE said:
"The research shows there is compelling
evidence for the benefits of music education
on a wide range of skills including: listening
skills which support the development of
language skills, enhanced literacy and some
mathematical skills.
E D U C A T I O N I N T H E M U S I C S E C T O R
“The benefits are greatest when musical
activities start early and continue over a long
period of time. The teaching of music must also
be of high quality for the benefits to emerge.''
The ‘National Plan for Music Education’
strategy also encourages creative development
with technology. The focus on STEM subjects
(Science, Technology, English and Mathematics)
has now shifted to STEAM, including the Arts
as a core subject area.
Across Northern Ireland, the DCAL funded
Creative Learning Centres in Armagh,
Derry~Londonderry and Belfast are helping to
develop the learning of music through the use of
technology and software. These centres help
guide music education facilitators towards best
practice in composition and musicianship in the
digital age.
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C A S E S T U D Y
The School of Creative Arts at Queen’s houses the Sonic Arts Research Centre (SARC), a state
of the art education and research facility. Accommodating a huge Sonic Laboratory, the centre
provides a space for the creation of innovative music and audio, and for research and
experiments into compositional and performance work. The centre hosts seminars and
performances from visiting artists and houses 40 PhD students, encouraging a
vibrant academic and musical culture.
T H E S O N I C A R T S R E S E A R C H C E N T R E
The Sonic Arts Research Centre has, since 2004, made an important contribution to the music industry research, creative output, international connections and an intense programme of concerts, seminars and festivals. The Sonorities Festival of Contemporary Music continues to attract cutting edge artists working with sound and technology from all over the world. Our students and researchers have transformed Belfast’s cultural landscape with innovative performances and exhibitions across the city. Projects such as the Soundscape Garden in East Belfast, the Belfast Soundmap and the newly commissioned sonic gardens for the NI Hospice building are testimony of SARC’s impact in the wider community.
P E D R O R E B E L O
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MusED2015 77
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Community focused music activities have the capacity to broaden participation and engagement
with the sector. Making music accessible to people of all backgrounds and communities is essential,
as a vehicle to improve the lives of those who might not otherwise be able to experience music, and
by providing an access point to the industry for those individuals. Organisations such as the Oh
Yeah Music Centre, The Nerve Centre and the Andersonstown School of Music engage local people
in music, enhancing skills and developing opportunities.
S O C I A L A N D C O M M U N I T Y E N G A G E M E N T
C A S E S T U D Y
The Oh Yeah Music Centre is a space dedicated to local music, with various initiatives and projects
aimed at opening the doors to music potential for all ages; but mostly focused on youth. Oh Yeah is
a registered charity, with support from ACNI, The Lottery Fund, PRS Foundation, NITB, Belfast
City Council and more. The centre houses o�ce space, a recording studio, rehearsal rooms, a music
exhibition and a music venue with a bar. The centre was opened in 2007 by Gary Lightbody (Snow
Patrol) and ex-assistant editor of the NME, Stuart Bailie.
Popular projects include Volume Control, which aims to inspire young people aged between 14
and 19 to develop their own music industry and events enterprise, promoting their own gigs, and
starting a record label, through dedicated mentoring. The Scratch my Progress initiative also aids
the development of enterprise through supporting emerging artists, meetings and workshops with
lawyers and accountants, vocal coaches, PR experts and other industry professionals. In recent
years Oh Yeah have expanded their outreach programme to older people, engaging in
cross-community projects about punk and music in NI’s recent history.
T H E O H Y E A H M U S I C C E N T R E
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C A S E S T U D Y
The Nerve Centre, a purpose-built multimedia arts centre first opened in 1999, facilitates
creative collaboration between young people working in arts and popular culture. The Nerve
Centre runs a range of music related projects, an exemplar of which being SYNC Music Promise
in the Community, which oers free access to music creation, performance, production and
mentoring for young people in Derry~Londonderry. The Nerve Centre provides many
opportunities for skills development in the music sector, including music instrument tuition,
accredited music production and performance courses, and has hosted the Managing a Music
Business Enterprise course with Generator NI.
