Helping Irish Musicians to Help Themselves

I want to start by saying a huge thanks to everyone who contributed to, or was involved in, The Music Show. The team here at Hot Press put the event together, and it was a hugely demanding exercise – but also, as it transpired, an enormously successful one. The crowds streamed into the RDS non-stop throughout the weekend – a reflection that what was happening in the Main Hall was something special.

And it was. There was brilliant live music; hugely informative seminars and panels; the kind of workshops and virtuoso displays that’d inspire young musicians with a genuine sense of the full, teeming potential of music as a creative medium; and an exhibition of musical instruments, equipment, photographs, Hot Press front covers and a whole lot more besides that was wide-ranging and impressive enough to engage even the rawest novice in the special magic that music, across all its multifarious genres, has to offer.
The Music Show demonstrated very effectively just how strong the appeal of Irish music is. There were huge crowds for The Bizzards – the first band to appear on Saturday morning – Cathy Davey, The Coronas, Republic of Loose, Damien Dempsey and indeed all of the acts that played. The event also demonstrated just how well those Irish artists compare with the best that the UK and the US have to offer. Is there a better funky soul band in the world right now than Republic of Loose? If there is, they must be extra shit-hot. The international exhibitors who were at the RDS were inspired by the quality of Irish music and Irish bands. They went home after the show, fresh advocates for the Irish cause.
In a different vein, the Irish craftsmen, and women, involved in the production of instruments also established a fresh benchmark. From Clareen Banjos through McIlroy Guitars to the new Craftine range of acoustic instruments, it was obvious that Irish instrument makers are beginning to compete successfully with the best international brands.
That we can do it here has been proven in different ways. It isn’t just the extraordinary success of artists like Van Morrison, U2, Enya, Paul Brady, The Corrs, current Hot Press cover stars Snow Patrol, Glen Hansard, Damien Rice and The Script (among others); of musicians like Gary Moore, John Feeley, Gavin Friday, Tom Waits’ sidekick Patrick Warren and David Bowie guitarist Gerry Leonard; of film-makers like Neil Jordan, Jim Sheridan, Martin McDonough and John Carney; or of record producers and live technicians like Pat McCarthy, Joe O’Herlihy, Garrett ‘Jacknife’ Lee, Marc Carolan and a dozen more, who are currently mixing it with the best. It is the fact that there is a second layer and a third, of hugely talented people who are on the cusp or close to it, and who can and will – if the cards fall in their favour – also break on through to a higher level.
Where artists are concerned, some of these were at the RDS – the likes of The Blizzards, The Coronas, Ham Sandwich and Fionn Regan; others like Lisa Hannigan, Laura Izibor, Mick Flannery and Jape are out there at the moment, on the road, working very hard to push on to the next stage.
But at the RDS, a whole other layer was also represented. The guitar makers, the sound engineers and producers, the songwriters, the managers and record company activists have also shown that they are capable of making international waves.
It is striking how little support they have got in all of this to date from any State agency. Crumbs have been thrown at people in the music industry from a few different angles, but it is not enough. There is no coherent framework. There is no evidence that policy makers understand what it is all about, or how to nurture it. Music thrives in Ireland in spite of, not because of, the State.
Actually, that is not entirely true. There was one measure, introduced many years ago by Charlie Haughey, which has contributed significantly to the development of a music scene of real international importance here: the tax-free status granted to artists as a result of the Finance Act of 1969 was a hugely progressive move in term of the development of cultural life and artistic productivity here.
In a time of international financial meltdown, it is worth looking again at initiatives that might act as a catalyst to a further clustering of artistic activity. We are likely to be heading into a sustained period of retrenchment, with the potential for huge job losses, vastly diminished tax returns and drastic cut backs in public services. As a counterbalance, we need to find inexpensive ways of providing a stimulus to greater activity in areas where we have a proven international track record.
Music fits that description. The capacity to create wealth and employment through the successful production of music is well established. U2 have built an entire industry around them of engineers, designers, lighting experts, production crew, lawyers, accountants – and so on. They have contributed to the growth of an art scene here, almost on a par with those in London and New York. They have been good for tourism, for catering, for live music, for record companies.
They – along with Enya, Bill Whelan, The Corrs, Brendan Graham and Westlife (to name just five) – have created what is a very significant export business in Ireland. But that business could be greatly enhanced if effective policies were put in place.
Here’s an example: the extension of the artist’s tax exemption to record producers. With this simple provision, at virtually no cost to the Exchequer, Ireland could be established as a mecca for top level international record producers. The benefits would potentially be enormous. Any producers attracted here as a result would be more likely to use Irish studios. They would act as surrogate A&R scouts, spotting developing Irish artists and alerting record companies. They would hook up with local songwriters and have Irish songs placed on records by international artists. They would spend the money they earn, from record sales all over the world, here. They would help to get Irish records placed in TV and movies. They would contribute to a knowledge and skill bank, positioning indigenous Irish engineers and producers closer to the centre of power internationally.
There are other things that can and should be done: (1) Introduce a proper system of licensing of venues and night clubs; (2) re-extend closing hours, so that nightlife can thrive and contribute to attracting young tourists; (3) deal finally with the issue of airplay for Irish artists…
It was notable that among the big successes of the Music Show were artists like The Coronas and The Blizzards who have received strong support from Irish radio. It should be a matter of pride for Irish radio stations to get behind new Irish artists, to the extent that the BCI would never need to forcefully impose quotas. Some stations have been moving in the right direction and should be applauded. But it needs to happen on an industry-wide basis – including at RTÉ.
The EC did not reject the notion of a quota. On the contrary, it is open to the BCI (as it will be to the Broadcasting Authority of Ireland, due to supercede the BCI and take RTÉ under its remit) to impose a quota, based on an agreed definition that was put in place following negotiations between the then-IRTC and the EC during the mid-90s.
Rather than seeing that entitlement invoked, it would be far better if the IBI were to agree, on an industry-wide basis, a self-imposed quota. On the one hand a far greater number of Irish records deserve to be supported: how many plays have great pop records by the likes of Pugwash and Saville received? But also, those records, which are being favoured would benefit by being played more. In general, even the most played Irish records lag hugely behind the most played international ones when there is no good reason why this should be so.
All the predictions are that, in economic terms, our collective backs are going to be to the wall for some time. But music is an area in which we can build on current levels of success to create a hugely more productive industry. It’s up to everyone in a position of influence to see if we can make it happen. Including – no, make that especially – the Government…