(cid:2)(cid:2) A FOOT IN THE DOOR . . .
The Mill
■ The Mill Launched at the end of the summer, this platform for emerging new talent hosts gigs at The Caves, Edinburgh, and Oran Mor, Glasgow. For more info, visit www.themill-live.com
■ Born To Be Wide A night set up to make connections between musicians, journalists and other music industry workers. There’s panels and presentations on all aspects of music business, plus bring along CDs to give out. The Voodoo Rooms, Edinburgh. 7pm–1am. Free. Monthly. www.borntobewide.co.uk ■ Soma Skool Keep an eye out for details of next year’s music industry crash course, offering advice on making demos, meeting other producers and marketing, all from the guys behind the Scottish electronic label Soma. www.somarecords.com
■ Tigerstyle This creative music making class focuses on contemporary urban music, with pointers on audio theory, editing, computer-based composition and rights management. For young people aged 14–25. 5–7pm. Free. Thursdays weekly. 0141 565 1011. ■ Musicians’ Union The national trade union has a Glasgow branch, where card carrying members can access legal and financial advice, or go along to music industry-related seminars and talks. 0141 341 2960 www.musiciansunion.org.uk
■ T-Break The annual competition to get acts for T in the Parks’s new music stage also gives a leg up to aspirant music journalists and photographers. There’s now opportunities to pay at Hydro Connect’s new msic stage too. For info on T- Break seminars, gigs and how to network like a pro, visit www.tbreak.co.uk
■ Your Sound King Tut’s has a box in the bar where you can drop off demo CDs and also hosts the regular new music showcase, Your Sound. The next night is Sun 7 Dec, with guest DJs Frightened Rabbit. King Tut’s, Glasgow, 4pm. Free. 0141 221 5279 www.kingtuts.co.uk/yoursound ■ CCA Workshops The Sauchiehall Street arts venue runs a variety of courses and talks for budding musicians. Check out their events calendar at www.cca- glasgow.com or phone 0141 352 4900.
27 Nov–11 Dec 2008 THE LIST 23
A&R guys do and thinking: ‘I could probably do that, and probably do it better’.
Vampire Weekend started on the label and moved onto XL and I’ve worked with those guys for about the last 18 months in every element and aspect of the project. I love to work with artists that excite me the same way as they first did, or Damn Shames first did – bands that can’t be imitated, that are like nothing else out there right now. What you look for in this job are those moments when you find someone incredible that just blows people away. You figure out the pitfalls as you go along. The principal one is you can never be arrogant – you’re only ever a bad signing away from the sack. You’re never too young to start getting involved with new music. There are kids in London who’ve been promoting shows and managing bands since they’re 16. That’s a great route in.
I think if you really want to get signed, there are loads of things you can do yourself to make it happen. When Vampire Weekend were signed, they had nine tracks recorded that went on their debut album, they managed themselves, they were booking their own shows, driving their own van, they sorted out their own website and they did their own press. That’s all crucial for learning how the business works and also making people – including A&Rs – come to you.
The PR ROB KERFORD, SONIC PR I started off doing a fanzine, playing drums in a local band, and from there I managed a band and was partner in a record that developed into a regional PR company. That was 14 years ago now. Last year I left and set up by myself. label
I answer and send emails, speak on the phone to journalists, make sure a gig or a single or an album is going to feature. I mail out CDs, I send out review tickets, I organise competitions, and I liaise with record companies and band managers and give them updates on how campaigns are
Follow in the footsteps of Franz?
going. In the evenings I often go to gigs.
Promoting a band you love is the best thing about the job. I’ve done David Bowie and Kraftwerk and I now do Nick Cave and Depeche Mode. It’s also good to get a baby band and develop them into something everyone knows, If I was someone who wanted to do this kind of thing, I’d find a local band I really liked and ask them if I could do their press, because I’m sure they’d be happy for someone to help out. It’s not a job for everyone, but just give it a go.
Musicians should make it as easy as possible for the journalist or DJ they’re sending their music to – clearly mark the name of the band on the CD for instance, and the track listing. The press release need only be one page – don’t write a book. Get a hi-res photo done by a mate at university or whatever. Be positive in your approach, but not too cocky or pushy.
The Producer TONY DOOGAN HAS RECORDED BELLE & SEBASTIAN, MOGWAI, THE DELGADOS AND MORE When I was about 13 or 14 there were a few shows on at a local church and I helped the PA guy set up and work. I kind of got hooked in then. After school, I did a college course in sound and music but left early as I was offered a job in a really great studio in Glasgow, which unfortunately has now gone. It’s tough work – I normally work 12 hours per day, sometimes longer. But I’ve certainly enjoyed myself along the way. Most people are great to work with and they tend to become friends.
It’s a difficult time in the music industry so tread carefully. Buy as much equipment as you can afford and then learn to use it properly. Learn to listen too. Listen to as many types of music as you can, don’t get caught up in any cliques or become a music snob. Make sure you agree on basic things like how much you will be paid and when before you start work on a project. Studios are expensive places so you’d better have good time management. Don’t be a chancer – the