How to make it in the music industry
GREAT MUSIC WEBSITES The control room at CaVa Studios, Glasgow
The List’s Daily Exposure Nothing like kicking off with a bit of shameful self- promotion but The List recently launched an online initiative to showcase a different new band every day on our site. Read about the band, hear the band, watch a video, even download a track, and if you like what you hear, then check them out live later that week. Submissions for inclusion are welcome to our Edinburgh office address or to exposure@list.co.uk www.list.co.uk/exposure Jock Rock Stuart McHugh remains one of the most benevolent of forces in all things Scottish indie shmindie and manages to round up the comings and goings in the Scottish scene. Get involved: review, be reviewed, showcase your music, make contacts with kindred spirits. See also www.isthismusic.com, the web-based home of the one-time print magazine and all round Scottish indie bible, where you can place demos, network and bitch out those who become successful on the message boards. www.jockrock.org
The Pop Cop Incisive commentary on the Scottish music scene. Upload tracks for review if you’re brave enough. To be honest, they’re pretty supportive by most accounts. thepopcop.blogspot.com Nemis Dedicated to supporting and promoting unsigned music in Scotland and and virtual advice shop with tons of useful info on file plus local music news, reviews and more. www.nemis.org
New Found Sound A small but dedicated group of individuals combine their forces to champion new music across Scotland with gigs, advice and more. Always worth punting Derrick a CD and getting involved in the local showcases they put across the country. www.newfoundsound.co.uk
Band for the Day A rather self-explanatory spot which scours the globe for new music and takes nominations too so get your tracks up, get your friends on there to big up your tunes so the waiting public find them more easily. www.bandfortheday.com Glasswerks Part of a network (netwerk?) of sites across the UK started to help promote new music. A good place to get reviewed, whether live or your demo as there’s plenty of savvy scribes ready to give their tuppenceworth. www.glasswerk.co.uk and www.myspace.com/glasswerkglasgow
26 THE LIST 27 Nov–11 Dec 2008
years, I’ve got to book bands I’ve wanted to work with all my life, like Sonic Youth, Public Enemy or The Fall, and I still find the constant flow of new music really exciting. People think jobs in music are all about partying, but you need to be ready for 22-hour days, not eating your dinner until 11pm, and sometimes no sleep for days at a time. You really shouldn’t be drinking when you’re working, you absolutely shouldn’t be taking drugs, and it’s not appropriate to be sitting backstage with the band for three hours either.
Be hard working and easy to work with, and when you’re starting out, do whatever it takes to put yourself out there. Get your foot in the door by flyering, doing box office, whatever. The market in Scotland is so small, so everyone knows each other. Be prepared to earn a pittance for a few years, but it’s so worth it. My job is an absolute blast.
The label manager JIM HUTCHISON RUNS HUM+HAW ELECTRONIC LABEL I started out DJing in bars, and got to know folk through that. Then I did work experience at Soma Records. The first year I was on £50 a week, but it got me into the promotional stuff. Like most creative jobs, be prepared to earn next to nothing at first. It’s important to make yourself available, even starting right at the bottom, to show you’re willing. But you shouldn’t seem too pushy either. Once you’re working for a label, be confident without being cocky. Point out blogs or websites you’ve spotted, or pass on good contacts that might be useful. For people trying to get on a label, the internet makes it easy – you can send demos via YouSendIt. I get sent lots, and don’t always have time to listen to every one. Emails that spark my attention are ones where they’ve researched what the label actually puts out, and can maybe reference similar artists. Describing your music also helps, so people can make associations. If it’s not for us, I’ll try to suggest a more suitable label.
People should be prepared to not always get feedback. Or if it’s negative, you can’t be too precious about it. Take the criticism on board. Working in music can be difficult, and badly paid. But if it’s your passion, it’s exciting, so you don’t mind as much
The band manager SHARON STEPHEN FROM HAIL ERIS MANAGEMENT LOOKS AFTER WE WERE PROMISED JETPACKS WITH JAMIE GILMOUR
We started managing the band because we loved the band and wanted to be involved with their development. Management was not our initial plan – it was only after seeking legal advice it was suggested that we form a management agreement with the band that would enable us to work with them in a variety of areas. Our job involves a bit of everything. Basically we take care of the band’s welfare to enable them to do what they do best, which is to write and play live. Working for very little or no money is one of the major downsides, however being involved with the band’s development over the past year has definitely been a plus point. Luckily there are two of us to cover all duties, as we both also hold down full-time jobs. Money can be a pitfall for bands starting out; there is little money for bands in the early stages, and the cost of studio and rehearsal space, equipment and even petrol costs all mount up.
Most bands who feel they ‘need’ a manager usually don’t. Work hard and be as self- sufficient as possible. The whole Do It Yourself ethic really comes into play here – that is until it comes to the point where you need to seek help in areas that bands shouldn’t necessarily be bothered with. My advice would be don’t take it too seriously, work with people you genuinely get on with and trust your instincts.
For detailed listings of venues, recording studios, rehearsal rooms, instrument retailers and Scottish record labels see www.list.co.uk/musiciansguide