This page contains a Flash digital edition of a book.

UK Music poised for UN battle U


K Music faces a fight to the United Nations to get the value of the

British music industry more accurately represented in Government circles. It follows the publication of a

DCMS report last week which reckoned the creative industries were worth £71.4bn to the UK economy last year, having grown annually by almost 10%. Within that figure was a

contribution of £4.574bn by a sector called music, performing and visual arts. But rather than this purely covering the music industry, it also took in numbers from areas such as dance, theatre, opera and comedy. In addition, a lot of economic

activity by the music industry was not included in this figure, including contributions from festivals organisers, artist managers and many people working for music publishers and music promoters. The reason for these and

others being missed out is the UK Government and Office of National Statistics (ONS) rely on what are called Standard

“We are very much in the conference calls with the ONS and DCMS, which is brilliant” JO DIPPLE, UK MUSIC

such as in live being inadvertently attributed to other industries. The net result of this is an

under-representation of the size of the UK music industry at Westminster, which could cause problems for the business when government policy is being shaped. UK Music chief executive Jo

Dipple, whose organisation published its own report on the size of the industry at the end of last year, said it was now working within Government to try to get the codes changed. However, any changes made have to be ratified at international level by the UN. One-time Government

Industrial Classification (SIC) codes to calculate the value of specific industries and then the overall UK economy. Each code represents a different activity in the economy. However, the codes currently

in place do not accurately reflect the modern-day make-up of the music industry. Just one code is specific to the industry, covering “sound recording and music publishing activities”, leaving lots of other parts of the business

economic advisor Jonathan Todd, who worked on the UK Music report, said: “I believe the British Government is waiting for the UN to open the process of the next cycle of reform and then the British Government would make a submission to the

EU and then the EU would make a submission to the UN.” Todd said he was told it was

only Europe and the US that actively engaged in the process of trying to alter codes so, if both regions could be convinced the international coding for the music industry currently was not very good, “we’ve got a decent chance of improving things”. Even with that support, the

music industry would still face a long wait, with Todd suggesting no changes would be made until 2017 at the earliest. Dipple added UK Music had

met with DCMS and ONS about influencing the discussions the British Government would have at international level about the codes changing. “We are part of that

conversation,” she said. “We are very much in the conference calls with the ONS and DCMS, which is brilliant.”

Jenkins returns to Decca for new album

Katherine Jenkins is to return to her classical crossover roots with a new album this year after reuniting with Universal’s Decca. The Welsh singer, who was

awarded an OBE in the New Year’s Honours, quit Universal in 2008 to sign a three-album deal with rival Warner, but is now back with her old record company in what is her 10th anniversary as an artist. “I was 22 when I first met

Decca and they were the ones – Dickon Stainer, Mark Wilkinson, Bill Holland – who gave me my first opportunity and signed me to a six-album deal,” she told Music Week. “Now for me to be celebrating the 10th year and doing it with

“It wasn’t that she left Warner

and the next thing she was at Decca, but over a period of time it seemed like the right thing to do and moreover we could see she had a great deal of ambition left,” he said. “She’s still a very young artist and we felt she had a vision of where she wanted to go.” Stainer added that the new

deal covered not just Jenkins’ recorded music output, but “we also have some involvement in her live business and her branding business”. “In the 10 years since she first

the people that I started out with feels like the right place to be.” Decca president Stainer told Music Week: “We knew things

weren’t quite working out for her at Warner,” but noted Jenkins then coming back to Decca “wasn’t an immediate thing”.

joined Universal she’s changed a huge amount,” he noted. “Universal have changed a huge amount, but Decca is still the

world’s number one classical label and it seemed like a natural place for her.” Jenkins’ time at Warner saw

her musical remit widening, including recording a cover of Evanescence’s Bring Me To Life, but Stainer insisted the next album would be strictly classical: “She needs to be in a classical idiom, not in a pop idiom. It suits her as an artist and it gives her a point of difference.” Work on the new album is due

to start in Los Angeles in February and will include original material with a release expected in Q4. It will be issued in the US via Verve whose chairman David Foster produced Jenkins at Warner.

Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48