N E R V E C E N T R E
Since 2013, thousands of young people have participated in the Nerve Centre's ground breaking SYNC creative music education programme. Embedded at community level and targeting 'hard to reach' young people, SYNC has delivered a wide range of creative and performance opportunities; developed an alternative accredited music curriculum which allows young people to progress to further education / industry career pathways; launched some amazing young talents on the music scene; and made a hugely positive contribution to the personal development of participants.
M A R T Y M C G I L L
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“There is a growing recognition of music as a transformative power, not only as a cultural
staple but also as an economic driver. Boosting the music economy brings multiple dividends
to communities, from advancing artistic and cultural growth, to generating substantial
economic impacts from job creation and tourism spending, thereby increasing GDP. A vibrant
music economy creates the quality of life that makes people want to live and work in a Music
City, giving these communities an added edge in business attraction and retention.”
(Source: The Mastering of a Music City)
“The music business continues to expand into new markets and create new business models,
attracting more users to digital music services and bringing artists to a wider global audience.
Global revenue from performance rights - generated from broadcast, personalised streaming
services and venues - saw strong growth - rights income was up 8.3 per cent. Revenues from
synchronisation deals — the use of music in TV adverts, films and brand partnerships was up
8.4 per cent in 2014.”
(Source: The voice of the recording industry worldwide. IFPI)
A thriving music sector within the creative industries both contributes to the economy, and
also acts as an e�ective attractor to incoming visitors and investors.
It is essential therefore that the Northern Ireland sector works closely with public and private
stakeholders to ensure that it maximises and sustains its share of the future global market
opportunity.
F U T U R E O P P O R T U N I T I E S
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“There is a growing recognition of music as a transformative power, not only as a cultural
staple but also as an economic driver. Boosting the music economy brings multiple dividends
to communities, from advancing artistic and cultural growth, to generating substantial
economic impacts from job creation and tourism spending, thereby increasing GDP. A vibrant
music economy creates the quality of life that makes people want to live and work in a Music
City, giving these communities an added edge in business attraction and retention.”
(Source: The Mastering of a Music City)
“The music business continues to expand into new markets and create new business models,
attracting more users to digital music services and bringing artists to a wider global audience.
Global revenue from performance rights - generated from broadcast, personalised streaming
services and venues - saw strong growth - rights income was up 8.3 per cent. Revenues from
synchronisation deals — the use of music in TV adverts, films and brand partnerships was up
8.4 per cent in 2014.”
(Source: The voice of the recording industry worldwide. IFPI)
A thriving music sector within the creative industries both contributes to the economy, and
also acts as an e�ective attractor to incoming visitors and investors.
It is essential therefore that the Northern Ireland sector works closely with public and private
stakeholders to ensure that it maximises and sustains its share of the future global market
opportunity.
F U T U R E O P P O R T U N I T I E S
80
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“There is a growing recognition of music as a transformative power, not only as a cultural
staple but also as an economic driver. Boosting the music economy brings multiple dividends
to communities, from advancing artistic and cultural growth, to generating substantial
economic impacts from job creation and tourism spending, thereby increasing GDP. A vibrant
music economy creates the quality of life that makes people want to live and work in a Music
City, giving these communities an added edge in business attraction and retention.”
(Source: The Mastering of a Music City)
“The music business continues to expand into new markets and create new business models,
attracting more users to digital music services and bringing artists to a wider global audience.
Global revenue from performance rights - generated from broadcast, personalised streaming
services and venues - saw strong growth - rights income was up 8.3 per cent. Revenues from
synchronisation deals — the use of music in TV adverts, films and brand partnerships was up
8.4 per cent in 2014.”
(Source: The voice of the recording industry worldwide. IFPI)
A thriving music sector within the creative industries both contributes to the economy, and
also acts as an e�ective attractor to incoming visitors and investors.
It is essential therefore that the Northern Ireland sector works closely with public and private
stakeholders to ensure that it maximises and sustains its share of the future global market
opportunity.
F U T U R E O P P O R T U N I T I E S
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Made by Generator NI
Mark Gordon
Nu Graham
Ross Graham
Grace Loughrey
Siubhán Macauley
Sarah Plunkett
& Lucy Skerritt
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