BUSINESS AS USUAL

The late, great Lester Bangs once made the point that rock and roll is the ultimate populist art-form and a perfect example of democracy in action because anybody can do it and the public will vote with their money. The music business is a complicated beast, however, and what Bangs failed to mention was that while anybody can do it, nobody can do it alone.

In his opening address to a packed Nun’s Island Arts Centre as the Hot Press/IMRO Music Seminar rolled into Galway, HP General Manager Jackie Hayden reminded an audience of budding performers, managers and publicists of the difficulties involved in ‘making it’. “There’s no simple twelve step plan to success,” he said, “and talent alone will not necessarily see you through. Ignorance is a luxury that will wind up costing you dearly in this business.”

Titled “The Cranberries Are Doing It, So Why Can’t You?”, the seminar’s purpose was to offer clear, concise and helpful advice to those already involved in the business and to those considering it. “Even if you walk away today having heard what it’s all about and decide that it’s not the career for you, then it’ll still have been a worthwhile exercise,” Hayden reminded the audience as the seminar began.

Straight talk was the name of the game as the first session got underway with flu-ridden ex-Moving Hearts member Keith Donald speaking on the subject of Management. Having once managed Moving Hearts while also playing with them, he recounted some tales of woe before strongly advising against this course of action. “Management is a full-time job which also requires a certain amount of distance from the performance aspect.” Words of wisdom. He also spoke briefly about his company Music Base, which offers a wealth of information on the industry to performers and managers alike.

2FM Producer Willie O’Reilly then spoke about how to best approach – and get played on – national radio, pointing out that the bulk of material that crosses his desk winds up in the wastepaper basket (which he empties three times a day!). According to O’Reilly, most bands don’t target their music correctly i.e. there’s no point in sending your death metal opus to the Gerry Ryan Show, no matter how good it is. He also tipped the audience off about national radio’s big secret – if you call RTE looking for anyone from Dave Fanning to Larry Gogan, the switchboard will put you through. Obviously, nobody wants to be pestered but if you’ve something to say then, chances are, a DJ or producer will take your call.

John Pickering from Harmony Promotions told it like it is from a promoter’s point of view. He explained that these days the margins involved in running a gig were so low that it was unreasonable to expect a promoter to lay on lavish amounts of food and drink for a band (plus their inevitable entourage) and suffer the indignity of being handed a fifty-name guest list. His message was simple and reasonable – the good ‘ol free for all days are gone but if a band treats a promoter with respect, then that respect will be reciprocated.

Kieran Goss talked about the craft of songwriting and the pros and cons of releasing work independently. He was followed by Liam Gaskin (Watermarque PR), who spoke about how to generate interest in your band and advised on how to market creatively.

An Emotional Fish manager Aidan Cosgrave then talked candidly about his experience with the band. This was particularly interesting because as he said himself, AEF were the last real “Big Deal” band to come out of Ireland. He admitted that the band had really gone over the top when they were initially signed, spending a small fortune (well, actually quite a large one now that I think about it) on recording and making videos etc. He also pointed out that the forthcoming Sloper album had cost just one fiftieth of the budget of the previous albums to record. However, judging from the faraway look in his eyes as he recounted the tales of former excess, the audience was left in no doubt that if he and AEF could do it all over again, then they’d probably do it exactly the same way.

Paul Harrington closed the first session with further talk about self-financed releases, getting hi-jacked into a question and answer session by an over-enthusiastic member of the audience before he had really made his point. Fortunately, compere Ian Dempsey was at hand to keep things relevant with a few perfectly timed scathing one-liners.

The evening session was much more relaxed with both audience and speakers well warmed to the subject after the first session. Paula McDermott opened the proceedings with an informative talk about how IMRO and the PRS work. Although not the most glamorous part of the business (as she moaned herself!), it’s all absolutely essential to know. The PRS (Performing Rights Society) are the people who ensure that a band or artist gets paid for radio-lays and for live performances – provided that you’re a member of course.

Next up was Richie Taylor from the Sunday Press who spoke about how to approach a music journalist. Injecting a good healthy dose of cynicism into his subject, Richie made the very honest observation that most music journalists couldn’t care less about a band’s latest demo, as they’re generally already up to their eyeballs reviewing the latest R.E.M. album or whatever. He also told some hilarious tales of bands using (or trying to use) whatever pulling power their friends or relations could exert, with the usual disastrous results.

He made some useful points as well though (be sure to enclose some information with your tape, label your press shots) and also revealed that January is the best time for a new band to seek press attention because there’s nothing else happening in the world and we’ve all got columns to fill.

Pete Holiday then spoke about how to produce a good quality demo, followed by Johnny Lappin who spoke about Music Publishing and Royalties.

Conor McDonald from Smithwicks gave a talk about how to get sponsorship that included him reading out a hilarious letter from a young (un-named) band who had written to him looking for support. They hadn’t given the band name, they hadn’t properly addressed the letter, they hadn’t mentioned any figures . . . basically it was the complete guide to how not to get sponsorship (or even taken seriously). Conor’s advice was to look for support locally, as you’ll get a far better response.

Ita Kelly from Galway Bay FM gave her talk on local radio. She got in a great plug for both her own show and for the station, without any of the snotty self-importance that’s sometimes associated with media types. Say no more.

The last speaker of the day was Freddie Middleton from BMG Records who gave an overview of the Irish music scene and also explained to those who didn’t already know exactly how a record company works, about advances and contracts etc. He also spoke of the need for independent record companies and had great praise for the likes of Hunter S. Records (who’ve so far unleashed The Revenants, Far Canals and Mary Janes onto an unsuspecting world).

Following the seminar, most of the audience and all of the speakers went down to Monroe’s Tavern where a showcase gig was held. Bands playing included Two Toke Pass (reggae covers with a few excellent originals thrown in), Suddenly Smith (who played a tame but reasonably enjoyable rock set) and Raw Novembre (loud, angry and energetic enough to put Henry Rollins to shame). It was great to actually see a few bands after spending the whole day talking about them . . .

• The next Hot Press/IMRO seminar will be held in Queen's University, Belfast on November 22nd.